Fine Music Magazine January 2014 by 2MBS Fine Music Sydney

January 2014

MAGAZINE

SYDNEY FESTIVAL

720 artists, 372 performances, 10 world premieres

MAXIMILIAN RIEBL Ready for centre stage

A LIFE OF TRAGEDY

Gustav Mahler

OMEGA ENSEMBLE

in Residence – City Recital Hall

FROM BEATLEMANIA TO MUSICAL HEALER Remembering John Tavener

CONTENTS Vol 41 No 1 4

COVER STORY Sydney Festival – Henry Mendelson talks with artistic director Lieven Bertels about the myriad of delights in store this month.

Max Riebl - Countertenor in Profile

First Person - Omega Ensemble’s David Rowland

Remembering John Tavener

Mahler – A Life of Tragedy

10 Flashback with Derek Parker 11

Young Virtuosi

What’s On

14 CD Reviews 17

Swinging on the Vine

20 Program Grids 54 Directors, Committees, Staff 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 20.

EDITOR’S DESK It’s Sydney Festival time and Lieven Bertels in his second year as artistic director has turned on a fine feast of entertainment with some splendid classical and jazz events. Henry Mendelson had a cuppa with Bertels and talked to him about just some of the 372 performances, the 720 artists, and 10 world premieres that are about to light up this fair city. One of the top acts, which has a poignancy for Bertels is the Hilliard Ensemble. 40 years old, Hilliard is one of the world’s most distinguished a cappella chamber groups and it is making its final bow. Bertels was a second-year musicology student and budding promoter when he emptied his savings account to bring the British foursome to Belgium - to full houses - and so began an illustrious career in the arts. Many thanks to those of you who so generously supported the Fine Music Performance Studio Appeal. Those donations fund technical equipment and in turn allows for the promotion of aspiring artists through broadcasts and recordings. Among those young musicians is violinist Grace Clifford who was sent by the station to compete, and ultimately win, the National Final up against some very gifted competitors from around the country. You’ll hear Grace and the rest of the finalists on air this month. Fine Music Young Virtuoso Award for 2014 is also now well underway with 16 semi-finalists chosen and while they can’t all win, they have all won really because each of them will have their music broadcast. Read more on page 11. And still on youth..you might think that a power-lifter and a countertenor have little in common but once you read Steven Godbee’s interview with Max Riebl, you‘ll know otherwise! He is a 22-year-old star who has emerged through the Australian Brandenburg concerts. Page three for more. Happy Fiesta!

Lizzie

PS – If you’re wondering where the Big Yellow Duck has disappeared to, you’ll find he’s (she’s?) taken up residence on the Parramatta River.

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, Leita Hutchings, Helen Milthorpe Contributors: Nevil Anderson, Owen Fisher, Steven Godbee, Lizzie Herbert, Claire Hu, Kevin Jones, Joshua McNulty, Randolph Magri-Overend, Patrick D Maguire, Henry Mendelson, Michael Morton-Evans, Derek Parker, David Rowland, Robert Titterton, Phil Vendy. 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: Sun Ra Orkestra. Photo - Sydney Festival

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January 2014

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FINE MUSINGS

Alison Zhou, is studying for her AmusA on piano and has been one of the many students that Fine Music 102.5 intern coordinator and board member, Janine Burrus has guided through the station. A student at Sydney Girls High School, Alison penned a charming account of her work experience at Fine Music. You’ll find the full version on finemusicfm.com

DAVID ROBERTSON CONDUCTS... ABSOLUTELY BEETHOVEN: THE ROBERTSON ERA BEGINS 12–15 Feb Enjoy a thrilling Beethoven-inspired program including Beethoven’s dramatic Seventh Symphony.

ELEKTRA: AN OPERA IN THE CONCERT HALL 22 & 24 Feb Dreams. Nightmares. Murder. Revenge. Experience Elektra in a completely transformed concert hall.

THE MOVIES OF JOHN WILLIAMS 27 Feb–1 Mar Your favourite movie titles with the best of symphonic movie sound. From Superman and E.T., to Schindler’s List and Star Wars.

ALL CONCERTS AT THE SYDNEY OPERA HOUSE BOOK NOW! TICKETS FROM $39* NO BOOKING FEES WHEN YOU BOOK ONLINE AT

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My Week at Fine Music 102.5 Monday morning dawned with overcast, faded-grey skies and scattered showers which reaffirmed symptoms of the Monday Blues. I was hurrying my way down Chandos St, umbrella in hand and shivering slightly at the zephyrs of wind gusting from all directions. Almost barrelling past my destination, I backtracked a few strides to be met with the welcoming sight of the indigo “Fine Music 102.5” sign. After stepping inside and signing in, I was given a leisurely studio tour, whereupon I was told that the radio station was primarily run by over two hundred volunteers, and only seven paid employees. This was an enormous feat, and I marvelled at the dedication of so many volunteers who ensured the smooth operation of an entire workplace! Shortly after the tour, my supervisor Janine Burrus arrived and led me into one of the production booths. It was the first time I had been in a recording studio, and the fancy technologies and wires snaking from computers to CD players to panels with flashing buttons fit perfectly with my imaginings of how a stereotypical studio should appear. We wasted no time in recording my script for my pre-prepared music program, as I nervously squeaked out a couple of sentences, my voice too loud in my head. Gradually though, I learned to pacify my cringing at my voice shamelessly played back on the speakers, Tuesday was something to look forward to. In the morning I met with Chris Blower, who talked me through the stages of programming. He explained that there were two kinds of programs - domain and general, and briefed me on the requirements for a good, solid program - one of which was balanced and thoughtfully constructed, providing a “good listening experience”. Later on, I sat in with Sue Jowell and Jeannie McInnes on their programs, where I watched them singlehandedly breeze through the tasks of panelling, presenting and dropping helpful comments for me to scribble down. This professionalism, I later discovered, was common to all presenters I joined in the studio, including Michael (who stressed the importance of a well-prepared, thorough script), Ross and James, each with their own piece of wisdom to contribute to my growing list of “tried and true” insider secrets. The next two days flew by, both with fully-packed agendas and new experiences which confirmed my passion for both music and media.

*Selected performances. ^Booking fees of $7.50 – $8.95 may apply.

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January 2014

Special thanks to all at Fine Music, especially Janine, who in multiple instances commented that she was bordering on the practice of “slave driving’”- here’s my reassurance that if that was what child labour felt like, well, I’d gladly do it over again! - Alison Zhou

READY FOR CENTRE STAGE COUNTERTENOR - MAXIMILIAN RIEBL

Max Riebl. Photo - Steven Godbee Blessed with what the Australian Brandenburg Orchestra’s Paul Dyer describes as a “pure and angelic voice”, countertenor, Maximilian Riebl, is a remarkable 22 year-old singer from the ranks of the Brandenburg Choir. He is a performer with music in his genes - his grandfather was a composer of advertising jingles, his uncle is a viola soloist of note in Europe and his brother is Felix Riebl, lead singer of The Cat Empire. From a long line of classical musicians.. My father - a Freudian psychoanalyst - was born in post-war Vienna. Though he never played music he comes from a long line of classical musicians, one of the foremost being his younger brother Thomas Riebl, European viola soloist and founding member of the Wiener Streichsextett. As it happens, a number of members of the ABO have studied with my uncle in Europe. My mother was born in Melbourne. Her father was also a musician of sorts, composing advertising jingles in America and Australia throughout the 1950s and 60s. Despite his untimely death in 1968, Noel has had a significant influence on our musical development. His beautiful 1930s Blüthner piano remained in our family for decades and was used to compose several of my brother’s successful songs. A musical household I spent my childhood in Melbourne in a beautifully converted Victorian boarding house filled with musical instruments, a large library and record collection. I don’t recall a time when music could not be heard in the

house. There was always creative vitality in the home, whether it was my sister Rosie, a fantastic concert pianist, playing concertos or my brother Felix, lead singer of The Cat Empire, rehearsing with his band or composing something, or my mother playing orchestral recordings at full volume on the stereo. Having family members working and experimenting with different musical genres, from jazz and pop to the Classical and Romantic, also gave complexity and richness to my own musical development. I would say that Springsteen, Miles Davis and Freddie Mercury have had just as great an influence on my life as any of the great classical composers whose works I perform and admire. Living in Vienna Despite having visited Vienna many times throughout my childhood I moved there for the first time in 2003. My sister and I both attended the Musikgymnasium and I was fortunate enough to find work as a boy soprano soloist with some major opera companies, orchestras and ensembles, including the Wiener Kammeroper and the Hoffkapelle Ensemble. I was invited to be the principal boy soprano with the Vienna Boys Choir however, despite the calibre of the group and the intensive training ground that it provided, dressing up as a miniature sailor, singing that (somewhat cheesy and commercial) style of music and living in a boarding house with dozens of boys with no connection to the outside world did not appeal to me at the time. Our flat was far more like a museum or an old aristocrat’s attic than a place where one could imagine living. It was full of antiquated objects

and trinkets: paintings which were centuries old, book cases filled with 17th century books, sculptures, a bed from the 1800s made of straw, and a chandelier in the shape of a Napoleonic ship. Our flat had belonged to Emperor Franz Joseph’s piano maker and has since been converted into a music school. We lived in the “music district” of Vienna, a real historical hub. Schubert died in the very next street and Brahms lived a few doors down. Strengths While contrasting strongly with my musical life, my former obsession with strength sports had a profound impact on my life. In 2010 I held the Australian junior bench press record and was training in highland games and powerlifting. Strength training gave me many qualities I still hold dear. “I can, I must and I will – no matter what” was a mantra I repeated to myself on the weightlifting platform. This determination to overcome things that seem overwhelming both physically and psychologically remains incredibly empowering. Before I decided to become a singer I contemplated becoming an historian and considered doing my honours year on the history of strength and the distorted notion of masculinity in sports. Belvoir, Brandenburg and plans for next year After returning from a period of intense singing training in Vienna, I was invited to perform a number of Baroque works in the Belvoir St Theatre’s production of Hamlet. The show has been an outstanding success and great pleasure for me. The music of Purcell, Handel and Vivaldi has, I believe, added a subtle contrast to the pace and turbulent intensity of the work. It is a wonder that these composers whose works contain so many themes commensurate to Shakespeare’s tragedy - death, love, deceit and grief - have not been paired with the great work sooner in Australia. This year’s Noël! Noël! marked my seventh season with the Brandenburg and I’m looking forward to working with this incredible group of singers and instrumentalists again. Next year is looking good too with more seasons with the ABO, the launch of my new baroque trio in Melbourne along with a solo CD and a possible return to Vienna for some oratorio work, as well as some intensive singing training and musical development. – Steven Godbee January 2013

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Belgian Knight’s 2014 Festive Blend www.sydneyfestival.org London Sinfonietta, Vladimir Ashkenazy, the DJ Eavesdropper and VJ Collective Visual Kitchen gave regular performances alongside a selection of contemporary music, dance and theatre exponents such as Bobby McFerrin, Sasha Waltz, Herbie Hancock and Tim Etchells.

It’s not every professional festival director who can lay claim to Belgium’s prestigious Knight in the Order of the Crown. So when at the next formal occasion you meet the Sydney Festival’s current Director, Lieven Bertels there will be no need to ask him the significance of the medal which his country recently awarded him in recognition of his distinguished contribution to the arts. Accolades are still resounding, particularly in next-door Holland, where Belgian-born Bertels worked for over seven years re-establishing Holland Festival as one of Europe’s leading annual events for contemporary music, opera and non-western work. The 43-year old grew up in Hasselt on the Belgian-Dutch border where his father was a visual arts teacher, his mother an academic. He describes it as a quiet, provincial town with some performing arts life, but not much. His early years benefitted from the country’s enlightened approach to music education where tuition is state-funded which enables children to take advantage of individual music lessons for next to nothing, resulting in a higher than average musically literate society. The budding festival director studied Musicology in Belgium and Composition in the United Kingdom. Prior to his Holland Festival challenge he held the post of Artistic Director of the Bruges Concertgebouw, the city’s superb 10-year-old cultural centre known for its focus on an all-embracing range of art forms. During Bertels’ tenure, resident artists The London Philharmonia, violinist Viktoria Mullova, 4

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January 2013

exciting, creative, “Thrilling, surprising, and always a pleasure...

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Lieven Bertels. Photo - Prudence Upton

Bertels’ earlier career spanned stints at Belgian National Cultural Radio focusing on jazz and youth audiences, heading up Brussels’ Film, Radio and TV School’s Audio Department and as producer for record and radio companies including Decca, BMG Classics, Megadisc and BBC Scotland. Not surprisingly, he holds a strong interest in the history and state of electronic music and music technology and in the artist-driven use of advanced technology in performing arts in general. Besides all of this he has a soft spot for traditional Cuban Salsa dancing!

The Bertels festival trademarks? One musical authority recently nutshelled it succinctly, describing them as “thrilling, exciting, creative, surprising, and always a pleasure...you leave with a shameless smile on your face! “Lieven is fearless in his programming and presentations, with a fresh and musical energy and understanding that is rare among people in his position. That thirst and ultimate drive to make abstract ideas real is an inspiration”, he added. Reflecting such judgemental praise is Bertels’ 2013 Sydney Festival’s track record - it was the first of originally three but now four which he is contracted to direct. The 2013 program had a myriad of sold-out performances, with over 120,000 tickets sold across 321 reserved-seat shows (there are no figures for the free events) for a box office gross of more than $7 million. At the same time, the Flemish characteristic of living within your means comes to the fore in that he is immensely proud of having been able to replace some unkind cuts in government funding this year (“that’s where creativity comes in”) by revitalised results from private philanthropy and corporate sponsorship.

2014 Festival - 720 artists, 372 performances, 10 world premieres So, Sydney, be prepared to be inspired in 2014 by some “fearless programming, some fresh musical energy and understanding” embodied in no fewer than 104 planned events (of which over 20 are free); no fewer than 720 artists from 80 companies from 17 countries; no fewer than 372 performances across 33 indoor and outdoor venues; no fewer than 10 world premieres, four Australian premieres and 13 Australian exclusives! The Festival’s origins can be traced to a 1950s NSW State government initiative to attract people into the city centre during the summer months. Known originally as the Waratah Festival, it somewhat quaintly (compared to its contemporary counterpart) offered everything from vintage car rallies, face-painting and kite-flying to bocce, dog obedience trials and Chinese scarf dancing! In more recent years it has morphed into a transcendental celebration of what the city has to offer. The program diversity of the modern version - rebadged as the Sydney Festival - will in any given year range from burlesque circus to New York rap; from Russian theatre to contemporary dance; from family programs to traditional indigenous arts performances and of course, a multitude of musical moments. The Festival has a history of presenting Australian premieres; many of Australia’s most memorable productions, such as Tim Winton’s “Cloudstreet” have resulted from its commitment to nurture local works. It has introduced Sydney audiences to a wide-ranging list of the world’s great artists, including - to name but a few - the Netherlands Dance Theatre, James Thiérrée (Junebug Symphony, Au Revoir Parapluie), Philip Glass and, the Batsheva Dance Company.

Sasha Waltz who vividly combines early music with modern dance theatre for a majestic reimagining of one of the world’s great romantic tragedies. Renowned for her boundless visual imagination, Dido and Aeneas is Waltz’s first opera and it is presented with celebrated baroque orchestra Akademie für Alte Musik and Vocalconsort Berlin at Sydney Lyric at The Star. The Hilliard Ensemble. Photo - Marco Borggreve ‘This is Our City in Summer’ with a diverse and buoyant program”, adding “we were pleased to see our quest to bring back opera and highlight the joy of live music in dance and theatre as well as in a concert format, was well-received.” Highlight of 2014s theatrical line up promises to be “Black Diggers”, Tom Wright’s unfolding of the untold stories of the 1000 indigenous soldiers who fought in World War I and Michael Kantor and Tom E. Lewis’ indigenous re-working of King Lear in “The Shadow King” which reflects a groundbreaking recognition of the first Australians in the form of the Festival’s vision for reconciliation. It aims to engage with Aboriginal and Torres Strait Islander artists and communities and contribute to closing the gap between indigenous and other Australians. More recent exponents of music and dance will include choreographer Shaun Parker’s world premiere of “Am I”, an arresting music and dance collaboration, while celebrated poet and film director Jean Cocteau’s voyeuristic monologue “La Voix Humaine” and Purcell’s “Dido & Aeneas” gets an airing, the latter in an underwater makeover! Choreographer for this phenomenally successful Dido and Aeneas production is

Symphony under the stars On the other side of the musical hemisphere Sydney’s Town Hall, which last year erupted in the passionate mix of baroque high heels and billowing gowns of Handel’s Semele Walk, will transform itself into a rock venue for eight great nights of eclectic programming. The Domain’s offerings include the ever popular free Sydney Symphony Orchestra concert which this year is a performance of Holst’s The Planets conducted by Simone Young. The music is interspersed with readings by John Bell and the grand finale is a spectacular fireworks display. Not to be outdone, Parramatta is a’brim with Festivities, including the Kaldor Public Arts Project’s “Project 28: Roman Ondak” which takes over Parramatta Town Hall with a trio of performative works, while the suburb’s newest pop-up music hub, the Lennox Theatre at Riverside Theatre transforms itself into a hub for Argentinian tango and Hendrix-inspired desert guitar and such modern music making as Californian jazz trumpeter Ambrose Akinmusire. Another festival treat for jazz fans, is the Sun Ra Arkestra - one of the greatest big bands of all time. Under the direction of veteran saxophonist Marshall Allen, this 12-strong legendary jazz orchestra promises “an intergalactic journey spanning the past, the present and the future.” Sun Ra Arkestra brings deft musicianship and freeform experimentation to the State

It can lay claim to year-after-year artistic breakthroughs, musical triumphs and inspired creativity, although from time to time it has not been without contentious controversy, such as a riot during its early years at a Sydney Opera House New Year’s Eve concert which saw 68 people arrested and 150 taken to hospital amid criticism of the festival’s artistic credibility. Initial long-term artistic director, Stephen Hall’s contract was terminated three days short of his 18th festival after the 1994 event suffered a loss of about $500,000 - the biggest in its history.

...arresting music and “ dance collaboration...

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Bertels is quoted as summing up the 2013 event, saying “Sydney Festival embraced its catch line

Dido and Aeneas. Photo - Sebastian Bolesch

January 2014

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Belgian Knight’s 2014 Festive Blend A note of nostalgia overtakes Lieven Bertels when he mentions the inclusion in the 2014 line up of The Hilliard Ensemble’s 40th anniversary farewell performances. One of the world’s most distinguished a cappella chamber groups, will hang up its vocal chords after giving Australian audiences their last chance to hear the famous British foursome’s pure sounds. From the Netherlands, the Apollo Ensemble, revered for its presentations of Jewish Baroque music offers up rare treasures from this repertory in the sacrosanct setting of Sydney’s Great Synagogue. Accompanied by Norwegian soprano Siri Karoline Thornhill and Dutch countertenor Maarten Engeltjes the Ensemble performs music originally composed for Jewish liturgical services, along with chamber music by Jewish and Christian composers.

inspired “ ...original, and eclectic...

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On another tack, a measure of the extent of adventurism in Bertels’ programming is his introduction of an incandescent multimedia sensory journey at the Opera House in the

form of Tyondai Braxton’s part-band and partinstallation performance piece “Hive”, alongside “100 Million Nights”, a collaboration between contemporary indigenous visual artist Daniel Boyd and electronic musical duo Canyons. For sheer ethereal sonic and visual experiences, their inclusion trademarks the exploration of freshness and musical exploration not previously attempted in a Sydney Festival. No wonder the Lexicon’s “original”, “inspired” and “eclectic” ultimately best describe the Bertels programming style. Asked about his vision for the next Festival and how he sets about realising that vision, he told Fine Music Magazine the major imperative is to retain its party feeling. “I see myself as a synthetist, putting together all the good elements of the past, alongside performance events which may not have been undertaken recently. “I love to see new names together with many old favourites but on the other hand I want our programs to incorporate the needs and tastes of younger audiences. We have to acknowledge the importance of embracing the Festival’s reality, living as we do in a current landscape,” he maintains.

“One’s challenge is to take them on their journey of experiences, he muses, adding that he sees his aim is to create what he calls a ‘hamburger chain of the arts’.”

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I love to see new names along with many old favourites.

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Theatre in what promises to be an explosion of musical energy.

Having accepted the Board’s invitation to extend his contract to add a fourth year to take in the Festival’s 40th anniversary in 2016, the question inevitably arises as to what, after almost six years in Australia, will he take back to Belgium about Sydney, its Festival and its people? “One of the major impacts it has had on me is the city’s amazing sense of collective ownership of its Festival. People are so involved in it and will always express opinions and recollections of events they have attended which is something I miss in other cities about their festivals”, he says. As to Australia he finds it one of the most welcoming countries in the world. “Which is not surprising when you realise that everybody remembers coming from somewhere else”. - Henry Mendelson

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Tune in to the MusicDirect program on Fine Music 102.5 from 1PM to 3PM on the fourth Friday of each month to enjoy a wonderful selection of our new and recent releases from the world’s leading independent labels. 6

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FIRST PERSON WITH DAVID ROWDEN MY LIFE IN MUSIC

Renowned clarinetist David Rowden recently had the honour of his Omega Ensemble being appointed as Ensemble in Residence at City Recital Hall. Here he talks about his early years and his love of chamber music. I love music. I have been playing the piano since I was six years old, the clarinet since I was nine, and the saxophone since I was 12. I was also a chorister at St Mark’s Church Darling Point for six years. Music has always been an important part of my life.

During my studies I established the forerunner of the Omega Ensemble, the Omega Wind Quintet, with some of my fellow students. We had some amazing performances together, including performing for Her Majesty The Queen at Buckingham Palace. We performed a delightful quintet by the Master of the Queen’s Music, Peter Maxwell Davies CBE. I returned home to Sydney after completing my studies in 2005. I missed the Australian climate too much, my family, and I missed Sydney. Upon my return I immediately established the Sydney Omega Ensemble. (This year we have rebranded as Omega Ensemble). Unlike the old Omega Wind Quintet, the Sydney Omega Ensemble was a mixed string and woodwind ensemble, with addition to the piano. This spread of instruments gave me immense flexibility and scope in programming. I wanted to perform as wide a range of chamber music as possible, including contemporary works. I love playing chamber music. There is so much unexplored and unknown repertoire out there.

very early on “thatI decided the chamber path was

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the one for me..

Performing chamber music requires different skills to performing in a symphony orchestra, the most obvious being that there is no conductor! It is quite a unique experience to perform very intimate and individual chamber music with colleagues. I decided very early on that the chamber path was the one for me.

Omega Ensemble with Emma Matthews at Art Gallery of NSW. Photo - Jessica Harper As well as performing chamber music of all the great composers of the 19th and 20th centuries, I also wanted to perform music of this century. As such, with the support of Omega’s Patron Fr Arthur Bridge AM and Ars Musica Australis, the Omega Ensemble has now commissioned over 20 new works, including composition by George Palmer, Matthew Hindson AM, Elena Kats-Chernin and many more. I often play George Palmer’s Sonata for Clarinet and Piano Black, White and A Little Blue with my wife Maria Raspopova. (George composed it for us when we became engaged). Our commitment to new Australian music, and our 2007 performance of Inferno by Sydney composer-performer Margery Smith, was nominated for the “Best Performance of an Australian Composition” in the APRA/AMC Classical Music Awards. Over the last nine years we have now presented concerts across a range of Sydney venues, including Sydney Conservatorium of Music, the Art Gallery of NSW and North Sydney’s Independent Theatre. We have played in Wollongong and in the Blue Mountains. In 2011 we toured with Musica Viva to country New South Wales. In the early days we performed in church halls and private homes. Then we graduated to the rehearsal studios at the Conservatorium, eventually moving to three or four concerts a year in the Utzon Room of the Sydney Opera House.

We will also present our Master Series at the Utzon Room of the Sydney Opera House including two concerts featuring works predominantly from the Classical repertoire. This includes Beethoven’s Quartet for Strings no 14 in C sharp minor and his famous Septet in E flat major, as well as Mozart’s Quintet for Clarinet and Strings in A major featuring virtuoso violinist Suzie Park. In addition we will also undertake a regional tour of New South Wales in May (with French clarinetist Paul Meyer) and participate once again in the Art Gallery of NSW’s Resonate series in October, performing the sublime Schubert Octet. Our 2014 season really pushes the boundaries of what I thought was possible in the chamber music scene in Sydney. - David Rowden Omega Ensemble Founder and Artistic Director David Rowden is a Buffet-Crampon artist and currently performs on the new Divine clarinets.

Our Virtuoso Series features raw and exhilarating collaborations.

The Omega Ensemble’s Virtuoso Series Monday 17 March - A Night of Tango featuring James Crabb on classical accordion Saturday 7 June - Enlightened with musicians from the Australian National Academy of Music, cellist Timo-Veikko Valve and conductor Paul Meyer Friday 15 August - Carnival Francais with The Chaser’s Julian Morrow as narrator Tuesday 23 September - Faust + Omega with Germany’s Faust Quartet and clarinetist Dimitri Ashkenazy.

2014 sees us take a major leap having been appointed Ensemble in Residence at City Recital Hall Angel Place. Our Virtuoso Series there features a dynamic line-up of international and Australian guests in raw and exhilarating collaborations.

2014 Subscription Packages Six concert subscriptions and four concert Virtuoso Series subscriptions as well as single tickets for the Virtuoso Series are onsale through City Recital Hall Angel Place. Bookings: 8256 2222 www.cityrecitalhall.com

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After finishing school, I was fortunate to win scholarships to the Guildhall School of Music, Royal College of Music and the Royal Academy of Music in 2001. After some thought about all these famous institutions, I chose the Royal Academy. Its alumni include such diverse musicians as English jazz composer, saxophonist and clarinetist Sir John Phillip William Dankwort, conductor Sir Simon Rattle and British singersongwriter and political activist Annie Lennox.

January 2014

fineMusic 102.5

REMEMBERING SIR JOHN TAVENER FROM BEATLEMANIA TO MUSICAL HEALER

28 January 1944 - 12 November 2013 Queen Elizabeth II did the musical world a favour when she named John Tavener in her Millenium honour list. Until then the celebrated composer’s name was invariably followed by his birth year in an effort to distinguish him from John Taverner who was also a composer but lived in the 16th century. The addition of the prefix ‘Sir’ helped to stem whatever confusion existed. Sir John was actually a descendant of a John Taverner but whether it is John Taverner the composer is open to doubt because little is known of when the latter actually lived.

Tavener was obsessed with “ death and composed more than

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Perhaps this obsession was a reflection of the close call he had when he died clinically on the operating table in 1990. He survived the heart operation but the legacy had stayed with him. In his late 30s Tavener discovered that his elongated limbs and exaggerated height (he was 6’6’’ or 198cms tall) were the result of a disease called Marfan’s syndrome. The disease affects the eyes, heart, limbs and liver and can cause aneurysms, blindness and abnormal curvature of the spine. “Before my illness,” he said philosophically, “I’d always had a morbid fear of death, but since the operation, death has become one’s spouse. It’s not terrifying any more.” It did stop him from embarking on long distance flights although he allowed himself the luxury of travelling once a year to the tranquillity of his Greek island house in Evia. 8

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The discovery of his mortality triggered a sequence of momentous events. He started composing at a furious rate while at the same time the failure of his marriage to Vicky Maragopoulou, a ballet dancer 10 years his junior, had left him fretting and drinking “far too much whisky”. Always a very spiritual person (he was born a Presbyterian and composed and performed on the organ at church) he had sought solace in Roman Catholicism. “I loved the traditional elements of the Catholic church,” he said from his home in Dorset. But with the introduction of Vatican II when the Latin mass was abolished and replaced with services in the vernacular, the aura and mystique that had attracted him evaporated. “I attended mass at Westminster Cathedral the other day,” he continued, “and the beauty has been taken away. I don’t feel so strongly about it these days though.”

composing style “ Hisreflected change..

“

So who was Sir John Tavener? You have probably heard at least one of his compositions. As one of the millions glued to the television set during the funeral service for Diana, Princess of Wales in 1997 you may recall a sublime piece of choral music sung as Diana’s coffin was escorted out of Westminster Abbey. The piece, Alleluia: May Flights of Angels Sing Thee to Thy Rest was originally composed by Tavener as Song for Athene in 1993. It was dedicated to the memory of a Greek girl who had died in a cycling accident. Tavener composed scores of these little choral gems, the majority on religious themes and countless dedicated to the memory of deceased persons. In fact, like Mahler (whose music he had little admiration for) Tavener was obsessed with death and composed more than his fair share of requiems.

He initially became attracted to the Greek Orthodoxy doctrine that man had been born divine whereas the Catholic faith taught that man was born evil and spent a lifetime seeking redemption. In 1977 Tavener was received into the Greek Orthodox Church. His composing style reflected the change. Gone was the “avant-garde and angry young man music” of The Whale - his first big hit in 1966 which endeared him to the Beatles. That was followed

by a recording on their Apple label Celtic Requiem (1969) in which he equated death to the playing of children’s games. In Alium (1968) was his first Proms commission and was scored for soprano solo, an orchestra and a four-track tape; in fact (and not for the first time) the composition was tailored for the surroundings and acoustics of the Royal Albert Hall where the listener’s attention alternated between soloist and four loud-speakers.

“ ...a holy minimalist...

“

his fair share of requiems.

In musical terms the conversion was marked by a 1976 choral composition dedicated to “the most Rev. Metropolitan Anthony of Sourozh, His Grace Anthony Bloom”. The piece, Canticle of the Mother of God, is important because, although written in serial form, it contains the nucleus of the elements that marked his compositions from then on - the stillness of long elongated phrases over a bass pedal, a minimum of melodic progression and development, a compression of dynamics and a sense of relaxation. If it is not Gregorian chant in reality then it is Gregorian chant in illusion. His 30 year output after taking up the style earned his music the label of “holy minimalism”, a label shared with the Estonian composer and fellow convert to Greek Orthodoxy, Arvo Pärt. Sir John died “peacefully at home” in Child Okeford, Dorset on 12 November 2013. - Randolph Magri-Overend

GUSTAV MAHLER: A LIFE OF TRAGEDY

Born 7 July 1860, Kalištˇe, Czech Republic Died 18 May 1911, Vienna, Austria

was unmistakably hostile. His 2nd Symphony, premiered in Berlin in 1895, found audiences less antagonistic, but the critics were devastating. One of them described the work as “the cynical impudence of this brutal music maker.” Undaunted Mahler produced symphony after symphony, each vaster than the preceding one, and always there was misunderstanding and vituperation.

Tragedy stalked the life of Gustav Mahler from an early age. Five of his brothers and sisters died in childhood of diphtheria. Another brother, to whom he was particularly attached, suffered a long illness before dying of hydrocardia at the age of 12. His older sister died of a brain tumour after a brief, unhappy marriage. Yet another brother was mentally handicapped and became a forger. Another brother still (it was a large family), a musician, committed suicide. And against all this background of misery was the unhappy marriage of Mahler’s parents. The lifelong hatred that Mahler bore his father was the result of the abuse of his mother that he witnessed at her husband’s hands. Yet somehow Gustav grew up to be a fighter, a trait for which he was both hated and adored.

He also told a story about his mother. When he was a student at the Vienna Conservatory he came home one day to announce proudly to his mother that he had won first prize in a competition. “How did Hans Rott do?” enquired his mother - Rott was recognised as one of the most brilliant students there. On being told that Rott hadn’t even received a mention, his mother said quietly: “Rott’s work was better than yours. He deserved the prize.” This, said, Mahler, was to teach him fierce honesty, a trait which was not to endear him to many through his life.

hated because “heHewaswasa Jew.. a martinet..

“

a genius.

word he spoke “The last was ‘Mozart’

“

He used to enjoy telling a story about his grandmother, who, since the age of 18, had made a living by going from house to house selling various wares. When she was 80 she apparently violated some new law or other governing peddlers and was fined. Outraged at the excessiveness and unfairness of the fine, she demanded an audience with the Emperor Franz Joseph. Surprisingly she was granted one, pleaded her case and won a complete pardon. She returned home to carry on her business. This, said Mahler, taught him the proud defiance to stand up against anything that stood in his way.

As if this were not bad enough, more tragedy struck when his little daughter died of scarlet fever. Mahler went mad with grief. Not long afterwards he discovered that he himself was suffering from a serious heart condition. Rest was ordered, but the thought was anathema to Mahler. If anything he worked harder than before. In 1907 he gave his last performance at the Vienna Opera. No one had demanded his resignation, but he said he could no longer continue in an atmosphere so charged with envy and malice.

In 1897 Mahler became the musical director of the Vienna Court Opera, a post he held for 10 years. He made it the finest institution of its kind in Europe. He restored discipline. He laid down the law that no one in the audience was to arrive late. He banished the claque and reworked many of the old operas, even insisting that all Wagner’s operas should be presented without any deletions. Yet despite all this, he was hated. He was hated because he was a Jew. Because he was a martinet. And because he was a genius. The directors of the opera complained bitterly about the costs he incurred, and those who sang and played under him were victims of his merciless tongue and his often unbridled anger. But while he was suffering all this, he was also producing new works of his own. Ambitious works which tried to bring new dimensions to the symphonic form. But of course here too he met opposition and malice. The first performance of his Symphony No 1 in Budapest in 1889 was a fiasco. The musicians, who disliked the work almost as much as they disliked its composer, did their best to sabotage the performance. The audience too

A change of scene was what he needed and he took himself off to America to conduct at the Metropolitan Opera House. As if that wasn’t enough, he also took up the post of conductor of the New York Philharmonic. He was working now harder than ever. Back to Germany he went for the premiere of his monumental 8th Symphony, then back to a freezing American winter for a back-breaking schedule of 65 concerts. Inevitably he broke down under the strain and in February 1911 he collapsed in New York. He was taken to Paris for special treatment, but showed no signs of improving. He asked to be taken back to Vienna where he was placed in a nursing home. It was the end. As he lay dying, he kept moving his finger as if it were a baton conducting some invisible musicians. The last word he spoke was “Mozart” before he died an hour before midnight on May 18, 1911. Outside the window it was blowing a terrible gale. If ever there was an example of an artist suffering for his art, surely Mahler was it. But the music that he left behind is now regarded as some of the finest of the 19th/20th centuries. - Michael Morton-Evans January 2014

fineMusic 102.5

A KISS FOR THE BISHOP

FLASHBACK WITH DEREK PARKER

was a far more “Tippett outgoing character

“

than Britten..

They were never close friends, but always friendly acquaintances. Tippett was a far more outgoing character than Britten, and without a jealous bone in his body, so I don’t think that the success of Britten’s Aldeburgh Festival had anything to do with Tippett’s decision to mount a festival at St Ives, in Cornwall; it was much more to do with his friendship with the South African composer (and professor of composition at the RAM) Praiulx Rainer, who had a home there. And in any event, there was to be only a single Festival - to celebrate the Coronation of Elizabeth II. It coincided with my not altogether enthusiastic period as a junior reporter on a local newspaper, The Cornishman. Happily, the editor decided that the Festival needed good coverage, and since I was the only person on the staff with the faintest interest in the arts, I happily trundled over from Penzance to St Ives every day on the morning bus, in the direction of music. The Festival was really a joint enterprise between Tippett and Rainier (far less well-

Michael Tippett 10

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January 2014

Michael Tippett and Benjamin Britten known than he - now I think almost completely neglected, though her music is fascinating, resembling the paintings of Seurat with its tiny, pointillistic themes). A third convenor was the sculptress Barbara Hepworth, whose studio was at St Ives, and who was later to design Tippett’s best-known opera, The Midsummer Marriage. The main idea of the Festival was to display, in parallel, the music of the period of the two Elizabethan ages (though the second was hardly yet born): so the work of Dowland and Tallis in particular was heard alongside the work of Tippett, Britten, Rainier and others. The outgoing and pleasant Tippett was able to attract some splendid performers, and the fortnight which followed the Festival’s opening - a fanfare by Tippett played from the tower of St Ia’s church - was really my introduction to great live performances. Alfred Deller gave wonderful recitals of Elizabethan songs, accompanied by Julian Bream; Tippett conducted Britten’s delightful “Rejoice in the Lamb” in a little chapel, with local choirs; Peter Pears, “loaned” to the festival by Britten, his life-long emotional and professional partner gave a spectacular performance of one of Tippett’s finest works, the song-cycle The Heart’s Assurance, settings of poems by the second world war poet Sidney Keyes. His accompanist was the Australian pianist Noel Mewton-Wood, and there was a tragic resonance about the occasion, for the song cycle was written in memory of Tippett’s friend Francesca Allison, who had committed suicide in 1945 - and Mewton-Wood killed himself only a few months after the St Ives Festival. Meeting him was one of the great pleasures of the social

side of the Festival. There was an excellent and spectacularly informal festival club where anyone who was interested could drop in and chat with the more friendly of the performers – and for the most part they were all that. There was always room for one more in the little circle which always gathered around the gregarious Tippett; Peter Pears would amble in, his scores in a carrier bag advertising Pears’ Soap; Mewton-Wood, just into his thirties, seemed set to continue what had already been a spectacular career. Born in Melbourne he went straight from the Conservatorium there to the RAM and lessons in Italy with Artur Schnabel. His debut performance (the Beethoven third concerto under Beecham) delighted audience and critics, and after a tour as accompanist to Richard Tauber he built a reputation with remarkable speed as a fine concert pianist.

..he blamed himself, “unsuitably, for the death of his lover.

“

It’s a well-known story, but bears re-telling. England’s two most eminent composers met in the strangest of circumstances. In July 1943 Benjamin Britten and Peter Pears went to Wormwood Scrubs prison to give a recital for the prisoners. One was conscripted to turn the pages of the music for Britten. He turned out to be Britten’s friend and fellow composer Michael Tippett, imprisoned as a pacifist.

He had a particular success with the first performance of the Arthur Bliss piano sonata, written for him by Bliss as a “thank-you” for his spectacular recording of Bliss’ piano concerto, which did much - well, really everything - to make the reputation of that work. The sonata, Mewton-Wood said, was a rather oblique appreciation, being spectacularly difficult and testing even his splendid technique to its limits. He was, apart from his completely justified reputation as an artist (listen to the sadly few recordings which exist if you doubt that) a very nice man indeed, and his suicide - he blamed himself, unsuitably, for the death of his lover - was a tragedy. Britten, who admired him greatly, wrote his third Canticle in his memory. It was a highly successful Festival, and many people hoped there might be a series of them. The Bishop of Truro, Joseph Hunkin, was an enthusiastic supporter and attended concerts whenever he could. He was delighted to receive a telegram from Priaulx Rainier thanking him for his support - and especially pleased that it ended with a kiss. I think he was slightly disappointed when she explained that she hadn’t been so familiar - the Post Office had misinterpreted the ‘x’ in her name. - Derek Parker

YOUNG VIRTUOSI NATIONAL FINE MUSIC YOUNG PERFORMER OF THE YEAR – GRACE CLIFFORD

This month on air you’ll be able to tune in to hear the Final of the National Fine Music Young Performer of the Year competition – a highlight of which was the performance by the winner - delightful Sydney violinist and Fine Music 102.5’s Young Performer 2013 - Grace Clifford. At the final held at 4MBS’ recital studio in Brisbane, Grace performed Pablo de Sarasate’s Carmen Fantasy. She faced a strong set of finalists - Krystle Innes soprano representing Canberra/ArtSound, local Jade Moffat mezzo representing Queensland/4MBS, pianists Kevin Chow - Melbourne/3MBS and Scott Coyte Adelaide/5MBS.

Having come close to forfeiting her chance to make it to the NSW state final because of illness, Grace was more than thrilled at having gone on to win the national. “It was great to perform in front of an audience up against such talented co-competitors. I was really thrilled to represent NSW and win the national.” Grace acknowledged the part that her accompanist Julia Brimo played in the win saying they made a “perfect team”. She also acknowledged her violin teacher Robin Wilson who was a proud witness to Grace’s winning performance. A member of the Sydney Conservatoriums’ Rising Star program, her next immediate goal is working on new repertoire.

FAREWELL SBS YOUTH ORCHESTRA On air this month you will hear two recordings of the SBS Youth Orchestra. Given that the orchestra announced late last year that it was disbanding, these will be some of the last recordings of their performances that you will hear.

Volunteer coordinator of Fine Music’s Young Virtuosi programs, Judy Deacon, says the orchestra played a decisive role for blossoming artists and its closure represents a big loss for aspiring musicians, “It is most important to get orchestral experience and slipping into a role with any mature professional orchestra was surely made

easier and less intimidating for those who had a start with the SBSYO,” said Deacon. “There was great energy, enthusiasm and professionalism in the orchestra, and they brought together a fine group of musicians who played to the highest standard Many of them will find careers working with orchestras world-wide”.

2014 FINE MUSIC YOUNG VIRTUOSO OF THE YEAR – SEMI FINALISTS Auditions for what is now called the Fine Music Young Virtuoso of the Year Award (rather than Performer) were held in the station’s Performance Studio in November last year. The judging panel consisting of Simon Kenway, Katherine Ly and Thomas Tsai, chose sixteen semi-finalists from a high quality field of applicants. In the coming months you will hear all 16 competitors performing through the Young Virtuosi broadcasts. Come spring, the semi-

finalists will compete for an attractive $13,000 prize purse and the chance to perform as a soloist with the North Sydney Symphony Orchestra.

This year there are four piano semi-finalists, three violin, three cello, two flute, one oboe, one guitar, one euphonium and one soprano.

Alberta Khoury - guitar Alex Waite - piano

Annabelle Traves - violin Benjamin Adler - violin

Bowen Li - piano

Brian Kim - flute

Chloe Chung - flute

Ennes Mehmedbasic oboe

Jonathon Ramsay euphonium

Josephine Chung - violin Rachel Siu - cello

YOUNG VIRTUOSI BROADCASTS 1pm Wednesday 1 January Alumni 1pm Wednesday 8 January SBS Youth Orchestra 1pm Wednesday 15 January SBS Youth Orchestra 1 pm Wednesday 22 January National YPA 2013 1 pm Wednesday 29 January National YPA 2013

Daisy Ou - piano

Rhian Saunders - soprano Robbin Reza - piano

Johanna Blake - cello

Terence Leung - cello

Presenters - Andrew Bukenya, Alison Zhou, Oscar Foong. Audio Engineers - Alumni, Greg Ghavalas and Conan Tran. SBSYO, Jason Julian. NAT YPA, Nick Gurovic at 4MBS Brisbane Sydney Piano World and Sauter pianos is a proud sponsor of YVA Coordinator - Judy Deacon yv@finemusicfm.com January 2013

fineMusic 102.5

What’s On

JAZZ AMBROSE AKINMUSIRE QUINTET

CHAMBER SYDNEY FESTIVAL AKADEMIE FUR ALTE MUSIK BERLIN

Saturday 11 January 7.30pm City Recital Hall, Angel Place

Saturday 18 January 8pm City Recital Hall, Angel Place

Tickets: $35-$59 Bookings: 1300 856 876 www.sydneyfestival.org.au/2014/Music/

Tickets $47-$72 Bookings: 8256 222 www.sydneyfestival.org.au/2014/Music

“The brightest beacon on the trumpet, the sharpest in a few decades” – Billboard magazine. Young trumpeter-composer Ambrose Akinmusire is one of the most exciting jazz musicians in the world. Signed to Blue Note Records, the prodigious Californian creates mind-blowing music that the New York Times has described as “limber, straightahead jazz with mystery and pop instincts”. After winning the 2007 Thelonious Monk International Jazz Competition, Akinmusire continued to turn heads and topped end-ofyear lists globally with the release of his 2011 album “When the Heart Emerges Glistening”. The winner of the 2007 Thelonious Monk International Jazz Competition and the 2007 Carmine Caruso International Jazz Trumpet Solo Competition. One of the most vital and deft trumpeters of his generation, Akinmusire brings visionary, modern sounds to Sydney, so you can meet the future of jazz. Also playing at The Spiegeltent 12 January. Image by Emra Islek.

OPERA / DANCE DIDO AND AENEAS Thursday 16 - Tuesday 21 January Sydney Lyric at the Star Tickets: $45-$199 Bookings: 1300 856 876 www.sydneyfestival.org.au/2014/ Music The unique Berlin Baroque Orchestra, the Akademie Fur Alte Musik Berlin, the Vocal Consort Berlin and choreographer Sasha Waltz, also from Berlin, have come together to produce the unique romantic tragedy, Dido and Aeneas. This is Waltz’s first opera production, and recounts the despair of Dido, the Queen of Carthage, when The Trojan hero Aeneas, abandons her. It was Henry Purcell’s first opera written in the 17th century, and tells of the illicit love that tore them apart.

SYMPHONY SYMPHONY IN THE DOMAIN Sunday 26 January 8pm The Domain Tickets: Free www.sydneyfestival.org.au/2014/Music Imagine - the sound of musicians at the top of their craft, a night sky full of stars, the mutual delight camaraderie and exhilaration that a night of exceptional music can give you … and all to be enjoyed free! Conducted by Simone Young, Symphony In The Domain continues a long summer 12

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Akademie für Alte Musik Berlin (or the Academy for Ancient Music Berlin) is regarded as one of the world’s leading period ensembles, performing more than 100 concerts each year, and playing on original Baroque instruments. As part of the 2014 Sydney Festival, they are presenting a night of “sublime” baroque music including pieces from Bach, Telemann, and also Vivaldi’s 11 Giustino. With approximately thirty core musicians, they will be led from the violin by concertmaster George Kallwei, who has an unparalleled reputation as a Baroque soloist, and leads both historical and contemporary orchestras. The Akademie für Alte Musik has more than a million album sales to its credit, and has won many international prizes including the French Diasason d’Or, the Cannes Classical Award, the British Gramophone Award, the Telemann Prize, the Dutch Edison Award, and a Grammy in the US. Image by Krisof Fischer

Dancers perform in a glass aquarium that fills the stage, promising to make it a truly unique spectacle. They present the opera in a “wonderous realm, where submerged dancers glide gracefully underwater” Waltz has been awarded many times for her remarkable choreographies including being named Choreographer of the Year by Ballettanz, the German Dance Magazine. Image by Sebastian Bolesch.

tradition of free concerts under the stars in the Domain. This year, the Sydney Symphony Orchestra performs the English Composer Gustav Holst’s orchestral suite, the astrologically themed “The Planets”, which was written 1914-1916, and became well known following World War 1. It is a journey through the solar system, and a musical metaphor for one’s own life journey. His piece “Mars” was once described as the most devastating piece of music ever written. During the performance, renowned actor and director, John Bell will give the audience readings with themes inspired by Shakespeare. Image by Prudence Upton.

CHAMBER HILLIARD ENSEMBLE AND CONSORT ECLECTUS

OPERA SYDNEY CHAMBER OPERA HIS MUSIC BURNS

Friday 17 January 8pm City Recital Hall, Angel Place

Friday 17 January 9.30pm, Saturday 18, Sunday 19 January 11.30am Carriageworks Bay 17, 245 Wilson St, Eveleigh

Tickets $47-$72 Bookings 1300 856 876 www.sydneyfestival.org.au/2014/Music/ The Hilliard Ensemble, now in its fortieth year, is one of the world’s most distinguished vocal chamber groups. The British male quartet, has performed a cappella, medieval and renaissance music, and modern works, for 39 years. This visit to Sydney however marks the last year of the Ensemble as they make their final farewells. The Hilliard ensemble consists of Roger CoveyCrump tenor, Steven Harrold tenor, David James countertenor and Gordon Jones baritone. Joining the Ensemble is viol group Consort Eclectus – a Melbourne-based, Renaissance specialist string group, described as “heaven sent” in 2001 in their debut concert at the Melbourne Autumn Music Festival. Image by Marco-Borggreve.

Tickets: $35 Bookings: 1300 856 876 www.sydneyfestival.org.au/2014/Opera-andClassical/

CHAMBER APOLLO ENSEMBLE Tuesday 14, Wednesday 15 January 8pm The Great Synagogue Tickets: $49-$59 Bookings 1300 856 876 www.sydneyfestival.org.au/2014/Music/ The Netherlands’ Apollo Ensemble performs Jewish Baroque music pieces from the EtsChaim - the library in Amsterdam which houses a collection of Jewish music spanning several centuries. The Ensemble is revered for its presentations of Jewish Baroque music. Under the direction of David Rabinovich, the Ensemble is accompanied by Norwegian soprano Siri Karoline Thornhill and Dutch countertenor Maarten Engeltjes. The Ensemble will perform music originally composed for Jewish liturgical services, and chamber music by Jewish and Christian composers, as well as unpublished and forgotten works. Over two nights of the Sydney Festival they perform, appropriately, at the Grand Synagogue. The Apollo Ensemble, formed in 1992, is in demand internationally because of their important contributions to the presentation of Jewish Baroque music.

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 John Buchanan presents The Big Band Radio Show – The 1930s Swing Era starring the 15 piece Palomar Swing Orchestra. Recreating famous 1939 radio broadcasts, The Big Band Radio Show features the greatest bands of the 1930s Swing Era from the likes of Benny Goodman, Glenn Miller, Artie Shaw, Duke Ellington, Harry James and Tommy Dorsey. The Swing Era of the mid-to-late 1930s was the world’s first great period of popular music. It is generally agreed that it really began when Benny Goodman and his Orchestra, on one of their nationwide tours, performed at the Palomar Ballroom in Los Angeles on the night of 21 August 1935. The Palomar Swing Orchestra - Geoff Power, Craig Mitten, James Power (trumpets), Ben Gurton, Ian Baker (trombones), Paul Furniss, Ron Nairn, Glen Henrich, Jim Elliott (reeds), Ben Jones (saxes and vocals) Peter Locke (piano), Graham Conlon (guitar) Stan Kenton (string bass) Will Dower (drums) Helen Fenton (vocals).

Appearing for the first time in the Sydney Festival, Sydney Chamber Opera is joined by Sydney Theatre Company resident director Sarah Giles to present two premieres - a double bill of contemporary masterpieces. György Kurtág’s musical meditation on a series of absurdist poems by Samuel Beckett - “Pas à Pas - Nulle Part” - transforms a single virtuosic performer into a whirlwind of energy. In the second of this double-bill performance, renowned playwright Martin Crimp warps the Pied Piper legend into a dark political tragedy, as George Benjamin’s dangerously beautiful score for “Into the Little Hill” lures the audience into a maze of sound and story. Established in 2010 the Sydney Chamber Opera is critically acclaimed for its innovative programming, musical rigour and strong focus on compelling theatre-making.

MUSIC COURSES CONSERVATORIUM OPEN ACADEMY From Monday 3 February Sydney Conservatorium of Music Macquarie Street Bookings: 9351 1208 http://openacademy.sydney.edu.au The Conservatorium Open Academy’s flagship community education program provides adults and life-long learners with entertaining, challenging and inspiring ways into the world of music and the Sydney Conservatorium’s vibrant culture. The Open Academy offers many short courses designed to give adults the skills and knowledge to pursue their musical interests in a collaborative group-learning environment. Courses cater for beginners, right through to experienced musicians. Class topics include basic music theory to music composition, beginner piano to jazz improvisation, a range of singing classes and much more! This eight week summer term for 2014 starts on February 3. The website has all the information you need to enrol or to join the mailing list. To receive the 15 per cent Early Bird discount, enrol three weeks prior to the start of any new term. January 2014

fineMusic 102.5

CD Reviews FANTASIE AUSTRALIS Monash University Flute Ensemble Move

✶✶✶✶

Rarely does a recording come close to this level of eclecticism. And yet, with the eight rich octaves provided by the subcontrabass to piccolo members of the Monash University Flute Ensemble, this compilation of Australian works explores its own innate eclecticism with such musicality that is impossible not to be wooed by it. The fact that all of these works are by young Australian composers does not merely tick the box either - it is blissfully audible in the construction of the music. Fantasie Australis and Angry Tunes prove to be delights of musical parody taking pop culture into our own national anthem. Fibonacci-inspired serialism, arrangements of

DRAMMA: LA MAGNIFICA COMUNITA Simone Kermes Sony Classical 96396

✶✶✶ Through her performances with the Australian Brandenburg Orchestra, Simone Kermes’ flamboyant style and tremendous vocal facility have become more familiar to Australian audiences. This German coloratura singer has a very bright voice and an incredible energy that simply blows you away. Her CD Dramma, a Sony release, showcases her extraordinary vocal flexibility with dramatic interpretations of Baroque arias. These range from numerous world-premiere recordings, mostly Porpora, to more well-known selections such as Handel’s Lascia ch’io pianga. Kermes’ unique style

is extravagant and her voice is a powerful instrument which she uses with complete technical mastery to produce a range of the darkest tones to the most penetrating high notes. The sheer power of her vocal delivery can be quite overwhelming at first and the great energy with which she takes on the more virtuosic runs can also be rather surprising. Perhaps her interpretation lacks the subtlety of other performers but the attention to detail is certainly there. And the force with which she seems to attack the pieces may give an impression of hurriedness that fits the perpetual movement characteristic of baroque music but which may not be to the taste of some listeners. In spite of a tendency to the fast and furious, Kermes is a certainly a convincing performer who is confident in her THE ROYAL EDINBURGH MILITARY TATTOO 2013 Various artists Distributed by ABC Classics EMTCD130

✶✶ This CD would be a wonderful memento for anyone who attended this open air music event. The Tattoo has a cast of about 1000 and is seen by about 8000 people each night - almost 220,000 each year. Some 30 percent of the audience travels from overseas specially to be there and 95 percent of the tickets are sold months in advance. However, if you think you are going to listen to good music, the disc is a disappointment. Military bands from South Korea, Mexico and 14

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electro-acoustic works and technical explorations are also uniquely alluring additions to the album. What makes these remarkable is the manner by which the composer draws intrinsically musical material out of extra-musical processes. Aerofoil and Chaconne for Flute Double Choir and are exceptional examples, but it would be telling to reveal in which style their origins lie. While the skill of these living composers is a feature of the album, no less emphasis is placed on the Ensemble. Formed in 2010, their dexterity and sonority as both individuals and a group is all the more impressive for the fact that there are only four guest performers, the remaining members being students. Combined with the composers, the amalgamation of every effort that has been poured into this CD is best summed up by director Peter Sheridan: That my friend is artistry. - Joshua McNulty

style and competent in her technique. Her growing fan base, despite criticisms that her style is vulgar, attests to the success of this relevant and dynamic artist. - Claire Hu the Mongolian Armed Forces are featured. Then there are the Irish Guards, the Scots Guards, and the Black Watch and pipers from Malta and Oman. Even New Zealand is represented, as the theme of this year’s Tattoo is Our Wonderful World. Admittedly there are medleys of good music, including Phantom of the Opera, Ride of the Valkyries, Entry of the Gladiators, Prelude from Carmen etc, but essentially you hear only pipes and drums, and having been recorded in a large open-air arena on top of Edinburgh Castle, it lacks the quality of sound that is usually heard from recording studios. If you are considering buying this CD as an addition to your brass band collection, consider the fact that I am giving it just two stars. - Owen Fisher

CD Reviews Swedish mezzo-soprano Anne Sofie von Otter has always had a streak of imagination in her singing and in her choice of songs. She’s already flirted with Elvis Costello in an album of contemporary music but unlike singers like Dame Kiri te Kanawa, Ms von Otter has resisted the temptation to carry over her operatic voice onto this more subtle form of singing. You may recall Dame Kiri recorded an album of Gershwin hits with Nelson Riddle trouble was she forgot to switch off her best Covent Garden voice and failed miserably. Eileen Farrell and her album of torch songs is a very good example of how it should be done. Similarly, Ms von Otter has adapted her voice admirably to create an atmosphere of

DOUCE FRANCE Anne Sofie von Otter, mezzo-soprano Bengt Forsberg, piano with the help of other instrumentalists Naïve - 357150 2 CDs

✶✶✶✶ LATITUDE 37: EMPIRES ABC Classics 481 0483 Julia Fredersdorff violin, Laura Vaughan viola da gamba & lirone, Donald Nicolson harpsichord, organ

✶✶✶ Although the members of Latitude 37 declare an interest in music composed throughout the Baroque era, on this their second release, they maintain a focus on what was happening during the 17th century and, judging by this track-packed CD there was plenty. There are far too many items to list here, but the initially representative sample of known German composers, including Johann Christoph Bach, Buxtehude and Biber, have their space being encroached on by works originating in the

Ottoman Empire of the time, a force gaining increasing recognition today for its immense impact on the development of civilisation on a global scale. Hence the CD title, Empires Latitude 37 is a trio in principle, but with nine guest artists listed they are not restricted to three piece works. They take us straight in to music with an Arabic flavour that permeates all of it, strongly enough to colour how we interpret the kind of Baroque sounds we are more used to hearing. The result is a most unusual take on music of the period, needing considerable adaptation from how you might expect a CD of this type to sound. If you are sympathetic to where this ensemble has positioned itself, not an altogether cheerful sounding place, you will have a lot of unfamiliar

MOZART Concerto in E flat, K.482 / ABC Classics 481 0248 Concerto in C minor, K. 491 ABC Classics 481 0249 Piers Lane, piano, with the Queensland Symphony Orchestra/ Johannes Fritzsch

✶✶✶✶ In his notes for these concertos, Piers Lane states that when he played them with Charles Mackerras conducting, Mackerras asked him to use Hummel’s editions, with their elaboration of the piano part and with Hummel’s cadenzas (Mozart left no cadenzas

genuine French salon and (in the second of this 2 CD set) smoky Gallic cabaret ambience. The first CD sees her display superb examples of pianissimo “filo di voce” singing in pieces by Debussy, Ravel and Saint-Saëns. In particular she revels in four very exceptional Reynaldo Hahn melodies. But she is at her most enchanting in the second of the albums when she starts singing the more intimate cabaret numbers made famous by the likes of Charles Trenet (Boum!), Edith Piaf (Padam Padam) and the works of Jean Lenoir (Parlezmoi d’amour), Michel Legrand (Je vivrai sans toi) and Joseph Kosma (Les feuilles mortes). I wonder what’s the French for encore? - Randolph Magri-Overend

territory suddenly waiting to be explored. They score highly for effort, but listening to them will need practice. - Phil Vendy

for either concerto). He believed that Hummel’s editions were authoritative statements of Mozart’s intentions because Hummel had heard Mozart play his concertos. Lane explains that in this recording he did adopt elaborations of the piano part based on the work of Hummel and other editors and composers. I was therefore surprised to find that what Lane plays does not differ very much from the printed score that I have which claims to present the original text. The only really noticeable change is in the Minuet in the third movement of K. 482 where Lane plays a very radical elaboration of the original by the celebrated harpsichordist Wanda Landowska. Lane does play Hummel’s cadenzas in K. 482. In K. 491 he plays a cadenza by a contemporary Australian composer Alicia Grant which is tasteful and in the same style as the rest of the movement. Lane plays both concertos very beautifully, with a clean, pearly technique and a combination of strength and delicacy. The only criticism I have is that the orchestral accompaniments are sometimes too hefty. – Richard Gate

January 2013

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CD Reviews Jeremy Nicholas. Nicholas is a regular reviewer for Gramophone Magazine and the author of two musical biographies and four music reference books so he knows a bit about what he’s talking about when he says that music can speak to us with even greater power and resonance if we hear it as part of a continually evolving, never-ending story. So who do we have here? Well there are, as might be expected, all the usual suspects. THE HISTORY OF CLASSICAL MUSIC The first four CDs cover the Mediaeval and ON 100 CDS Renaissance periods, think Dufay, Josquin des FROM GREGORIAN CHANT TO GORECKI Prez, etc. CDs 5-20 cover the Baroque with no DG 00289 479 1048 GB 100 fewer than six given over to J S Bach, three to Handel and the rest scattered over the likes of ✶✶✶✶ Charpentier, Scarlatti and Telemann. CDs 21-33 If truth be told it would take more than 200 bring us into the so-called Classical era. Here CDs to tell the entire history of classical music, Haydn gets three discs to himself, Mozart six so despite the grand claim on the box, this is in and Beethoven five. Composers like Christoph fact, as they admit in the booklet, only a brief Williband Gluck don’t get a look-in sadly. On to survey - and then it’s only dealing with Western the Romantic Era with CDs 34-49 and here, as music. On second thoughts make that 300! might be expected, the star is Franz Schubert It doesn’t say who actually chose the 1385 with four discs to his name. The odd thing here tracks (yes, I counted them!) but there is a is that Mendelssohn, Liszt, Berlioz and Paganini rate only very elegant 16 page Ad.15.3.13.pdf introduction by English Cat Protection 1 15/03/13 3:21 one PM disc each, whereas Schumann and Chopin get three each. broadcaster, actor, writer and music critic

CMY

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In the Late Romantic Genre (CDs 50-72) we find Wagner represented by four overtures, 10 selections from the Ring cycle and highlights from Tristan and Isolde. Brahms, Verdi and Tchaikovsky are well represented with three CDs each and there are all the usual works that you’d expect to find from this era. There’s certainly nothing very startling in this lot. The final 27 discs are given over to Modern music, starting with Debussy and ending with Steve Reich, John Adams and Philip Glass. To my mind the best thing about this set is the 245 page booklet that goes with it. As well as Nicholas’s introduction each CD has a page of explanatory notes about the music both in English and German written by the distinguished American music critic Richard Evidon. The worst thing about it is that, as is the case with all large boxed sets of CDs, you really never know what you’ve got there and hunting for your favourite works is a bit like searching for eggs on Easter Sunday. Nevertheless, if you’re lucky enough to come by a set you will certainly have some of Western classical music’s best-loved, if not necessarily bestconstructed, works. - Michael Morton-Evans

SWINGING ON THE VINE MAMA WILL BARK!

“Manners!” The Voice is in full flight: “You are not going to attack someone. Hold your knife properly. This is not a cannibal feast!” I delicately straighten my finger on the knife as I cut into half of the roast chicken on my plate, scooping the vegetables, which have been cooked to perfection, and some of the thick rich gravy into my mouth. “Manners, I can hear your jaws clicking. Don’t eat as if it’s your last meal.” I masticate slowly, wishing I could join the convivial company of Big (No Longer Little J) in my Hunter Valley hideaway drinking red wine as I ponder the intellectual decadence of society. However, the elements are against me. Rain is thundering on the roof and a strong wind howling around the homestead. My one true piggy friend is probably as desperate as I am for the healing powers of red wine. I shudder as I swallow a large mouthful of mineral water then, delicately holding the large glass in my hand, I thoughtfully study the bubbles. A wonderful meal with only one major problem - maybe two when one considers the absence of wine or strong drink - my narcissistic brotherin-law Clifford, the epitome of our mindless mass culture! Once again I have to curb my animal instincts as I gaze with interest at his latest acquisitions, the strikingly attractive but dumb Germaine and Alysia. Dumb? They have to be, gazing with something akin to adoration as Clifford, with his overpowering bray, gives his views, nonsensical as they are, on the 20th anniversary release of the Frank Sinatra Duets. “The finest Sinatra on record,” he thunders. “Listen to this track with Bono.” Here we go again I mutter, another overdose of the me firsts by this idiot masquerading as a cretin. As befits a Neanderthal, albeit it one with class, in a quiet but masculine tone I ask: “And what is a Bono?” There is a deathly silence. I feel the steely gaze of The Voice but refuse to flinch. Have they forgotten Sinatra’s glory years from 1953-61, the classic albums on the Capitol label with arranger Nelson Riddle? Then again, being members of our 21st century competitive and aspirational society, you wouldn’t expect them to know. “That’s the worst Sinatra I have heard since Mama Will Bark,” I tell them. They gaze at

me blankly. It was the age of what Sinatra described as Millerism, when the bearded Mitch Miller was the artists and repertoire chief at Columbia Records. According to Sinatra, Miller had no interest in lyrics or melody; all he cared about was gimmicks, the use of novelty “hits” to gain the public’s attention. It beggars belief that he almost succeeded into turning like Sinatra, Rosemary Clooney and Tony Bennett into hacks. Forget quality music. It was pushed into the background by such “delights” as Come On-A My House, Botcha Me, How Much Is That Doggie In The Window, Where Will The Dimple Be and Mule Train, all recorded with a cacophony of inane sound effects. Clooney, who was only 23 when teamed with Miller, hated the song Mambo Italiano and told Miller in no uncertain terms she would never record it. “Sing it or you’re fired,” was his reply. She sang it; surprisingly the song launched her to stardom, a Time magazine cover and movie contract with Paramount. Miller could make or break careers. His big moment was the discovery of Guy Mitchell who really changed the sound of popular music, his voice combining Miller’s orchestra - and especially the French horns - resulting in a string of hits including The Roving Kind, She Wears Read Feathers, Truly Truly Fair and There’s A Pawnshop On The Corner (In Pittsburgh, Pennsylvania). But Sinatra refused to record such tunes offered to him by Miller from 1949 to 1952. It got so bad his business manager began hounding him to

record one. Sinatra finally relented. The date was May 10, 1951 - one that will live in musical infamy and the nadir of Sinatra’s career. The “song” was Mama Will Bark which he sang with Dagmar whose off-key sighs and comments were complemented by barking dogs. Dagmar, an actress who was the first major star on American TV, was never renowned for her vocal talents. One writer said the amply bosomed blonde of Amazonian proportions - 42 inch bust, 23 inch waist and 39 inch hips, made Jayne Mansfield look like Audrey Hepburn. Memories of the country farm girls of my youth with their ample charms fill my thoughts but I digress… For Sinatra it was a disaster. Describing the worst record he ever made: “I growled and I barked on the record, and I guess it sold, but the only good it did me was with dogs.” Sinatra never forgave Miller. It was the beginning of a life-long feud between the two. Mama Will Bark was the B Side of the 78rpm disc. On the A side was one of the most emotional and heartfelt songs Sinatra ever sang - I’m A Fool To Want You. Have a guess which was the hit? I never sang along with Mitch or watched the schmaltz of his TV show. The silence is broken once again by Clifford: “As I was saying when so rudely interrupted…” I walk up to him and empty the contents of a jar of iced water over him. It was the worst record Sinatra ever made… - Patrick D Maguire

January 2014

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JAZZ CD REVIEW Discourse with Kevin Jones

ELLA - BEYOND CATEGORY ELLA FITZGERALD: THE VOICE OF JAZZ 10 CD Box Set Verve 5344963 upon hearing her singing Cole Porter’s In The Still Of The Night on radio in the wee small hours so long ago. It was her voice, an amazing asset, breathtakingly beautiful to the ear and sonically perfect. The eminent music critic, the late Henry Pleasants, a contributor to the New York Times and Opera Quarterly and former London editor of the Stereo Review, said she had a wider vocal range than most opera singers, many of whom were unabashed admirers including the great Lieder and baritone Dietrich Fischer-Dieskau who once, after giving a recital in Washington, rushed to the airport with his distinguished accompanist Gerald Moore to catch a plane to New York to attend a concert at Carnegie Hall featuring Ella with Duke Ellington telling Moore: “Ella and the Duke together. One just doesn’t know when that will happen again.” Distinguished American music writer Will Friedwald called Ella Fitzgerald the best friend melody ever had. Lyricist Ira Gershwin said he didn’t know how good the songs he had written with his brother George were until he heard Ella sing them. John Hammond, who had been behind the success of artists of the stature of Benny Goodman, Count Basie and Billie Holiday, was even more fulsome in his praise, claiming that in her field she was as unique an artist as Horowitz and Joan Sutherland! She had a voice that inspired thousands of subsequent singers including Carol Sloane who in describing her idol said: “She taught me my ABC’s - intonation, diction and swing.” Ella Fitzgerald was indeed the “First Lady Of Song” with her beautiful voice, perfect intonation and flawless sense of rhythm - and her repertoire was the timeless classical songs from The Great American Songbook. Ballads were treated with poise and sensitivity but her happy voice was not suited to tragedy and grief as was that of Billie Holiday. To top it off, during her career, especially when under the tutelage of impresario Norman Granz, she was accompanied by the very best jazz musicians as he recorded her in every conceivable situation. Hers was an odyssey worthy of Homer. It took her from dire poverty - she was born out of 18

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wedlock and never knew her father, and lived on the streets - to luxury via dance halls, dingy night clubs and segregated accommodation, enduring discrimination with dignity along the way. An acknowledged legend in her own lifetime and one of the great and enduring figures of 20th century music, she once said: “It isn’t where you come from, it’s where you’re going that counts”! She was never happier than when singing to an audience. Ella loved to sing and singing was her life. Betty Carter, a brilliant jazz singer, said in 1992 when Ella was in ill health: “She’s worked hard all her life and is still working hard. It’s unreal how she is working so hard, being as ill as she is. You wouldn’t be working in a wheelchair if you’re not working for people. She just wants to do what she loves. She wants to hear the applause. It’s her life, her reason for living.” She had had surgery to remove a toe as a result of diabetes and that concert referred to by Carter, in Palm Beach. Florida in December, 1992, would be her last concert appearance. Although she had a great will to perform, the amputation of both legs below the knees the following year ended her career. On June 15, 1996 it was all over. So what was it that turned me into an avid teenage follower of this wonderful singer

Who would have thought on hearing Ella’s first big hit with drummer Chick Webb’s band, that most simplistic of novelty tunes, the nursery rhyme-based A Tisket A-Tasket, that she would perfect the songbook, defining the artistic heights the classic American song could reach. With Sinatra’s concept albums, the songbooks remain the definitive record of the work of America’s greatest popular composers and lyricists. Ella recorded continually for seven decades, a monumental legacy divided among three major record companies - Decca, Verve and Pablo. The Decca recordings covered her early years, with Webb’s band - a voice that was then adolescent and somewhat nasal - the two years as leader of the band after the drummer’s untimely death in 1939, and then as a single for 17 years rarely getting out of second gear as a moderate pop singer. The Verve years from 1955 to 1965 were her greatest, the era of the songbooks and her best live recordings, but Pablo records, although there were some magic moments, sadly charted her gradual decline as her voice deepened and became richer. However, she never lost her mastery of time. Using these labels as a guide, her career is covered chronologically in Universal Music’s monumental 10-CD album Ella Fitzgerald, The Voice Of Jazz on the Verve label.

There is a tendency to dismiss much of her work on the Decca label but her 1950 recordings of Dream A Little Dream Of Me with Louis Armstrong and Looking For A Boy with pianist Ellis Larkins from her Gershwin set show there were strands of gold among the dross. But they cannot be compared with her Verve output. With Granz managing her performing career and the Decca hit factory her recordings, things finally came to a head late in 1955. Decca, which had owned Universal Pictures since 1952, was expecting a big windfall from the soundtrack of The Benny Goodman Story. However, Granz had exclusive contracts with the star musicians in the movie. Faced with the choice between Ella and Goodman, Universal chose the latter, surrendering her contract to Granz - and she sang only the best songs on Granz’s Jazz At The Philharmonic concert circuit. The stage was now set for her masterworks the eight songbook albums from 1956 to 1964 which honoured the great composers - Cole Porter, Richard Rodgers and Lorenz Hart, Irving Berlin, Duke Ellington, Jerome Kern, George and Ira Gershwin and Harold Arlen and one lyricist, Johnny Mercer - on Verve records, a label especially designed for her to reach both the popular and jazz market. The songbooks reached their high water mark in 1959 with the Gershwin set under the musical direction of Nelson Riddle, the greatest arranger in the history of popular music. His sublimely tasteful orchestrations were the perfect setting for Ella, resulting in the near definitive The Man I Love. The most disappointing was the Ellington set not because it wasn’t good - it was - but it was flawed. Although the recording sessions had been planned well in advance, Ellington did not write a single arrangement; instead Ella used the band’s regular charts. The songbook had to be padded out with small group sessions including a sextet with tenor giant Ben Webster and violinist Stuff Smith who show on Don’t Get

Around Much Anymore and In A Mellotone why they remain the best tracks. Ella found fulfilment with music, enjoying the warmth and joy she felt from her audiences. That’s why the best of her live recordings stand in a special pantheon of their own beginning with a 1957 JATP set released as At The Opera House, the famous 1960 concert in Berlin with her version of Mack The Knife, and, best of all, the Rome concert of April 25, 1958 on the occasion of her 41st birthday. An inspired Ella was in magnificent voice defining her art with the music of Ellington, Porter, Arlen and Gershwin which included I Loves You Porgy; for the very best Ella on record it takes some beating. She opened with St Louis Blues which included a swinging scat interlude, a tour de force which for any other artist would have been the finale not the beginning. Tenor saxophonist Flip Phillips, a star with Woody Herman’s First Herd and on Granz’s JATP tours, said in Down Beat magazine Ella could keep the greatest time of anyone which made her a musician in the eyes of other musicians. “She had a musicians’ sense of time and the ears to go with it. She could pick up on anything as well as any player. I could trade fours and eights with her as if she were another horn. A horn with a voice, that’s what she was - and always in time.”

Phillips was one of the JATP All Stars, who also included Coleman Hawkins, Lester Young and Stan Getz, at the Chicago Opera House in 1957 who riffed behind Ella on Stompin’ At The Savoy as she used her voice like a tenor saxophonist scatting and wailing. It’s the ultimate lesson in scatting showing she had long supplanted her mentor and idol Louis Armstrong. Her earlier wordless vocals on Flying Home (1945) and Lady Be Good and How High The Moon (both 1947) had shown the beginning of her growth to maturity and to the threshold of greatness. As singer Kevin Mahogany said in a special tribute to Ella Fitzgerald in the September, 1996 issue of Down Beat magazine: “It’s a voice that you never forget. When you’re a vocalist that’s what you aspire to. I don’t know if any of us will ever attain it, but it’s a goal worth reaching toward.” For the rest of us, we have her legacy on numerous albums, examples of the some of best from them are in this indispensable collection which show why she was called one of the most important and influential singers of the 20th century. A fitting epitaph would be the third of the four movements from Ellington’s Portrait Of Ella Fitzgerald. It sums her up perfectly - Beyond Category. – K evin Jones January 2014

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Program Guide Time Weekdays Monday & Holidays: 00:00 03:00 06:00 09:00 09:30 10:00 10:30 11:00 11:30 12:00 12:30 13:00 13:30 14:00 14:30 15:00

All Through the Night Fine Music Breakfast Diversions in Fine Music

Sunday

All Through the Night

Saturday Morning Music What’s On in Music

Sunday Morning Music Music of the Dance

Spotlight On...

Morning Concert

The Defining Years: Music of the Classical era

General Classical

Band

Jazz

Asian Classic/ Historic / Nostalgia

World Music

Explorations/Listeners’ Choice/ General Classical

Sunday Special

Music for Words/ At the Movies/ Arts in Focus/Organ/Philharmonia/ General Classical

General Classical

Mon, Tues, Fri: General Classical

15:30 16:00 16:30 17:00 17:30 18:00 18:30 19:00 19:30 20:00 20:30 21:00 21:30 22:00 22:30 23:00 24:00

Tue-Fri: Contemporary Collective Till Dawn Fine Music Breakfast

Saturday

Thurs:

Wed: Young Virtuosi

General Classical

In Conversation

Keyboard Contrasts

The Symphonies of Haydn

General Classical

Fine Music Drive

Hosanna Folk/ Australian Composers

Jazz Mon: Tue: Wed: Thur: Fri: Mon: Tue: Wed: Thur: Fri:

Musicals/Operetta Blues Recent Releases Opera Orchestral The Romantic Century Into the 20th Century The Australian Jazz Scene Opera/General/Classical Chamber Soirée Baroque and Before

Guitar/Schubert/Tall Poppies/ The Con Opera Highlights

Sunday Night Concert

Live and Local

New Horizons After Hours Jazz Ultima Thule

JANUARY 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

3, 10, 17, 24, 31 Jan

7 Jan - Ashley DawsonDamer (6 Nov 2013)

1, 8, 15, 22, 29 January The Voices - the Roles with Angela Cockburn

Feature Artist or Sydney Symphony with Peter Kurti (2nd Fri of month)

14 Jan - Anthony Pasquill (13 Nov 2013) 21 Jan - Louise Herron (20 Nov 2013) 28 Jan - Geoffrey Saba (27 Nov 2013) 15:00

Jazz Off the Shelf

Jazz Standards

*See www.finemusicfm.com for program details 20

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Jazz Australia

Jazz Biography

Jazz in Concert

January Program Highlights style of music was coming to an end and his ideals were just gaining a foothold at the time of his death, Gluck’s operatic reforms did have a far-reaching impact on future composers, affecting the stage works of Mozart, Berlioz, and Wagner. ARTIST OF CHOICE - NIKOLAI DEMIDENKO Tuesday 14 January 9am

100TH ANNIVERSARY OF BIRTH Christoph Willibald von Gluck At the Opera - Orfeo ed Euridice Wednesday 1 January 10pm Born in Bavaria on July 2, 1714, Gluck left home at the age of fourteen and spent several years in Prague. Eventually he acquired enough money to travel and study music in Vienna and in Italy. Here he became acquainted with the styles of Baroque opera and composed several operas in the prevailing style. Between 1745 and 1760, he travelled over Europe during which time he was able to make a survey of the state of opera at the time. A musical theorist as well as a composer, by 1761 Gluck had come to the conclusion that the important elements in ballet and opera should be the story and the feelings of the characters, not the ridiculous intrigues, mistaken identities, and myriad sub-plots that had become the stock-in-trade of the Baroque opera. Gluck intended to reform the opera of the late eighteenth-century by abolishing vocal virtuosity for its own sake and causing the music to serve the needs of the drama. Gluck’s first work to incorporate these new practices remains his most popular opera. Premiered in Vienna in 1762, it was based (perhaps not surprisingly) on the classic Greek subject of Orpheus, the greatest musician of legendary antiquity. The lament of Orpheus (castrato) upon losing his beloved wife to the Underworld a second time remains one of the most moving arias from early Classical opera “Che farò senza Euridice” from Orfeo ed Euridice. The Viennese public, however, did not immediately take to Gluck’s reforms or his music. It was not until the 1770s, having moved to Paris at the behest of Marie Antoinette, that Gluck experienced any popular success with his reform operas. His settings of the Greek legends of Iphigénie en Aulide in 1774 and its “sequel,” Iphigénie en Tauride in 1779, caused a sensation. The operatic public, as well as the critics, were antagonistically divided between the merits of Gluck’s reforms and the traditional Italian operas of Niccolò Piccini (1728-1800), whose works were extremely popular in Paris at the time. With the composition of his last operas in 1779, Gluck retired to Vienna where he had been invited to become court composer to Emperor Joseph II. He died there in 1787. Although his

Now 58 years old, Russian-born British pianist, Nikolai Demidenko, began playing before the age of five, learning on his grandfather’s old, beatenup piano. By the age of six, he was a student of Anna Kantor (Evgeny Kissin’s teacher) at the Gnessin School of Music. An obstinate student who disliked scales and technique, Demidenko still made swift progress, and he eventually entered the Moscow Conservatory. There, he studied with Dmitri Bashkirov, whom Demidenko credits with fostering his more individual qualities as a player, as well as ironing out the remaining wrinkles in his technique. Reaching the finals of both the 1976 Montreal competition and the 1978 Tchaikovsky competition in Moscow (where he played through an acute case of the flu) served as a final springboard to professional recognition. A 1985 tour with the Moscow Radio Symphony Orchestra introduced Nikolai Demidenko to the West, and in particular the UK, where he would become a resident in 1990. He has become a musical fixture in his adopted home of the UK, and in 1995 was proud to be granted British citizenship. While teaching piano at the University of Surrey, Demidenko has steadily built an international career of the highest calibre, playing concertos with many of Europe’s greatest orchestras and conductors, and playing a landmark series of recitals in London’s Wigmore Hall. He has established himself as a celebrated piano virtuoso, considered a leading exponent of the Russian school of playing. His blend of technical brilliance and musical vision have earned him consistent rave reviews. TRIBUTE TO JOHN HOPKINS Sunday Special - 19 January 2pm John Hopkins was born in Yorkshire in 1927. He was the assistant conductor of the BBC Scottish Orchestra from 1949 to 1952 and then conductor of the BBC Northern Orchestra until 1957. He moved to New Zealand in 1957 to succeed James Robertson as conductor of the then National Orchestra (now the New Zealand Symphony Orchestra). In 1959 he founded the New Zealand National Youth Orchestra. He was present for the orchestra’s 50th anniversary season in 2009. As part of his contribution to youth music he also conducted the South African National Youth Orchestra. Hopkins moved to Australia in 1963. As the Federal Director of Music for the Australian Broadcasting Commission, Hopkins began a number of innovations within the ABC’s Concert Music Division, such as starting an Australian Promenade (Proms) series in Sydney in 1965 and broadcasting international avantgarde classical music. As a part of the Proms

concerts, Hopkins programmed a variety of music, from the Renaissance, performed by the Sydney group the Renaissance Players, the then rarely performed music of Hector Berlioz, Gustav Mahler and Sir Edward Elgar, avant-garde music from overseas and Australia. The Australian composers who wrote music for the concerts included Peter Sculthorpe, Nigel Butterley and Richard Meale. Hopkins resigned from the Director’s post in 1973 due to a number of factors, including tensions with staff within the ABC Concert Music Division. In 1974 he became the inaugural dean of the School of Music at the newly formed Victorian College of the Arts (now the University of Melbourne Faculty of VCA and MCM). In 1974 Hopkins led the world premiere of Peter Sculthorpe’s opera/music theatre work Rites of Passage. He was director of the Sydney Conservatorium of Music from 1986 to 1991. He conducted the Auckland Philharmonia Orchestra in 1987 in one of New Zealand’s first Orchestral Composers’ Reading Workshops. He was professor of conducting at the University of Melbourne Faculty of VCA and MCM and still did some guest conducting with community and youth orchestras until the time of his death. Hopkins died on 30 September 2013, aged 86.

NOT TO BE MISSED Sunday 12 January 2pm Women in Music Saturday 18 January 8pm Sydney Sings Thursday 23 January 1pm Music in Wartime Tuesday 28 January 2pm The Seasons CONTINUING SERIES Every Wednesday 3pm The Symphonies of Haydn Wednesday 8 January At the Opera – Legendary Met Performances: Tosca 24 April 2010 ANNIVERSARY PROGRAMS Wednesday 1 January 8pm At the Opera Orfeo ed Euridice Sunday 19 January 10am The Defining Years Music from the Classical Era January 2014

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Wednesday 1 January 0:00 CONTEMPORARY COLLECTIVE

Schubert, F. Erlkönig, D328 (1815). Werner Hollweg, ten; Roman Ortner, pf. Teldec 8.44058

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

Schubert, F. Der Hirt auf dem Felsen, D965 (1828). Sandrine Piau, sop; Antoine Tamestit, va; Markus Hadulla, pf. naïve V5219 11

9:00 DIVERSIONS IN FINE MUSIC Aspects of Baroque Prepared by Angela Bell Handel, G. Alla hornpipe, from Water Music: suite no 2 in D, HWV349 (1717). Tasmanian SO/ Graham Abbott. ABC 476 3335 3 Pezel, J. Dance suite. Edward Tarr Brass Ensemble. Christophorus CHR 74562

Purcell, H. Ayres and dances, from Dido and Aeneas (1689). Tasmanian Symphony Chamber Players/Geoffrey Lancaster. ABC 456 667-2 17 Mouton, C. La belle danceuse, gavottes, from Pieces for lute in C minor. Konrad Junghänel, lute. Harmonia Mundi 77037-2-RC 4 Destouches, A. Ballet: Les éléments. Academy of Ancient Music/Christopher Hogwood. L’Oiseau-Lyre 421 656-2 21 10:00 MORNING CONCERT Prepared by Keith Glendinning Berwald, F. Overture to The Queen of Golconda (1868). Gävle SO/Petri Sakari. Naxos 8.555370

12:00 JAZZ SKETCHES with Robert Vale Jazz of many colours, some old, some new and all designed to inform and stimulate the senses 13:00 YOUNG VIRTUOSI 14:00 HAPPY HOUR Prepared by Angela Bell Bax, A. The happy forest (1914; orch. 1922). BBC PO/Vernon Handley. Chandos CHAN 10446 10 Grainger, P. The merry king, from British folk music settings no 38 (1905-6). Marc-André Hamelin, pf. Hyperion CDA66884 4 Strauss, R. Sonatina no 2 in E flat, The happy workshop (1944-45). Netherlands Wind Ensemble/Edo de Waart. Philips 438 733-2 40 15:00 THE SYMPHONIES OF HAYDN Prepared by Chris Blower Haydn, J. Symphony in D, Hob.I:24 (1764). Vienna CO/Ernst Märzendorfer. LP Musical Heritage Society OR H-201-249 20

Schumann, C. Piano concerto in A minor, op 7 (1841-45). Francesco Nicolosi, pf; Alma Mahler Sinfonietta/Stefania Rinaldi. Naxos 8.557552 22 Elgar, E. Sea pictures, op 37 (1899). Elizabeth Campbell, mezz; Adelaide SO/Nicholas Braithwaite. ABC 476 796-6 24 Rheinberger, J. Organ concerto no 1 in F, op 137. Paul Skevington, org; Amadeus O/Timothy Row. Naxos 8.557787 27 11:30 ART SONG Prepared by Jan Brown

Beethoven, L. Sonata in E flat, op 12 no 3 (1797-98). Itzhak Perlman, vn; Vladimir Ashkenazy, pf. Decca 421 453-2

16:00 FINE MUSIC HOLIDAY 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 Elaine Siversen

Dvorák, A. Songs my mother taught me, op 55 no 4. Anna Netrebko, sop; Daniel Barenboim, pf. DG 477 8589

Gluck, C. Orfeo ed Euridice. Opera in three acts. Libretto by Ranieri de Calzabigi. First performed Vienna, 1762. 4

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Haydn, J. Symphony in C, Hob.I:25 (c1763). Vienna CO/Ernst Märzendorfer. LP Musical Heritage Society OR H-201-249 14

Mendelssohn, F. Sunday morning, op 77 no 1. Sophie Daneman, sop; Stephan Loges, bar; Eugene Asti, pf. Hyperion CDA67137 3

Leoncavallo, R. Mattinata (1904). Giovanni Martinelli, ten. Conifer TQ 305 2 22

ORFEO: Bernarda Fink, mezz EURIDICE: Veronica Cangemi, sop AMORE: Maria Cristina Kiehr, sop RIAS Chamber Choir; Freiburg Baroque O/René Jacobs. Harmonia Mundi HMX 2908601.30 1:31

Poet and singer Orfeo, grieving at the tomb of his young wife, Euridice, resolves to go to Hades to find her. The god, Amor, announces that the other gods, moved by Orfeo’s grief, have decided to allow him to bring Euridice back on condition that he does not look at her until they have returned. At the entrance to Hades, the Furies bar Orfeo’s way but he calms them by playing his lyre and singing an eloquent song of his grief. They relent and allow Orfeo to pass into the underworld. In the Elysian Fields, the Blessed Spirits dance and the Shades bring in his veiled wife. The Blessed Sprits wish them well as they start the journey to the upper world. Euridice becomes agitated because Orfeo will not look at her and fears that he no longer loves her. Unable to resist her anguished pleas, Orfeo turns and embraces her and she dies in his arms. Overcome with grief and remorse, Orfeo plans to take his own life. Amor appears saying that because Orfeo has passed the test of faith and constancy, Euridice is restored to life. Der betrogene Kadi. Comic opera in one act. Libretto by Pierre-René Lemmonier as Le cadi dupé; adapted to German by Fritz Krastl. First performed Vienna, 1761. THE KADI: Walter Berry, bass-bar ZELMIRE: Helen Donath, sop NURADIN: Nicolai Gedda, ten Bavarian State Opera Ch & O/Otmar Suitner. EMI 4 64319 2 49 The Kadi, a local judge with almost unlimited powers, decides to take a second wife. When the beautiful Zelmire rejects him, he takes revenge by attacking her fiancé, Nouradin, and stealing his fortune. Zelmire, a woman of independent spirit and will, then plots her own revenge on the Kadi, and thus begins the elaborate duping of the judge. 22:30 JOHN CRAN AND FRIENDS Recorded by Kerry Joyner for FINE MUSIC Mozart, W. Divertimento in D for two horns, bassoon, violin, viola and double bass, K205 (1773). 18 Divertimento in E flat for two oboes, two horns and two bassoons, K252 (1777).

Divertimento in D for oboe, two horns, two violins, viola and double bass, K251 (1776). 22 Divertimento in B flat for two oboes, two horns and two bassoons, K270 (1777).

March in F for two horns, two violins, viola 4 and double bass, K248 (1776). Divertimento in D for two horns, two violins, viola and double bass, K522, A musical joke (1787). 18 John Cran and Friends (all above)

THURSDAY 2 January 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN

Lecuna, J. Sonata d’alta gracia nos 3 and 5. Sergio Daniel Tiempo, pf. 5 Sony ECD 71051

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

Attrib. Albinoni, T. Adagio by Giazotto. James Parsons, org. intersound 2858

9:00 DIVERSIONS IN FINE MUSIC Composer focus Prepared by Michael Morton-Evans

16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Debbie Scholem

Rameau, J-P. Gavotte. Elizabeth Anderson, hpd. Move MD 3078 6 L’Impatience. John Elwes, ten; Les Dominos Baroque Ensemble. Le Chant du Monde LDC 278 774 14 Rossignols amoureux, from Hippolyte et Aricie (1733). Kathrin Graf, sop; Peter Lukas Graf, fl; Alexander van Wijnkoop, vn; Raffaele Altwegg, vc; Michio Kobayashi, hpd. Claves 50-604 7 Overtures: Les Indes galantes (1735); Castor et Pollux (1737). Les Talens Lyriques/Christophe Rousset. L’Oiseau-Lyre 455 293-2 8 La Dauphine. Wanda Landowska, hpd. Naxos 8.111055

Les Fêtes de Polymnie, ballet héroïque (1745). Symphonie du Marais/Hugo Reyne. Astrée E8650 10 10:00 MORNING CONCERT Prepared by Michael Morton-Evans Balakirev, M. Tamara, symphonic poem (1882). Philharmonia O/Yevgeny Svetlanov. Hyperion CDA66586 22 Mozart, W. Violin concerto no 5 in A, K219, Turkish (1775). Itzhak Perlman, vn; Vienna PO/ James Levine. DG 427 813-2 29 Bizet, G. Roma symphony (1860-68). Melbourne SO/John Lanchbery. ABC 456 669-2

11:30 BOHEMIAN WINDS Prepared by Elaine Siversen Vanhal, J. Sonata in B flat. Nigel Westlake, cl; David Bollard, pf. Fine Music Tape Archive 13 Kozeluch, L. Octet concertant: Parthia in B flat. Consortium Classicum. Orfeo 442 981 12 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

19:00 JAZZ VIBES with Matt Bailey Contemporary and modern sounds of now in jazz from all corners of the globe Elena Kats-Chernin. Photo - Bridget Elliot

20:00 EVENINGS WITH THE ORCHESTRA Prepared by Madilina Tresca

13:00 ON THE WILD SIDE Prepared by Brian Drummond Ticheli, F. Wild nights! (2007). University of Kansas Wind Ensemble/Scott Weiss. Naxos 8.572129 7 Elgar, E. O wild west wind, from Four partsongs, op 53 (1907). Finzi Singers/Paul Spicer. Chandos CHAN 9269 4 Bax, A. Dance of wild Irravel (1913). London PO/Bryden Thomson. Chandos CHAN 8454 5 Kats-Chernin, E. Concert suite: Wild swans (2003). Jane Sheldon, sop; Tasmanian SO/Ola Rudner. ABC 476 763-9 37 14:00 CHAMBER VIGNETTES Prepared by Rex Burgess Schmelzer, J. Sonata in D minor. Philippe Pierlot, va da gamba; Willem Jansen, org. Ricercar RIC 082066

Debussy, C. First rhapsody in B flat (1911). Antony Morf, cl; Monte-Carlo National Opera O/Armin Jordan. 9 Erato 245 082-2 Saint-Saëns, C. Orchestral suite in D, op 49 (1863). Paris Orchestral Ensemble/Jean-Jacques Kantorow. EMI 7 54913 2 19 Bennett, Robert. Suite of old American dances (1949). Lone Star Wind O/Eugene Migliaro Corporon. Naxos 8.570968

Molique, B. Flute concerto in D minor, op 69. John Wion, fl; O/Arthur Bloom. Hart HMP4W91514 21 6

Buxtehude, D. Sonata in A minor, op 1 no 3. Purcell Quartet. Chandos CHAN 0766 9 Bach, C.P.E. Sonata in B minor, Wq143 (1731/47). Ensemble of the Classic Era. ABC 456 365-2

McDowall, C. Crossing the bridge (2011). Orchestra Nova/George Vass. Dutton Epoch CDLX 7292

14:30 KEYBOARD CONTRASTS Scharwenka, X. Sonata no 1 in C sharp minor, op 6. Seta Tanyel, pf. Hyperion CDH 55131 19 Mendelssohn, F. Trio no 1 in D minor, op 49 (1839). Haydn Trio, Vienna. Teldec 8.44052 Z2 32 Platti, G. Sonata no 2 in C minor (1746). Diana Petech, hpd. Nuova Era 6984 15

Mozart, W. Piano concerto no 20 in D minor, K466 (1785). English CO/Georg Solti, pf & dir. Decca 478 3703 32 22:00 CHAMBER SOIRÉE Prepared by Sheila Catzel Tyberg, M. Trio in F (1935-36). Michael Ludwig, vn; Roman Mekinulov, vc; Ya-Fei Chuang, pf. Naxos 8.572236 24 Neukomm, S. Quintet in B flat, op 8 (c1804). Divertimento Salzburg. Claves 50-8703 27 Beethoven, L. Sonata no 1 in F, op 5 no 1 (1796). Yo-Yo Ma, vc; Emanuel Ax, pf. CBS M2K 42446

Bloch, E. Quintet no 1 (1921-23). Piers Lane, pf; Goldner String Quartet. Hyperion CDA67638 34 January 2014

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Friday 3 January 0:00 CONTEMPORARY COLLECTIVE

12:00 NOONTIME JAZZ with Peter Mitchell Accessible in-the-hammock jazz to ease you into the weekend

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

13:00 CLARINET PLUS Prepared by Jan Brown

9:00 DIVERSIONS IN FINE MUSIC Exploring Chamber Prepared by Frank Morrison Borodin, A. Quintet in C minor (1862). Ilona Prunyi, pf; New Budapest String Quartet. Marco Polo 8.223172 23 Torelli, G. Sonata (c1695). Paul Plunkett, tpt; Julie Hewison, vn; Lucinda Moon, vn; Jenny Ingram, va; Miriam Morris, vc; Linda Kent, org. Move MD 3127 7 Bartók, B. String quartet no 4 (1928). Vermeer Quartet. Naxos 8.557543-44 23 10:00 MORNING CONCERT Prepared by Brian Drummond Rossini, G. Overture to The Italian girl in Algiers (1816). Philharmonia O/Carlo Maria Giulini. EMI 5 62802 2

Beethoven, L. Trio in B flat, op 11 (1797). Benny Goodman, cl; Fritz Magg, vc; Leon Pommers, pf. Music Masters 5027-2-C 19 Mendelssohn, F. Clarinet quintet in C minor (1822; arr. Baermann). Consortium Classicum; Dieter Klöcker, cl & dir. Orfeo C314 941 A 22 Spohr, L. Clarinet concerto no 4 in E minor (1828). Michael Collins, cl; Swedish CO/Robin O’Neill. Hyperion CDA67561 25 14:30 EARTH, SEA AND SKY Prepared by Randolph Magri-Overend

Khachaturian, A. Spartacus suite no 1 (1943). St Petersburg State SO/André Anichanov. Naxos 8.550801 26

Sculthorpe, P. Earth cry (1986). Queensland SO/Michael Christie. ABC 476 192-1 11

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

Rossini, G. Terra amica, ove respira, from Zelmira (1822). Rockwell Blake, ten; Ambrosian Singers; London SO/Maximiano Valdes. Arabesque Z 6612 11

Mendelssohn, F. Symphony no 4 in A, op 90, Italian (1833). Tasmanian SO/Sebastian LangLessing. ABC 476 3623 28

Debussy, C. Dialogue of the wind and the sea, from La mer (1905). London SO/Charles Mackerras. Centaur CRC 2090 8

11:30 INTERLUDE Prepared by Jan Brown Chopin, F. Ballade no 1 in G minor, op 23 (1832). Chopin, F. Nocturne in E flat, op 55 no 2 (1843).

Monteverdi, C. Now while the sky (pub. 1638). Consort of Musicke/Anthony Rooley. Virgin VC 7 91156-2 9 8 4

Martha Agerich, pf (2 above) DG 477 7557 Boccherini, L. Sonata in A (c1770).

Granados, E. Intermezzo des Goeyscas (c1909-1912; transcr. Cassado).

Andre Navarra, vc; Erika Kilcher, pf (2 above) Calliope CAL 5673 24

Schumann, R. Three romances, op 94 (1849). Charles Neidich, cl; Leonard Hokanson, pf. Sony 88725443532 13

fineMusic 102.5

January 2014

Sculthorpe, P. Songs of sea and sky (1979). William Barton, didjeridoo; Queensland SO/ Michael Christie. ABC 476 192-1 16 Elgar, E. Sea pictures, op 37 (1897-99). Janet Baker, mezz; London SO/John Barbirolli. EMI CDC 7 47329-2 24 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Brendan Walsh

19:00 FRIDAY JAZZ SESSION with Sally Cameron Focus on the current Sydney jazz scene mixed with a range of international jazz stars and a weekly a cappella item 20:00 THE ROMANTIC CENTURY Orchestras of Australia’s east coast Prepared by Robert Small Tchaikovsky, P. Piano concerto no 1 in B flat minor, op 23 (1875/79/89). Simon Tedeschi, pf; Queensland SO/Richard Bonynge. ABC 481 011-7 36 Elgar, E. Variations on an original theme, op 36, Enigma (1899). Sydney SO/Vladimir Ashkenazy. Exton EXCL-00029 30 Dukas, P. The sorcerer’s apprentice (1896-97). Melbourne SO/Christopher Seaman. ABC 476 4621 12 Brahms, J. For here we have no lasting home, from A German Requiem, op 45 (1865-68). Teddy Tahu Rhodes, bass-bar; Melbourne SO & Ch/Johannes Fritzsch. ABC 4764363 11 Saint-Saëns, C. Rhapsody from the Auvergne in C, op 73 (1884). Ian Munro, pf; Tasmanian SO/David Porcelijn. ABC 465 424-2 10 22:00 BAROQUE AND BEFORE Outstanding Australian early music ensembles Prepared by Robert Small Vivaldi, A. Nisi Dominus, RV608 (1720). Andreas Scholl, ct; Australian Brandenburg O/ Paul Dyer. ABC 466 964-2 23 Bach, J.S. Brandenburg concerto no 1 in F, BWV1046 (1720). ABC 476 1923 19 Pergolesi, G. Stabat Mater (1736). Sara Macliver, sop; Sally-Anne Russell, mezz. ABC 476 773-7

O of the Antipodes/Antony Walker (2 above) Marais, M. Suite in D minor (1686). Marais Project. Move MCD 424 17 Wert, G. de Qual musico gentil. Tommie Andersson, lute; Song Company/Roland Peelman. ABC 454 518-2

Saturday 4 January 11:30 ON PARADE Music that’s band Prepared by Owen Fisher

0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SATURDAY MORNING MUSIC with Peter Bell

Brahms, J. Overture: Academic festival. Grimethorpe Colliery Band; GUS Footwear Band; Morris Concert Band; Yorkshire Imperial Metals Band/Harry Mortimer. LP HMV CSD 3697 9

9:00 ORCHESTRAL MINIATURES Prepared by Rex Burgess Albinoni, T. Concerto no 12 in C. I Musici. Philips 422 251-2 Bach, C.P.E. Symphony in G, Wq173 (1741). Akadamie für Alte Musik Harmonia Mundi HMG 501711

Boyce, W. Symphony no 7 in B flat (pub. 1760). Bournemouth Sinfonietta/Ronald Thomas. CRD 3356 9 9:30 SPOTLIGHT ON GILBERT AND SULLIVAN Prepared by Randolph Magri-Overend

Monk, W. Abide with me. Cory Band/Robert Childs. Doyen DOY 239 3 Clarke, H. Carnival of Venice. John Clough, euphonium; Black Dyke Mills Band/Roy Newsome. LP Astor GGS 1444 5 Trad. Fantasia on British sea songs. Band of H M Royal Marines. ABC Classics 278-0272 9

Sullivan, A. Overture to The pirates of Penzance (1879). Royal Ballet Sinfonia/Andrew Penny. Naxos 8.554165 7

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

Excerpts from HMS Pinafore (1878). Debra Hays, sop; Meredyth Rawlins, mezz; Carroll Freeman, ten; Eric Schilling, bar; Eric Johnson, bass; Members of Eastman Chorale; Rochester PO/Mark Elder. Pro Arte CDD 480 16

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

Excerpts from Trial by jury (1866). Rebecca Evans, sop; Barry Banks, ten; Peter Savidge, bar; Donald Adams, bass; Richard Suart, bass; Welsh National Opera Ch & O/Charles Mackerras. Telarc 2CD-80404 31 Excerpts from The gondoliers (1889). Yvonne Dean, sop; Muriel Harding, sop; Margaret Mitchell, sop; Leonard Osborn, ten; Alan Styler, bass. 17 Excerpts from Patience (1881). Yvonne Dean, sop; Margaret Mitchell, sop; Ella Halman, mezz; Ann Drummond-Grant, cont; Neville Griffiths, ten; Martyn Green, bar; Peter Pratt, bar; Darrell Fancourt, bass-bar; Alan Styler, bass. 16 Excerpts from The Mikado (1885). Margaret Mitchell, sop; Joan Gillingham, mezz; Joyce Wright, mezz; Leonard Osborn, ten; Martyn Green, bar; Darrell Fancourt, bass-bar; Richard Watson, bass. 21 D’Oyly Carte Opera Company Ch; New Promenade O/Isidore Godfrey (3 above) Naxos 8.111311/12

Handel, G. Let the bright seraphim, from Samson, HWV57 (1742). Kiri Te Kanawa, sop; Crispian SteelePerkins, tpt; English CO/Barry Rose. ABC 442 981-2 6 Elgar, E. The music makers, op 69 (1912). Sarah Connolly, mezz; Bournemouth Symphony Ch & O/Simon Wright. Naxos 8.557710 40 17:30 KEYBOARD EXCURSIONS Prepared by Rex Burgess Ravel, M. Miroirs (1904-05). Louis Lortie, pf. Chandos CHAN 7004/5 27 18:00 FOCUS ON FOLK Folk Federation of NSW 19:00 MAGIC OF STAGE AND SCREEN Prepared by Derek Parker German, E. Excerpts from Merrie England. June Bronhill, sop; Patricia Kern, mezz; Monica Sinclair, cont; William McAlpine, ten; Peter Glossop, bar; The Williams Singers; Michael Collins O/Michael Collins. Classics for Pleasure 5 75767 2 57 20:00 LIVE AND LOCAL Sydney Mozart Society presents the Diemen Quartet Recorded by Greg Ghavalas for FINE MUSIC Haydn, J. String quartet in B minor, op 33 no 1 (1781). 17 Mozart, W. String quartet no 17 in B flat, K458, Hunt (1784).

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

Beethoven, L. String quartet no 9 in C, op 59 no 3, Razumovsky (1805-06). 33

15:30 MUSIC FOR WORDS Poets’ corner Prepared by Brian Drummond

21:30 HIGHLIGHTS FROM THE TURK IN ITALY Prepared by Giovanna Grech

Vaughan Williams, R. Toward the unknown region (1905-06). Royal Liverpool Philharmonic Choir & O/David Lloyd-Jones. Naxos 8.557798 12 Walton, W. March for the history of the English-speaking peoples (1959). Bach Choir; John Scott, org; Philharmonia O/David Willcocks. Chandos CHAN 8998 5 Façade (1923). Edith Sitwell, speaker; Peter Pears, ten; English Opera Group Ensemble/ Anthony Collins. LP Decca/WRC S/3127 37 Howells, H. Take him, earth for cherishing (1963). Finzi Singers/Paul Spicer. Chandos CHAN 9139 9

Diemen Quartet (all above)

Rossini, G. Overture to The Turk in Italy (1814). National PO/Riccardo Chailly. Decca 400 049-2 8 Squalida veste e bruna, from The Turk in Italy. Cecilia Bartoli, mezz; Roberto di Candia, bar; La Scala Ch & O/Riccardo Chailly. 7 Decca 473 380-2 I vostri cenci vi mando ... Squallida veste, e bruna ... Caro padre, madre amata, from The Turk in Italy. Aleksandra Kurzak, sop; Artur Rucinski, bass-bar; Warsaw Chamber Choir; Sinfonia Varsovia/Pier Giorgio Morandi. Decca 478 3553 10 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 January 2014

fineMusic 102.5

Sunday 5 January 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 Ries, F. Russian dance, from op 113 no 1. Guido Larisch, vc; Robert Hill, fp. cpo 999 666-2 7 Sibelius, J. Five country dances, op 106 (1925). Nils-Erik Sparf, vn; Bengt Forsberg, pf. BIS CD-625 19 Ginastera, A. Dances from the ballet Estancia, op 8a (1943). New World SO/Michael Tilson Thomas. Decca 467 603-2 13

Weelkes, T. Gloria in excelsis Deo.

13:00 WORLD MUSIC: Whirled Wide with Josh Oshlack Showcases diverse music from cultures around the world, both traditional and modern, featuring musicians from all corners of the globe, including Australia

Hymn: O worship the Lord in the beauty of holiness. Brett McKern, org. 3

14:00 SUNDAY SPECIAL The oldest continuing musical dynasty Prepared by Elaine Siversen Benda, J. Sr Violin concerto in G. Josef Suk, vn; Suk CO/Christian Benda. Naxos 8.553902 10 Benda, F. Flute concerto in E minor (arr. Munclinger). Jean-Pierre Rampal, fl; Prague CO/ Martin Turnovsky. Supraphon SU 3648-2 23

10:00 THE DEFINING YEARS Prepared by Barrie Brockwell

Benda, G. Cantata: Cephalus und Aurore (c1780). Emma Kirkby, sop; Timothy Roberts, fp. Hyperion CDA66649 9

Wagenseil, G. Overture to Vincislao (1750). L’Orfeo Barockorchester/Michi Gaig. cpo 999 450-2 5

Sinfonia no 9 in A. Prague CO/Christian Benda. Naxos 8.553409 12

Gluck, C. Divinites du Styx, from Alceste (1776). Maria Callas, sop; French National RO/ Georges Prêtre. EMI EMX2123 4 Haydn, J. String quartet in C, Hob.III:57 (1788). Ysaÿe Quartet. Ysaÿe Records YR 501 21 Sor, F. Fantasy on a favourite Scottish tune, Ye banks and braes, op 40 (c1829-30). Marc Teicholz, gui. Naxos 8.553722 8 Boyce, W. The dirge, from Romeo and Juliet (1750). Opera Restor’d/Peter Holman. Hyperion CDA66935 4 Danzi, F. Clarinet potpourri no 3 in B (pub. 1819). Consortium Classicum. Orfeo C 674 081 A 12 Beethoven, L. Sonata in C, op 2 no 3 (179495). Wilhelm Kempff, pf. DG 429 306-2 25 fineMusic 102.5

January 2014

Sonata in F. Tessa Birnie, pf. Walsingham 3WAL80432

Martin, F. Ballade (1939). Swiss-Italian RO/ Christian Benda. ASV DCA 1082 17 Martinu, B. Pastorales (1930). Christian Benda, vc. Naxos 8.554503 27 Sebastian Benda, pf (2 above)

McKern, B. Lo! The star (2007). Sian Gardner, org. 4 Cathedral Singers/Brett McKern (2 above) TCS 03 Wolf, H. Epiphanias. Elly Ameling, sop; Dalton Baldwin, pf. 5 Dove, J. The star song; We three Kings (2000). Choir of Wells Cathedral; Jonathan Vaughan, org; Matthew Owens, cond. Hyperion CDA 67768 8 Pergolesi, G. Salve Regina, mvt 1. Emma Kirkby, sop; Academy of Ancient Music/ Christopher Hogwood. L’Oiseau-Lyre 425 692-2

Haydn, J. Gloria in excelsis Deo; Agnus Dei; Dona nobis pacem, from Creation mass (1801). Donna Brown, sop; Sally Bruce-Payne, mezz; Peter Butterfield; ten; Gerald Finley, bass; Monteverdi Choir; English Baroque Soloists/ John Eliot Gardiner. Philips 475 101-2 14 18:00 CLASSICAL GUITAR SOCIETY Light of day - Segovia archive Prepared by Dan Sharkey Presti, I. Segovia. Brilliant Classics 9427/3

Castelnuovo-Tedesco, M. Capriccio diabolico, op 85, Homage to Paganini (1935). Brilliant Classics 9427/2 11

16:00 Musica Viva presents Enigma Quartet Recorded by Roger Doyle for FINE MUSIC Haydn, J. String quartet no 4 in B flat, op 76 no 4, Sunrise (1799). 23 Skipworth, L. String quartet.

Monteverdi Choir/John Eliot Gardiner (2 above) Philips 462 050-2

Falla, M. de Dance from La vida breve (1913); Pantomime and Ritual fire dance, from El amor brujo. Guitar Trek. ABC 476 3389 11

Hoffmeister, F. Viola concerto in D. Victoria Chiang, va; Baltimore CO/Markand Thakar. Naxos 8.572162 21

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

Schubert, F. String quartet no 9 in G minor, D173 (1815). 22 Enigma Quartet (all above) 17:00 HOSANNA Prepared by Meg Matthews Various. Joseph Lieber, Joseph mein; Entry of the three Kings; The King of all Kings. 8

Petit, R. Sicilienne. Brilliant Classics 9427/7

Tansman, A. Hommage á Manuel de Falla. Orchestra del Conservitorio di Alessandria/ Paolo Farrera. Brilliant Classics 9427/4 18 Pahissa, J. Cançò en el mar. Brilliant Classics 9427/5 Ermanno Brignolo, gui (all above)

Sunday 5 January

Monday 6 January

19:00 OPERA HIGHLIGHTS

0:00 CLASSIC-ALL THROUGH THE NIGHT

Verdi, G. O tu che in seno agl’angeli, from La forza del destino (1862). Ben Heppner, ten; Munich RO/Roberto Abbado. RCA 09026 62504 2 9

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

Dvorák, A. O silver moon, from Rusalka (1901). Jana Valaškova, sop; Slovak RSO/Johannes Wildner. 6 Korngold, E. Glück, das mir verblieb, from Die tote Stadt (1920). Katarina Dalayman, sop; Thomas Sunnegårdh, ten; Tomtberga School Children’s Ch; Royal Swedish Opera Ch & O/ Leif Segerstam. 6 Naxos 8.555037-38 (2 above) Smetana, B. Chorus from The bartered bride (1866). Ljubljana Ch & RSO/Mirko Cuderman. Master Classics CLS 4101 4 19:30 SUNDAY NIGHT CONCERT Prepared by Jennifer Foong Veracini, F. Overture no 6 in B flat (1716). Musica Antiqua, Cologne/Reinhard Goebel. Archiv 439 937-2 11 Mendelssohn, F. Infelice, op 94 (1834). Janet Baker, mezz; City of London Sinfonia/Richard Hickox. Virgin VC 7 91123-2 10

Debussy, C. Children’s corner suite (1906-08). François-Joël Thiollier, pf. Naxos 8.553291 18 14:00 WEBER IN CHAMBER Prepared by Elaine Siversen

9:00 DIVERSIONS IN FINE MUSIC By arrangement Prepared by Madilina Tresca Sha Han Kun Pastoral (1953; arr. Breiner). Takako Nishizaki, vn; Czecho-Slovak RSO/Kennneth Jean. Marco Polo 8.223350 5 Corelli, A. Les folies d’Espagne, op 5 no 12 (arr. Nordmann). Patrice Fontanarosa, vn; Marielle Nordmann, hp. EMI 5 56359 2 10 Bach, J.S. Sonata no 1 in G minor, BWV1001 (arr. Söllscher). Göran Söllscher, gui. DG 474 815-2 15 Haydn, J. Symphony in G, Hob.I:92, Oxford (1789; arr. Triebensee). Amphion Wind Octet. Accent ACC24232 20 10:00 MORNING CONCERT Prepared by Elaine Siversen Halffter, C. Daliniana (1994). Madrid SO/Pedro Halffter-Caro. Marco Polo 8.225032 19 Boccherini, L. Cello concerto no 10 in D (pub. 1770). Raphael Wallfisch, vc; Northern CO/ Nicholas Ward. Naxos 8.557589 21

Weber, C.M. Andante and Hungarian rondo, op 35 (1809). Laurent Verney, va; Claire Marie le Guay, pf. Pierre Verany PV793121 10 Weber, C.M. Variations on a theme from Silvana, op 33. Dieter Klöcker, cl; Werner Genuit, pf. cpo 999 626-2 16 14:30 THE OTHER SIDE OF ARTHUR SULLIVAN Prepared by Stephen Wilson Sullivan, A. Suite from The tempest, op 1 (1861). BBC PO/Richard Hickox. Chandos CHAN 9859 28 Cello concerto in D (1866; reconstr. Mackerras, Mackie). Julian Lloyd Webber, vc; London SO/ Charles Mackerras. EMI CDM 7 64726 2 17 Symphony in E, Irish (1866). BBC PO/Richard Hickox. Chandos CHAN 9859 36 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

Beethoven, L. Ballet: The creatures of Prometheus, op 43 (1800-01). Scottish CO/ Charles Mackerras. Hyperion CDA66748 1:03

Albéniz, I. Suite española, op 47 (1886; orch. Frühbeck de Burgos). Mexico State SO/Enrique Bátiz. ASV DCA 888 42

21:00 NEW HORIZONS France Prepared by Phll Vendy

11:30 ENCORE

20:00 STORMY MONDAY with Austin Harrison and Garth Sundberg

Halffter, C. Veni creator spiritus (1992). Coro Santo Tomás de Aquino; Madrid SO/Pedro Halffter-Caro. Marco Polo 8.225032 5

22:00 INTO THE 20TH CENTURY France Prepared by Phil Vendy

Boccherini, L. Introduction and fandango (arr. Kain). Guitar Trek. ABC 461 727-2 7

Auric, G. La pastorale (1924). Deutsche Radio Philharmonie Saarbrücken, Kaiserslautern/ Christoph Poppen. Hänssler 93.265 39

Damase, J-M. Rhapsody (1987). Ben Jacks, hn; Queensland O/Barry Tuckwell. Melba MR 301117 15 Ducol, B. Le cri. Ensemble Clément Janequin/ Dominique Visse. Harmonia Mundi HMC 902028 12 Gastinel, G. Marutz (1979). Anne Gastinel, vc; Suzy Bossard, pf. Ottavo OTR C 79032 18 Neuburger, J-F. Maldoror (2010). Jean-Frédéric Neuburger, pf. Mirare MIR 145 20

Albéniz, I. Autumn waltz, op 170 (c1890). Alberto Guinovart, pf. Harmonia Mundi HMI 987007

12:00 SWING SESSIONS with John Buchanan Featuring bands of the 1930s swing era and the dance bands of the 1920s taken from radio broadcasts, transcriptions and recording sessions 13:00 IN PLAYFUL MOOD Prepared by Ron Walledge

Wolff, J-C. Symphony no 2 (1978). Wieslaw Kwasny, vn; Polish R&T SO, Krakow/Szymon Kawalla. VMM 3001 18

Saint-Saëns, C. Carnival of the animals (1886). Anthony Goldstone, pf; Ian Brown, pf; David Strange, vc; Royal PO/Owain Arwel Hughes. ASV QS 6124 22

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

Milhaud, D. Le boeuf sur le toit, op 58a (1919). Czech PO/Libor Pesek. Praga PR 250 007 15

Debussy, C. Rhapsody (1903-05). Alexandre Doisy, sax; Jean-Yves Thibaudet, pf; Lyon NO/ Jun Märkl. Naxos 8.572675 10 Boulanger, L. Soir sur la plaine (1913). Amanda Pitt, sop; Martyn Hill, ten; Peter Johnson, bar; Andrew Ball, Ian Townsend, pf; New London Chamber Choir/James Wood. Hyperion CDA66726 9 Milhaud, D. Carnival in New Orleans, op 275 (1947). Stephen Coombs, pf; Artur Pizarro, pf. Hyperion CDA67014 9 d’Indy, V. Symphony no 2 in B flat, op 57 (1903). Toulouse Capitole O/Michel Plasson. EMI 7 63952 2 45 January 2014

fineMusic 102.5

Tuesday 7 January

Emmanuel Pahud

Paul Dyer

0:00 CONTEMPORARY COLLECTIVE

Mendelssohn, F. Infelice (1843). Cecilia Bartoli, mezz; Maxim Vengerov, vn; O La Scintilla/ Àdám Fischer. Decca 475 9077 12

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

Wagner, R. Siegfried’s funeral music, from Twilight of the gods (1856-71). Cleveland O/ George Széll. CBS M2YK 46466 14

9:00 DIVERSIONS IN FINE MUSIC Artist of choice: Emmanuel Pahud Prepared by Di Cox Vivaldi, A. Flute concerto in D, RV428, Il gardellino. Australian CO/Richard Tognetti. EMI 3 47212 2 9 Schubert, F. Introduction and variations in E minor on a theme from Die schöne Müllerin, D802 (1824). Eric le Sage, pf. naïve V 4863 20 Bach, J.S. Trio sonata in G, BWV1038 (1732-35). Berlin Baroque Soloists. EMI 5 57111 2 7 Schmitt, F. Sonatine en trio op 85 (1935). Paul Meyer, cl. EMI 5 57948 2 8 Messiaen, O. Le merle noir (1951). EMI 5 56488 2

Eric Le Sage, pf (2 above) Emmanuel Pahud, fl (all above) 10:00 MORNING CONCERT Prepared by Rex Burgess Rameau, J-P. Suite from Pygmalion (1748). European Union Baroque O/Roy Goodman. Naxos 8.557490 20 Paganini, N. Violin concerto no 1 in D, op 6 (1811). Alexander Markov, vn; Saarbrücken RSO/ Marcello Viotti. Erato 2292-45788-2 34 28

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January 2014

11:30 KEYBOARD EXCURSIONS Prepared by Rex Burgess Balakirev, M. Islamey: oriental fantasy, op 19 no 6 (1869/1902). Mikhail Pletnev, pf. DG 471 157-2 9 Shostakovich, D. Prelude and fugue in C minor, op 87 no 20 (1951). Alexander Melnikov, pf. Harmonia Mundi HMC 902019.20 9 Prokofiev, S. Sonata no 3 in A minor, op 28 (1907/17). Emil Gilels, pf. Philips 456 796-2 8 12:00 JAZZ RHYTHM with Jeannie McInnes An eclectic blending of agreeable rhythm and melody from the New Orleans jazz roots through to recent decades, including many Australian bands 13:00 SCHUBERT BY AUSTRALIANS Prepared by Philip Lidbury Schubert, F. Symphony no 6 in C, D589 (181718). Australian CO/Charles Mackerras. Omega OCD 1005 33 Schubert, F. Quartet no 12 in C minor, D703, Quartet movement (1820). Juilliard String Quartet. CBS M2YK 45617 12 Symphony no 8 in B minor, D759, Unfinished (1822). Australian CO/Vladimir Kamirsky. Fine Music Tape Archive 37

14:30 MADE IN ITALY Rossini, G. Overture to Tancredi (1813). Tasmanian SO/Ola Rudner. ABC 476 259-9

Vivaldi, A. Concerto in D, RV208, Grosso mogul. Elizabeth Wallfisch, vn; Australian Brandenburg O/Paul Dyer. ABC 476 923-3

Verdi, G. Drink from the joyful glass, from La traviata (1853). Angela Gheorghiu, sop; Roberto Alagna, ten; Berlin PO/Claudio Abbado. EMI 5 56656 2 3 15:00 TRIPLES Prepared by Chris Blower Mozart, W. Trio sonata in B flat, K266 (1777). Academy of St Martin in the Fields Chamber Ensemble. Philips 422 513-2 9 Verdi, G. Io muoio!, from La forza del destino (1862). Rosa Ponselle, sop; Giovanni Martinelli, ten; Ezio Pinza, bass. Naxos 8.110728 8 Beethoven, L. Triple concerto in C, op 56 (1803-04). David Oistrakh, vn; Mstislav Rostropovich, vc; Sviatoslav Richter, pf; Berlin PO/Herbert von Karajan. EMI 5 66902-2 36 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 8 January Puccini, G. Tosca. Opera in three acts. Libretto by Giuseppe Giacosa and Luigi Illica. First performed Rome, 1900.

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

TOSCA: Patricia Racette, sop CAVARADOSSI: Jonas Kaufmann, ten SCARPIA: Bryn Terfel, bass-bar Metropolitan Ch & O/Fabio Luisi. Metropolitan Opera tape

9:00 DIVERSIONS IN FINE MUSIC Aspects of Baroque Prepared by Frank Morrison Geminiani, F. Concerto grosso in A, op 5 no 6 (pub. 1726). I Musici. Philips 438 766-2 9

Jonas Kaufmann

Porpora, N. Parto, ti lascio, O cara, from Germanico in Germania (1732). Cecilia Bartoli, mezz; Il Giardino Armonico/Giovanni Antonini. Decca 478 1521 11

12:00 JAZZ SKETCHES with Robert Vale

Roncalli, C. Sonata in C. Jakob Lindberg, lute. BIS CD-327 7

Zanetti, G. Il scolaro ... per imparare a suonare di violino (1645). Concerto Italiano/Rinaldo Alessandrini. naïve OP 30531 10 Viviani, G. Sonata in C (pub. 1678). Maurice André, tpt; Hedwig Bilgram, org. Decca 478 4664 7 Vivaldi, A. Bassoon concerto no 27 in E flat, RV483 (c1730). Daniel Smith, bn; Zagreb Soloists/Tonko Ninic. ASV DCZ 752 7

13:00 YOUNG VIRTUOSI

15:00 THE SYMPHONIES OF HAYDN Prepared by Chris Blower Cannabich, C. Flute quintet in G, op 7 no 4 (1768-69). Camerata Cologne. cpo 999 544-2 13

10:00 MORNING CONCERT Prepared by Elaine Siversen

Haydn, J. Symphony in D minor, Hob.I:26 Lamentation (c1766). Vienna CO/Ernst Märzendorfer. LP Musical Heritage Society OR H-201-249 18

Mozart, W. Ballet music from Idomeneo, K367 (1781). Cleveland Baroque O/Jeannette Sorrell. Apollo’s Fire AV2159 16

Schubert, F. Piano trio in B flat in one movement, D28 (1812). Beaux Arts Trio. Philips 438 700-2

Dvorák, A. Symphonic variations, op 78 (1880). London SO/István Kertész. Decca 452 946-2

Haydn, J. Symphony in G, Hob.I:27 (c1760-61). Vienna CO/Ernst Märzendorfer. LP Musical Heritage Society OR H-201-249 13

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 11:30 LISZT ENCORE Prepared by Elaine Siversen Liszt, F. Harmonies du soir in D flat (1851). Michele Campanella, pf. Nuova Era 6736

Tristia (1880). Trio Wanderer. Harmonia Mundi HMC 902060

16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with James Hunter 19:00 JAZZ STARS AND STRIPES with Peter Mitchell 20:00 AT THE OPERA Legendary Met performances: 24 April 2010 Prepared by Michael Tesoriero

2:01

Famous soprano Tosca is the jealous lover of Mario Cavaradossi, an artist. Mario is painting in a church from which he helps a revolutionary comrade escape. The evil Scarpia, chief of police, arrests Mario on suspicion. Desiring Tosca, Scarpia promises her lover’s liberty in return for her favours. An angry Tosca agrees. Scarpia orders a fake execution, but when he approaches Tosca, she stabs him. At dawn the execution takes place. Tosca is devastated when she finds her lover is dead. She leaps to her death. 22:30 HOMAGE TO APOLLO Prepared by Derek Parker Stravinsky, I. Ballet: Apollo (1947). London SO/Robert Craft. Naxos 8.557502 28 Pichl, V. Symphony concertante in D, op 6, Apollo. Oradea PO/Romeo Rîmbu. Olympia OCD 434 23 Taneyev, S. Apollo’s temple in Delphi, from The Oresteia (1895). Moscow Radio & TV SO/ Vladimir Fedoseyev. LP Melodiya 33C 10-08045-46 4 Strauss, R. Gesang der Apollopriesterin, op 33 no 2 (1896). Felicity Lott, sop; Scottish NO/ Neeme Järvi. Chandos CHAN 9159 7 Britten, B. Young Apollo, op 16 (1939). Gidon Kremer, vn; Yuri Bashmet, va; Nikolai Lugansky, pf; Hallé O/Kent Nagano. Apex 2564 67391 7 7 Saint-Saëns, C. Apparition de Phoebus Apollo et des neuf Muses, from Ascanio (1880). O Victoria/Guillaume Tourniaire. Melba MR301130 2 Bliss, A. Hymn to Apollo (1926/65). Ulster O/ Vernon Handley. Chandos CHAN 8818 11

January 2014

fineMusic 102.5

Thursday 9 January 13:00 SONGS OF A GREAT CITY Prepared by Chris Blower

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

Mozart, W. Symphony no 31 in D, K297, Paris (1778). Mozart Akademie Amsterdam/Jaap ter Linden. Brilliant Classics 94295 10

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

Svendsen, J. Carnival in Paris, op 9 (1872). Bergen PO/Neeme Järvi. Chandos CHAN 10693

Sutherland, M. Concerto for strings (1945). Queensland SO/Patrick Thomas. LP ABC AC 1008 11

Ibert, J. Paris, symphonic suite (1930). Montreal SO/Charles Dutoit. Decca 440 332-2

Sonata (1949). Nigel Westlake, cl; David Bollard, pf. Tall Poppies TP004 8

Telemann, G. Paris quartet no 6 in E minor (1738). Musica ad Rhenum. Radio Nederland MCCP123 19

In the dim counties; O mistress mine; Midnight. Helen Noonan, sop; Peter Locke, pf. Newmarket NEW1042.2 8

Delius, F. Paris, song of a great city (18991900). London SO/Anthony Collins. Belart 461 3582 10 24

Voices I and II (1968). David Lockett, pf. ABC 441 934-2

14:30 KEYBOARD CONTRASTS Prepared by Brian Drummond

Haunted hills (1953). Melbourne SO/Patrick Thomas. ABC 446 285-2 15 10:00 MORNING CONCERT Prepared by Heather Sykes Glinka, M. Dances in Naina’s castle, from Ruslan and Ludmila (1842). USSR SO/Yevgeny Svetlanov. Melodiya SUCD 10-00166 15 Mozart, W. Double concerto in C, K299 (1778). Joanna Kontowicz, fl; Beata Kaminska, hp; Lódz CO/Zdzislaw Szostak. Brilliant Classics 99512 28 D’Indy, V. Symphonie italienne in A minor. Iceland SO/Rumon Gamba. Chandos CHAN 10660 37 11:30 GUITAR PLUS Prepared by Heather Sykes Carulli, F. Nocturne in A, op 190. Jean-Pierre Rampal, fl; Alexandre Lagoya, gui. CBS MK 42130 9 Giuliani, M. Sonata in C. Dieter Klöcker, cl; Sonja Prunnbauer, gui. Dabringhaus Grimm MD&GL 3319 15 12:00 JAZZ, PURE AND SIMPLE with Maureen Meers 30

fineMusic 102.5

January 2014

Byrd, W. The bells. Robert Aldwinckle, hpd. IMP PCD 850 6 Ravel, M. Vallé des cloches, from Miroirs (1905). Vlado Perlemuter, pf. Nimbus NI7713/4

Bach, J.S. Toccata in D, BWV912 (bef. 1714). Ivo Janssen, pf. VOID 9802 12 Schumann, R. Toccata, op 7 (1829-32). Vladimir Horowitz, pf. CBS MK 42409 Pachelbel, J. Ciacona in F minor. Douglas Lawrence, org. Move MD 3013

Chopin, F. Berceuse in D flat, op 57 (1843-44). Fou Ts’ong, pf. Sony SBK 53 515 5 Mendelssohn, F. Prelude and fugue in A flat, op 35 no 4 (1832-37). Benjamin Frith, pf. Naxos 8.550939 9 Couperin, L. Suite in A, from Pièces de clavecin. Richard Eggar, hpd. Harmonia Mundi HMU 907511.14

Debussy, C. Suite bergamasque (1905). Roy Howat, pf. Tall Poppies TP165 16

16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Marilyn Schock 19:00 JAZZ VIBES with Matt Bailey 20:00 EVENINGS WITH THE ORCHESTRA The concertos of Paganini Prepared by Elaine Siversen Süssmayr, F. Concerto movement in D (1792; compl. Freyhan). Thea King, cl; English CO/ Leopold Hager. Hyperion CDA66504 10 Paganini, N. Variations on Süssmayr’s La streghe, op 8 (1813). Salvatore Accardo, vn; London PO/Charles Dutoit. DG 423 717-2 10 Mercadante, S. Flute concerto in E (1813). Jean-Pierre Rampal, fl; English CO/Claudio Scimone. LP Erato STU 1320 21 Schubert, F. Symphony no 1 in D, D82 (1813). Royal Concertgebouw O/Nikolaus Harnoncourt. Teldec 4509-91184-2

Paganini, N. Violin concerto no 0 (formerly no 6) in E minor, op posth (bef. 1815). Salvatore Accardo, vn; London PO/Charles Dutoit. DG 437 210 2 40 22:00 CHAMBER SOIRÉE Prepared by Paul Hopwood Beethoven, L. Sextet, op 81b (c1795). L’Archibudelli. Sony SK 48076

Schubert, F. Trio 1 in B flat, D898 (1827). Hansheinz Schneeberger, vn; Thomas Demenga, vc; Jörg Ewald Dähler, fp. Claves 50-9112

Mozart, W. Quartet no 3 in C, K285b (1777). Marc Grauwels, fl; Brussels Virtuosi. Hyperion CDA66392 16 Bach, C.P.E. Sonata no 5 in B flat, Wq130 (174647). Alain Marion, fl; Daniele Roi, hpd. Fonè 89 F 02-26 12 Hummel, J. Quartet in G, op 30 no 2 (1804). Delmé String Quartet. Hyperion CDA66568 25

Friday 10 January 12:00 NOONTIME JAZZ with Peter Mitchell

19:00 FRIDAY JAZZ SESSION with Sally Cameron

13:00 INSPIRED BY ART Prepared by Brian Drummond

20:00 THE ROMANTIC CENTURY Prepared by Judy Ekstein

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

Rachmaninov, S. Symphonic poem: The Isle of the Dead, op 29 (1909). Melbourne SO/ Markus Stenz. ABC 465 681-2 21

Mendelssohn, F. Overture: Calm sea and prosperous voyage, op 27 (1828). Slovak PO/ Oliver Dohnányi. Naxos 8.554433 14

Gál, H. Intermezzo (arr. Hooper). Sydney Mandolins/Adrian Hooper. Jade JAD 1124

Liszt, F. Sposalizio. Leslie Howard, pf. Hyperion CDA67233/4

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

Harty, H. In Ireland (1915). Amanda Hollins, fl; Richard Mapp, pf. atoll ACD 902 7

Castelnuovo-Tedesco, M. The sleep of reason produces monsters (1961). Zoran Dukic, gui. Naxos 8.572252 5

Neukomm, S. Serenade in B flat (1796). Consortium Classicum. Schwann 310 002 H1

Respighi, O. Trittico Botticelliano (1927). Accademia Bizantina/Carlo Chiarappa. Denon CO-78916

Haydn, J. String quartet in D minor, Hob.III:83 (1803). L’Archibudelli. Sony SK 62731 11 Chausson, E. Poème, op 25 (1896). Philippe Graffin, vn; Pascal Devoyon, pf; Chilingirian Quartet. Hyperion CDA67028 15 10:00 MORNING CONCERT Prepared by Angela Bell Rossini, G. Overture to The thieving magpie (1817). Montreal SO/Charles Dutoit. Decca 460 590-2 10 Mendelssohn, F. Double concerto in D minor (1823). Kristian Bezuidenhout, fp; Freiburg Baroque O/Gottfried von der Goltz, vn & dir. Harmonia Mundi HMC 902082 37 Trad. The last rose of summer. Cheryl Barker, sop; Timothy Young, pf. Melba MR301129 5 Elgar, E. Variations on an original theme, op 36, Enigma (1898-99). London SO/Barry Tuckwell. IMP PCD 913 30 11:30 ART SONG Prepared by Jan Brown Schubert, F. Viola, D786 (1823). Dietrich Fischer-Diskau, bar; Gerald Moore, pf. DG 477 5765

14:00 THE ART OF HÅKAN HARDENBERGER Prepared by Jan Brown

Schubert, F. Fantasie in F minor, D940 (1828). Darryl Coote, Max Cooke, pf. Move MD 3158 17 Brahms, J. Variations on a theme by J. Haydn, op 56a, St Anthoni chorale (1873). Scottish CO/Charles Mackerras. Telarc 80450 17

Clarke, J. Suite in D (c1705). Simon Preston, org. Philips 434 074-2 11

Heinze, G. Concert piece in F. Thea King, cl; English CO/James Judd. Hyperion CDD 22017 14

Hummel, J. Trumpet concerto in E (1803). Academy of St Martin in the Fields/Neville Marriner. Philips 420 203-2 18

Beethoven, L. Sonata no 9 in A, op 47, Kreutzer (1802-03). Joseph Szigeti, vn; Claudio Arrau, pf. Vanguard 08 8063 74 35

Telemann, G. Heroic music, TWV50:31-42 (1728). 19

22:00 BAROQUE AND BEFORE Prepared by Philip Lidbury

Gounod, C. Ave Maria (1853).

Simon Preston, org (2 above) Philips 434 074-2 Håkan Hardenberger, tpt (all above) 15:00 SERENADE Prepared by Angela Bell Larsson, L-E. Little serenade, op 12 (1937). Stockholm Chamber Ensemble. Swedish Classics SCD 1051 10

Smyth, E. Serenade in D (1890). BBC PO/ Odaline de la Martinez. Chandos CHAN 9449 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Derek Parker

Locatelli, P. Concerto a 4 in E flat, Il pianto d’Arianna (pub. 1741). Bernhard Forck, vn & dir. Harmonia Mundi HMC 902072 15 Telemann, G. Overture in C, Hamburg ebb and flow (1723). Maurice Steger, rec. Harmonia Mundi HMC 901917 25

Donizetti, G. Serenade (c1820). Dieter Klöcker, cl; Sonja Prunnbauer, gui. Dabringhaus & Grimm MD&G L 3319 8

Schumann, C. Beim Abschied (1846); Walzer (1834). Stephen Loges, bar; Eugene Asti, pf. Hyperion CDA67249 7 Wolf, H. Wo find’ ich Trost? Arleen Auger, sop; Irwin Gage, pf. Hyperion CDA66590

Crusell, B. Introduction and variations on a Swedish air, op 12 (1804/29). Thea King, cl; London SO/Alun Francis. Hyperion CDD 22017 10

Handel, G. Arias from Rodelinda, HWV19 (1725). Andreas Scholl, ct. Harmonia Mundi HMC901685

Platti, G. Concerto grosso no 10 in F after Corelli. George Kallweit, vn & dir. Harmonia Mundi HMC 901996 10 Bach, J.L. Trauermusik: Prima Pars (1724). Anna Prohaska, sop; Ivonne Fuchs, cont; Maximilian Schmitt, ten; Andreas Wolf, bass; RIAS Kammerchor/Hans-Christoph Rademann. Harmonia Mundi HMC 902080 25 Bach, J.S. Brandenburg concerto no 1 in F, BWV1046 (1720). Harmonia Mundi HMG 501634.35 20 Akademie für Alte Musik (6 above) January 2014

fineMusic 102.5

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

15:30 AT THE MOVIES Prepared by Pat Hopper

6:00 SATURDAY MORNING MUSIC with David Garrett

Gershwin, G. Original soundtrack: An American in Paris. Gene Kelly, Oscar Levant, Georges Guetary, voices; MGM Studio O/ Johnny Green. CBS Special Products AK 45391 54

9:00 FRENCH MINIATURES Prepared by Rex Burgess Chausson, E. Excerpts from incidental music to The tempest, op 18 (1888). BBC PO/Yan Pascal Tortelier. Chandos CHAN 9650 8

16:30 ARTS IN FOCUS with Sydney Youth Orchestra Produced by Debbie Scholem

Chabrier, E. Lamento. Jean-Marc Jordan, cora; Monte Carlo PO/Hervé Niquet. Naxos 8.554248 8 Chaminade, C. Concertino, op 107 (1902). Manuela Wiesler, fl; Helsingborg SO/Philippe Auguin. BIS CD-529 8 9:30 SPOTLIGHT ON WILHELM STENHAMMAR Prepared by Francis Frank Stenhammar, W. Symphonic overture: Excelsior!, op 13 (1896). DG 445 857-2

Songs (1908): The wanderer; Maiden blond and maiden brunette; A seaside song; In the maple’s shade; Jutta comes to the Volkungs. Anne Sofie von Otter, mezz; Bengt Forsberg, pf. DG 449189-2 12 Serenade in C, op 29. Uppsala Chamber Soloists. LCM C 115 19 The wanderer; Butterfly orchid; A ship sails; Coastal song, from Songs and moods, op 26 (1903-04). Peter Mattei, bar; Bengt-Ake Lundin, pf. BIS CD-654 11 Two sentimental romances, op 28 (c1900). Semmy Stahlhammer, vn; Love Derwinger, pf. nosag 4049 11 Midwinter, op 24 (1907). Gothenburg Concert Hall Choir; Gothenburg SO/Neeme Järvi. BIS CD-438 12 Piano concerto no 2 in D minor, op 23 (1904-07). János Solyom, pf; Munich PO/Stig Westerberg. EMI CDM 5 65081 2 29 11:30 ON PARADE Australian Army and Navy Bands Prepared by Robert Small Alford, K. Colonel Bogey march (1914). Craig Johnson, cond. 3 Martin, T. Vietnam Vets march. Tom Martin, cond. 3 Australian Army Band (2 above) Lovelock, W. Naval occasions. 32

fineMusic 102.5

January 2014

Gene Kelly and Leslie Caron Grainger, P. Children’s march: Over the hills and far away (1918). 7 Hurst, M. Proud horizons.

17:00 COLOURS OF THE KING Program of the Organ Music Society of Sydney Prepared by Andrew Grahame

Pachelbel, J. Præludium in D minor.

Couperin, F. Fugue, from Mass for the Parishes.

Concert Band of the RAN/G.D. Coxon (3 above) LP EMI SCXO 8015

Frescobaldi, G. Toccata: Messa della Domenica, from Fiori musicali; Canzon Dopo 4 l’Epistola.

12:00 JAZZ THEN AND NOW with Michael Cooper

Bach, J.S. Excerpts from Concerto in G.

Clérambault, L-N. Basse et dessus de trompette.

Bach, J.S. Excerpts from Pastorale in F, BWV590.

13:00 HISTORIC RECORDINGS Prepared by Elaine Siversen Brahms, J. Klavierstücke, op 119 (bef. 1893). Philips 456 862-2 16 Beethoven, L. Piano concerto no 5 in E flat, op 73, Emperor (1809). Berlin PO/Ferdinand Leitner. LP DG 2721 066 38 Wilhelm Kempff, pf (2 above) 14:00 MUSICAL EXPLORATIONS Pole to Pole Prepared by Stephen Schafer Borodin, A. In the Steppes of Central Asia (1880). USSR State SO/Evgeny Svetlanov. Melodiya MEL10 01946 9 Verdi, G. Prologue to Attila (1846). Cheryl Studer, sop; Ernesto Gavazzi, ten; Neil Shicoff, ten; Giorgio Zancanaro, bar; Samuel Ramey, bass; La Scala Ch & O/Riccardo Muti. EMI 7 49952-2 38 Komitas. Krunk (arr. Sharafyan). Emmanuel Hovhannisyan, dudok; Alexander Chaushian, vc; Vache Sharafyan, pf. BIS CD-1948 5 Various. Menk kadj tohmi; Akna krunk; Kani vur djan im; Chant et Danse. Hespèrion XXl/ Jordi Savall. Alia Vox AVSA 9892 15 Khachaturian, A. Entrance; Adagio Gayane; Sabre dance, from Gayaneh suite (1942). Czech PO/Zden Supraphon SU 4094-2 10

Chorale preludes: Jesu, meine Freude, BWV612; Puer natus in Bethlehem, BWV603; Nun komm’ 9 der heiden Heiland, BWV659. Daquin, L-C. Noël no 10.

Michael Colin, org (all above) Harmonia Mundi PR 5863 18:00 AUSTRALIAN COMPOSERS’ HOUR Prepared by Frank Morrison Carr-Boyd, A. Mandolin music (1990). Sydney Mandolins/Adrian Hooper. 9 Jade JADCD 1022 Edwards, R. Mountain village in a clearing mist (1973). Tasmanian SO/Richard Mills. ABC 476 227-0 15 Foster, G. Four voyages (1985). Mira Yevtich, pf. Bel Air Music BAM 2041 12 Vine, C. String quartet no 4 (2004). Takács Quartet. Tall Poppies TP176 17 19:00 THE MAGIC OF STAGE AND SCREEN Prepared by Maureen Meers Kander, J. Excerpts from Chicago (1975). Chita Rivera, Gwen Verdon, Jerry Orbach, voices; members of the original Broadway Cast. Masterworks Broadway 88697 56209 2 19

Saturday 11 January Bernstein, L. Excerpts from West Side story (1957). Larry Kent, Carol Lawrence, Chita Rivera, voices; members of the original Broadway cast. Columbia SK 60724 13

Sunday 12 January 0:00 CLASSIC-ALL THROUGH THE NIGHT

14:00 WOMEN IN MUSIC Composers and conductors Prepared by Sheila Catzel

6:00 SUNDAY MORNING MUSIC with Robert Small 9:00 MUSIC OF THE DANCE Prepared by Chris Blower

Martines, M. Sinfonia in C (1770). Bay Area Women’s PO/JoAnn Falletta. Newport Classic NCD 60102 15

Strauss, J. II Emperor waltz, op 437 (1889). Strauss FO/Ondrej Lenárd. Naxos 8.578041-42 11

Mendelssohn, Fanny. String quartet in E flat (1834). Erato Quartet Basel. cpo 999 679-2 20

20:00 LIVE AND LOCAL Part 1: Sydney Omega Ensemble Recorded by Roger Doyle for FINE MUSIC

Strauss, Josef. Waltz: The good old days, op 26. Boskovsky Ensemble/Willi Boskovsky. Decca 436 784-2 8

Schumann, C. Variations on a theme by Robert, op 20 (1853). Veronica Jochum, pf. Pro Arte CDD 396

Mozart, W. Quartet no 4 in A, K298 (1786). Lisa Osmialowski, fl; Emily Long, vn. 11

Strauss, J. I Philomel waltz, op 82. Vienna PO/ Riccardo Muti. DG 474 900-2 6

Gershwin, G. Rhapsody in blue (1924). Steven Barta, tpt; Jean-Yves Thibaudet, pf; Baltimore SO/Marin Alsop. Decca 478 2189 17

Heuberger, R. Waltz, from The opera ball (1898). Vienna SO/Robert Stolz. Eurodisc 258 667

Boulanger, L. Psalm 24 (1916). Ian Partridge, ten; BBC Symphony Ch & O/Nadia Boulanger. 4 BBC BBCL 4026-2

Lanner, J. Evening star waltz, op 180 (1841). Boskovsky Ensemble/Willi Boskovsky. Vanguard OVC 8015 7

Bloch, E. Suite hébraïque (1925-27). Hagai Shaham, vn; Atlas Camerata O/Dalia Atlas. Naxos 8.557151 13

Strauss, J. II Sound waves, waltz, op 148 (1854). Polish State PO/Oliver Dohnányi. Marco Polo 8.223208

Beach, A. Piano quintet in F sharp, op 67 (1907). Endellion Quartet; Martin Roscoe, pf. ASV DCA 932 27

Strouse, C. Excerpts from Bye, Bye Birdie. Janet Leigh, Dick van Dyke, Ann Margret; Maureen Stapleton, voices; members of the original film cast. RCA Victor 8287654217-2 18

Britten, B. Phantasy quartet, op 2 (1932). Matthew Tighe, ob.

Devienne, F. Quartet in C, op 73 no 1 (c1800). 14 Katie Betts, vn (2 above) Martinu, B. Nonet in F, H374 (1959).

Lutoslawski, W. Dance preludes.

Lisa Osmialowski, fl; Matthew Tighe, ob; David Rowden, cl; Michael Dixon, hn; Emily Long, vn; Jacqueline Dossor, db (2 above) Ben Hoadley, bn (3 above) Jacqui Cronin, va; Rowena Macneish, vc (all above)

16:00 DVORÁK IN CHAMBER Prepared by Chris Blower

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

21:15 Part 2: Rhapsody

Piccinni, N. Overture to Iphigenia en Tauride (1781). Tasmanian SO/Richard Divall. LP ABC 5ABCL 8001 8

Bartók, B. Rhapsody no 2 (1922/45). Dene Olding, vn; Max Olding, pf. Fine Music Tape Archive 12

Kuhlau, F. Sonatina in C, op 55 no 6 (pub. 1823). Jenö Jandó, pf. Naxos 8.570710 11

21:30 ORCHESTRAL MINIATURES Prepared by Rex Burgess

Pugnani, G. Quintet no 2 in C. Ensemble L’Astrée. Symphonia SY 93S21

Mozart, W. Horn concerto no 1 in D, K412 (1791). Barry Tuckwell, hn; London SO/Peter Maag. Decca 466 247-2 9 Alkan, C-V. Chamber concerto in C sharp minor, op 10 no 2 (1834). Marc-André Hamelin, pf; BBC Scottish SO/Martyn Brabbins. Hyperion CDA66717 8 Beethoven, L. Romance no 2 in F, op 50 (1798). Anne-Sophie Mutter, vn; New York PO/ Kurt Masur. DG 471 349-2 8 22:00 AFTER HOURS with Kevin Jones

Haydn, M. Symphony no 4 in B flat (1763). Slovak CO/Bohdan Warchal. cpo 999 152-2 18 Cherubini, L. String quartet no 5 in F (1835). Hausmusik London. cpo 999 464-2 26 Haydn, J. Symphony in E flat, Hob.I:103, Drumroll (1785). Collegium Musicum 90/Richard Hickox. Chandos CHAN 0655 30 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 with Anna Tranter

Dvorák, A. Sonatina in G, op 100 (1893). Gil Shaham, vn; Orli Shaham, pf. DG 449 820-2 18 String quartet no 1 in A, op 2 (1862). Vlach Quartet Prague. Naxos 8.557357 37 17:00 HOSANNA Prepared by Heather Sykes Hymns: Praise ye the Lord; Ye choirs of new Jerusalem; Love divine, all love excelling; Praise, my soul, the King of heaven. Choir of St Paul’s Cathedral; John Scott, org; Barry Rose, cond. Guild GMCD 7106 12 Duruflé, M. Introit for the feast of the Epiphany; Prelude on the Introit for the feast of the Epiphany (c1960). Schola of St Patrick’s Cathedral, Melbourne; Edward Theodore, org. Move MD 3102 5 Bortnyansky, D. Sacred concerto no 20 (c1792). Russian State Symphonic Cappella/ Valery Polyansky. Chandos CHAN 9840 13 Hymns: Brightest and best; The three kings; O worship the Lord; Tantum ergo; And I saw a new heaven; Hail to the Lord’s anointed. Choir of Christ Church St Laurence; Peter Jewkes, org; Neil McEwan, cond. CCSL 05 24 January 2014

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Sunday 12 January

Monday 13 January 0:00 CLASSIC-ALL THROUGH THE NIGHT

18:00 SYDNEY SCHUBERT SOCIETY Prepared by Jan Brown Schubert, F. The trout, D550 (c1817-20). Bryn Terfel, bass-bar; Malcolm Martineau, pf. DG 445 294-2 2

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

Atterberg, K. Ballad without words, op 56 (1957-58). Norrköping SO/Jun’ichi Hirokami. BIS CD-553 18

Piano quintet in A, D667, Trout (1819). Members of Nash Ensemble. IMP PCD 868 45

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

The trout, D550 (transcr. Liszt). Marina Kolomiiseva, pf. ABC 476 160-3

Liszt, F. Polonaise brillante, after Weber (1851). Michel Béroff, pf; Gewandhaus O/Kurt Masur. EMI CZS 7 67214 2 10

19:00 OPERA HIGHLIGHTS Prepared by Giovanna Grech Mascagni, P. O Lola, from Cavalleria rusticana (1890). José Carreras, ten; Philharmonia O/ Riccardo Muti. EMI 7639332 8 Verdi, G. Surta è la notte ... Ernani, Ernani, involami, from Ernani (1844). Leontyne Price, sop; Israel PO/Zubin Mehta. Award AW 19128 6

Vivaldi, A. Concerto no 4 in G minor, RV316a (transcr. J.S. Bach). Pierre Bardon, org; Munich Pro Arte O/Kurt Redel. Pierre Verany PV79801 10 Böhm, T. Nel cor più non mi sento in D, op 4, after Paisiello. Michel Debost, fl; Barton Weber, pf. LP Orfeo S 018822 H 10

Mozart, W. Il mio tesoro, from Don Giovanni, K527 (1787). Peter Schreier, ten; Prague NTO/Karl Böhm. DG 435 181 5

Chopin, F. Introduction and polonaise brillante in C, op 3 (1829; transcr. Trio Chausson). Trio Chausson. Mirare MIR 089

Puccini, G. Ah,quegli occhi ... Qual’ occhio al mondo, from Tosca (1900). Leontyne Price, sop; Guiseppe di Stefano, ten; Vienna PO/ Herbert von Karajan. Decca 455 640 5

Marcello, A. Oboe concerto in C minor (transcr. Williams). John Williams, gui; Academy of St Martin in the Fields/Kenneth Sillito. CBS MK 39560 12

19:30 SUNDAY NIGHT CONCERT Prepared by Frank Morrison

10:00 MORNING CONCERT Prepared by Derek Parker

Ziehrer, C. Hereinspaziert, op 518 (c1904). Berlin SO/Robert Stolz. Eurodisc 258 667

Spohr, L. Notturno in C, op 34 (1815). Consortium Classicum/Dieter Klöcker. Orfeo C 155 871 A

Smetana, B. From Bohemia’s fields and groves, from My country (1875). Vienna PO/Nikolaus Harnoncourt. Teldec 0927-44890-2 14 Brixi, F. Organ concerto no 2 in G (c1760). Alena Veselá, org; Bohuslav Martinu CO/ Frantisek Jílek. Supraphon 11 0633-2 20 Prokofiev, S. Symphony no 6 in E flat, op 111 (1947). Ukranian State SO/Theodore Kuchar. Naxos 8.553069 41 21:00 NEW HORIZONS Prepared by Elaine Siversen Shostakovich, D. Quartet no 15 in E flat minor, op 144 (1974). Borodin String Quartet. EMI C 7 49270-2 37 Boiko, R. Excerpts from Vyatka songs (1982). Alexander Vedernikov, bass; USSR TV and Radio Russian Folk Ch; USSR SO/Yevgeni Svetlanov. LP Melodiya C10 19467 008 18 Shchedrin, R. Concerto for orchestra no 4, Khorovody (1989). Bournemouth SO/Kitill Karabits. Naxos 8.572405 28 22:30 ULTIMA THULE 34

Maxwell Davies, P. Cross Lane Fair (1994). BBC PO/Peter Maxwell Davies. Collins 14602 14

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January 2014

Hummel, J. Piano concerto no 4 in E, op 110 (1825). London Mozart Players/Howard Shelley, pf & dir. Chandos CHAN 9687 31 Hoffmann, E. Symphony in E flat (1805-06). Concerto Bamberg/Rolf Beck. Schwann 3-1148-2 21 11:30 FIGARO FOR WIND ENSEMBLE Prepared by Ron Walledge Mozart, W. Figaro for wind ensemble (1786; arr. Wendt). The London Wind Soloists/Jack Brymer. Decca SDD 280 25 12:00 SWING SESSIONS with John Buchanan

14:00 MUSIC FOR THE LARGER CHAMBER Prepared by Philip Lidbury Boccherini, L. Quintet in F, op 45 no 2 (1797). Sarah Francis, ob; Allegri String Quartet. Decca 433 173-2 11 Berwald, F. Grand septet (1842). Gervase de Peyer, cl; Melos Ensemble. EMI 5 65995 2 23 Gade, N. String octet in F, op 17 (pub. 1848). L’Archibudelli; Smithsonian Chamber Players. Sony SK 48307 29 Danzi, F. Quintet in G minor, op 56 no 2 (pub. 1821). Sydney Wind Quintet. Fine Music Tape Archive 13 Tchaikovsky, P. String sextet in D minor, op 70, Souvenir de Florence (1890/91-92). Yuri Bashmet, va; Natalia Gutman, vc; Borodin String Quartet. EMI 7 64879 2 34 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 Shostakovich, D. Quartet no 2 in A, op 68 (1944). Borodin String Quartet. EMI CDC 7 49267-2 38 Vaughan Williams, R. Symphony no 9 in E minor (1956-57/58). London PO/Adrian Boult. EMI CDC 7 47214 2 35

13:00 CROSSWORDS Prepared by Randolph Magri-Overend Boyd, A. As I crossed a bridge of dreams (1975). Sydney Chamber Choir/Nicholas Routley. Tall Poppies TP127

Mendelssohn, F. Songs without words, bk 6, op 67 (1843-45). Daniel Barenboim, pf. DG 453 061-2 11

Khachaturian, A. Violin concerto (1940). Mischa Elman, vn; Vienna State Opera O/ Vladimir Golschmann. Vanguard OVC 8035 38

Tuesday 14 January Gamley, D. Overture on colonial themes (1987). Sydney SO; Band of Second Military District HQ/William Reid. LP Philips 834 740-1 15

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

Franck, C. Panis angelicus (1872; arr. Gamley). Wandsworth School Boys’ Choir; National PO/ Kurt Adler. 4

9:00 DIVERSIONS IN FINE MUSIC Artist of choice: Nikolai Demidenko Prepared by Barrie Brockwell

Rossini, G. La danza (arr. Gamley). Bologna Comunale TO/Richard Bonynge. Decca 475 9349 3

Bach, J.S. Prelude in E flat, BWV552, St Anne (pub. 1739; transcr. Busoni). Hyperion CDA66566 10 Scarlatti, D. Sonata in B minor, Kk377 (pub. 1754). Hyperion CDA66781/2 3 Medtner, N. Theme and variations in C sharp minor, op 55 (c1933). Helios CDH55315 10 Kalkbrenner, F. Nocturne in A flat, op 129 (1837). Hyperion CDA66781/2 4 Rachmaninov, S. Suite no 2 in C, op 17 (190001). Dmitri Alexeev, pf. Hyperion CDA66654 21 Nikolai Demidenko, pf (all above)

Nikolai Demidenko

Wassenaer, U. Concerto no 6 in E flat, from Concerti armonici (pub. 1740). Brandenburg Consort/Roy Goodman. Hyperion CDA66670 9 Röntgen, J. Violin concerto in A minor (1902). Liza Ferschtman, vn; German State PO, Rheinland-Pfalz/David Porcelijn. cpo 777 437-2 34 Brahms, J. Symphony no 3 in F, op 90 (1883). Vienna PO/István Kertész. Decca 448 200-2 37 11:30 ART SONG Prepared by Jan Brown 2

Beethoven, L. Wonne der Wehmut, op 83 no 1 (1810). 3 Elisabeth Schwarzkopf, sop (2 above) EMI 5 66084 2

Liszt, F. Concert étude no 3, Un sospiro (c1848; arr. Gamley). Abbey Simon, pf; Sinfonia of London/Robert Irving. EMI CDM 1 66431 2 6

12:00 JAZZ RHYTHM with Jeannie McInnes 13:00 BOLD AS BRASS Prepared by Philip Lidbury Richter, F. Trumpet concerto in D (1760s). Maurice André, tpt; Munich CO/Hans Stadlmair. Decca 478 4664 15 Czerny, C. Introduction et variations concertantes, op 248. Andrew Clark, hn; Geoffrey Govier, fp. Helios CDH55074

10:00 MORNING CONCERT Prepared by Barrie Brockwell

Pergolesi, G. Se tu m’ami, se tu sospiri.

Luciano Pavarotti, ten (2 above) Decca 475 9349

Kuhlau, F. Concertino in F minor, op 45 (1821). Ib Lazky-Otto, hn; Frøydis Ree Wekre, hn; Odense SO/Othmar Maga. Unicorn-Kanchana DKPCD 9110 23

Sarti, G. Lungi dal caro bene, from Guilio Sabino (1781; arr. Gamley).

Bononcini, G. Deh più a me non v’ascondete (1781; arr. Gamley). 2 Scarlatti, A. Le violette, from Il Pirro e Demetrio (arr. Gamley).

Renata Tebaldi, sop; New Philharmonia O (3 above)

Melani, A. Sonata a 5 in C. Crispian SteelePerkins, tpt; Alison Balsom, tpt; Peter Holman, org; Parley of Instruments. Hyperion CDA67359 10

Auber, D-F-E. Cello concerto no 1 (c1804; orch. Gamley). Jascha Silberstein, vc; Suisse Romande O. 16 ABC 475 070-2 (4 above)

Albrechtsberger, J. Trombone concerto in B flat (1769). Northern Sinfonia/Alain Trudel, tb & dir. Naxos 8.553831 17

Richard Bonynge, cond (5 above)

14:30 THE ART OF DOUGLAS GAMLEY Prepared by Chris Blower Lehár, F. Overture to The merry widow (1905; arr. Gamley). Australian Pops O/Douglas Gamley. WEA 9031-72815-2 8 Bishop, H. Home, sweet home (1823; arr. Gamley).

Gerald Moore, pf (3 above)

Mendelssohn, F. On wings of song, op 34 no 2 (1836; arr. Gamley). 2 Yvonne Kenny, sop; Melbourne SO/Vladimir Kamirski (2 above) ABC 442 509-2

16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Michael Morton-Evans 18:00 SYDNEY SYMPHONY 2014 Produced by Peter Kurti

Beethoven, L. An die ferne Geliebte, op 98 (1816). Dietrich Fischer-Dieskau, bar. Orfeo C 140501 A 13

Schubert, F. An die Musik, D547 (1819). Tim Du Fore, bar; Gerard Willems, pf. MBS 40 3

Gamley, D. Suite: Viennese ball, after themes by Johann Strauss I, Johann Strauss II and Joseph Strauss (1973). National PO. Decca 452 772-2 13

What’s on in concerts during the next month 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 January 2014

fineMusic 102.5

Wednesday 15 January 11:30 HIGHLIGHTS FROM LA BOHÈME Prepared by Giovanna Grech Puccini, G. O soave fanciulla, from La bohème (1896). Emily Burke, sop; Roy Best, ten; Sinfonia Australis/Andrew Green. ABC 476 5714 4 Quando m’en vo’ soletta, from La bohème. Amelia Farrugia, sop; BBC SO/Alexander Briger. Decca 987 523 3 Marcello finalmente, from La bohème. Katia Ricciarelli, sop; Ashley Putnam, sop. 15 MuhaiTang. Photo - Jef Rabillon

In un coupé? ... O Mimi, tu più non torni, from La bohème. 5

0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN

José Carreras, ten; Ingvar Wixell, bar; Royal Opera House O/Colin Davis (2 above) Philips 416 492-2

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

Pasquini, B. Bergamasca. Philip Swanton, org. LP Thorofon Capella MTH 286 2 Corelli, A. Follia, op 5 no 12 (pub.1694). Il Giardino Armonico. Nuova Era 6789

Locatelli, P. Violin sonata in E flat, op 6 no 11 (1737). Locatelli Trio. Hyperion CDA66363 13 Caccini, G. Amarilli mia bella. Janet Baker, mezz; Academy of St Martin in the Fields/ Neville Marriner. Philips 475 156-2

Biscogli, F. Triple concerto in D. Maurice Bourge, ob; Maurice Allard, bn; Maurice André, tpt; Württemberg CO/Jörg Faerber. EMI CMS 7 69880-2 23 10:00 MORNING CONCERT Prepared by Michael Field Handel, G. Overture to Rinaldo, HWV7a (1711). European Community CO/Eivind Aadland. ASV DCA 766 6 Weber, C.M. Horn concertino in E minor, op 45 (1809/15). Barry Tuckwell, hn; Academy of St Martin in the Fields/Neville Marriner. EMI 5 69395 2 17 Bruckner, A. Symphony no 7 in E (1881-83). Queensland SO/Muhai Tang. ABC 456 664-2 1:00 36

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January 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 HAYDN Prepared by Chris Blower Haydn, J. Symphony in A, Hob.I:28 (1765). Vienna CO/Ernst Märzendorfer. LP Musical Heritage Society OR H-201-249 21 Krebs, J.G. Trio no 1 in D, op 12 no 3 (1812). Andreas Kröper, fl; Markéta Zemancová, vn; Thomas Fritzsch, vc; bass viol; Bernard Gillitzer, hpd. Milan Vlcek SY 0005-2131 13 Haydn, J. Symphony in E, Hob.I:29 (1765). 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

Joan Sutherland 20:00 AT THE OPERA Prepared by Michael Tesoriero Donizetti, G. Lucia di Lammermoor. Opera in three acts. Libretto by Salvatore Cammarano. First performed Naples, 1835. ENRICO ASHTON: Frank Guarrera, bar LUCIA: Joan Sutherland, sop EDGARDO DI RAVENSWOOD: Richard Tucker, ten ARTURO BUCKLAW: Charles Anthony, ten Metropolitan Ch and O/Silvio Varviso. Walhall WLCD0350 2:26 Enrico, Lord Ashton, wants his sister Lucia to marry Arturo Bucklaw to save his fortune and political career. But Lucia is in love with Edgardo Ravenswood, a family enemy. When Edgardo is sent to France he and Lucia exchange rings. Enrico tells Lucia her lover is unfaithful and she agrees to marry Arturo. Edgardo returns from France to find her married, curses her infidelity and accepts Enrico’s challenge to a duel. That night Lucia’s misery sends her insane, she kills her husband Arturo and dies. When Edgardo learns that Lucia is dead and has been true to him, he kills himself. 23:00 FANTAISIES AND VARIATIONS The Broken Consort Recorded by Edda Filson for FINE MUSIC Ortiz, D. Eight recerdadas.

Frescobaldi, G. Toccata and partite; Canzone, L’ambiziosa. 18 Falconieri, A. Dances, from Il primo libro di canzone (1650). 8 Marais, M. Folies d’Espagne.

Catherine Finnis, treble viol, bass viol; Robert Clancy, vihuela, baroque gui; theorbo; Winsome Evans, hpd (all above)

Thursday 16 January Debussy, C. Rêverie (1890; arr. Lynch). Prudence Davis, fl; Jeffrey Crellin, ob; Peter Lynch, gui. Move MD 3090 5

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

Schoenberg, A. Lied der Waldtaube, from Gurre-Lieder, 25 (1900-03; orch. 1910-11). Jennifer Lane, mezz; Twentieth Century Classics Ensemble/Robert Craft. Naxos 8.557520 13

9:00 DIVERSIONS IN FINE MUSIC Composer focus Prepared by Frank Morrison Reicha, A. Grand solo. Bruno Hoffmann, glass hp; Pro Musica O/Paul Angerer. LP Fono FSM 53233 15 18 Variations and a fantasy on Mozart’s Se vuol ballare, op 51 (1804). Jean-Pierre Rampal, fl; Isaac Stern, vn; Mstislav Rostropovich, vc. Sony SK 44568 17 Symphony in C minor (c1800). Beethoven Academie/Jan Caeyers. Audivis-Valois V 4834 22 10:00 MORNING CONCERT Prepared by Michael Morton-Evans Arensky, A. Suite from ballet Egyptian nights, op 50a (1900-08). USSR RSO/Boris Demchenko. Melodiya MEL 45002-2 20 Bottesini, G. Gran double bass concerto in F sharp minor (c1878). Thomas Martin, db; English CO/Andrew Litton. Naxos 8.570397 23 Atterberg, K. Symphony no 2 in F, op 6 (191113). Frankfurt RSO/Ari Rasilainen. cpo 999 565-2 41 11:30 SWEDISH INTERLUDE Prepared by Chris Blower Peterson-Berger, W. Zarathustras Rundgesang (1901).

Stenhammar, W. Wie auf dem Felde (1890). 6 Matilda Paulsson, mezz; Bengt-Åke Lundin, pf (2 above) Caprice CAP 21802 Rangström, T. Poem (c1900). Semmy Stahlhammer, vn; Love Derwinger, pf. nosag 4049

Hendrix, J. Purple haze (1967; arr. Riffkin). Kronos Quartet. Nonesuch 979 111-2 14:00 FROM ROSSINI’S STAGE Prepared by Philip Lidbury Rossini, G. Overture to La Cenerentola (1817). Academy of St Martin in the Fields/Neville Marriner. Philips 446 196-2 8 Duet: Can it be? from The barber of Seville (1816). Glenda Raymond, sop; Geoffrey Chard, bar. ABC 472 689-2 5 Con tutta la sua boria, from The Italian girl in Algiers (1813). Cesare Siepi, bass; RAI SO, Torino/Alfredo Simonetto. Cetra CDON 107

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

14:30 KEYBOARD CONTRASTS Prepared by Francis Frank Hold, T. Sonatina (1979-80). Rhonda Gillespie, pf; Robert Weatherburn, pf. AVM AVMCD 1022 8 Handel, G. Concerto grosso in F, op 6 no 9 (1739). English Concert/Trevor Pinnock. Archiv 410 899-2 14 Copland, A. Duo (1971). Fenwick Smith, fl; Randall Hodgkinson, pf. Northeastern NR 227 14

Alfvén, H. The bells, op 13 (1900). Karl Magnus Fredriksson, bar; Royal Philharmonic Choir Stockholm; Gävle SO/Stefan Parkman. Sterling 1036-2 9 12:00 JAZZ, PURE AND SIMPLE with Maureen Meers 13:00 CHAMBER ARRANGEMENTS Prepared by Bradley Kunda Ravel, M. Kaddish (1914; arr. Tognetti). Australian CO/Richard Tognetti. Sony SK 62005

Piazzolla, A. Verano porteño (arr. Desyatnikov). Les Dissonances/David Grimal. Harmonia Mundi AP011 7

Clementi, M. Piano trio, op 21 no 2 (pub. 1788). Trio Fauré. Dynamic CDS 93 10 Mattheson, J. Suite in G minor. Attilio Cremonesi, hpd; Alessandro de Marchi, hpd. Harmonia Mundi HMC 905235 10 Corrette, M. Concerto in C, op 26 no 4 (pub. 1756). Jean-Patrice Brosse, org; Concerto Rococo. Pierre Verany PV793113 9 Dupré, M. Sinfonia, op 42 (1946). Stefan Engels, org; Alessio Bax, pf. Naxos 8.554210

Tchaikovsky, P. Danses charactéristiques, suite for chamber orchestra (1864-65; orch. Groslot). Il Novecento/Robert Groslot. Vanguard 99030 19

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

20:00 EVENINGS WITH THE ORCHESTRA Baroque music of France Prepared by Judy Ekstein Charpentier, M-A. Overture to Médée (1693). Les Arts Florissants/William Christie. Archiv 477 8610 2 Rameau, J-P. Orchestral suite, from Les indes galantes (c1736). La Chapelle Royale O/Philippe Herreweghe. Harmonia Mundi HMP 390808 15 Leclair, J-M. Violin concerto in D, op 10 no 3 (1745). Collegium Musicum 90/Simon Standage vn & dir. Chandos CHAN 0589 14 Muffat, G. Concerto VIII in G, Coronatio augusta (pub. 1701). Musica Aeterna/Peter Zajicek. Naxos 8.555743 11 Boismortier, J. de Concerto pour Zampogna (c1730). Le Concert Spirituel/Hervé Niquet, hpd & dir. Naxos 8.554456 6 Blavet, M. Flute concerto in A minor. Per Øien, fl; Norwegian CO/Terje Tønnesen. BIS CD-118

Corrette, M. Concerto comique no 25: Les sauvages et la Furstemberg (c1759). Florilegium/Neal Peres da Costa, hpd & dir. Channel Classics CCS 7595 8 Couperin, F. The French, from The nations (1726). Musica Antiqua Cologne/Reinhard Goebel. LP DG 410 901-1 20 Boismortier, J. de Deuxième sérénade ou simphonie françoise (c1736). Le Concert Spirituel/Hervé Niquet, hpd & dir. Naxos 8.554456 13 22:00 CHAMBER SOIRÉE Cambini, G. Trio VI in D for flute, violin and viola. Trio Tourte. Tactus TC 740 302 11 Elgar, E. Sonata in E minor, op 82 (1918). Herbert Stutzek, vn; Dieter Goldmann, pf. Point Classics 2672792 21 Haydn, J. String quartet in D minor, Hob.III:76, Fifths (1797). Amadeus Quartet. DG 471 762-2 20 Paganini, N. Sonata no 1 in A Centone. Gian Franco Iannetta, vn; Gianni Landroni, gui. Tactus TC 781601 9 Herzogenberg, H. Trio, op 61 (1889). József Kiss, ob; Jenoe Keveházi, hn; Jenö Jandó, pf. Naxos 8.550441 22 Spohr, L. Fantasy and variations for clarinet, string quartet and double bass in B flat, op 81 (1814). Schubert Consort. Columns Classics 99168 7 Boccherini, L. Quintet no 7 in E minor (c1798). Narciso Yepes, gui; Melos Quartett. DG 829 512-2 20 January 2014

fineMusic 102.5

Friday 17 January 13:00 FROM THE YEAR 1813 Prepared by Stephen Wilson

0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN

Rossini, G. Overture to The Italian girl in Algiers (1813). Royal Opera House O/Georg Solti. Decca 480 0952 7

6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Janine Burrus 9:00 DIVERSIONS IN FINE MUSIC Exploring chamber Prepared by Jan Brown Mozart, W. Keyboard trio no 5 in C, K548 (1788). Arion Trio. BIS CD-513/514 18 Bach, C.P.E. Quartet no 1 in A minor, Wq93 (1788). Nicholas McGegan, fl; Catherine Mackintosh, va; Anthony Pleeth, vc; Christopher Hogwood, fp. L’Oiseau-Lyre 433189-2 15 Beethoven, L. Sextet, op 81b (c1795). L’Archibudelli. Sony SK 48076

10:00 MORNING CONCERT Prepared by Sheila Catzel Tchaikovsky, P. The Voyevoda, op 78, symphonic ballad after Mickiewicz (1890-91). Royal Liverpool PO/Vasily Petrenko. Naxos 8.570568 11 Bowen, Y. Viola concerto in C minor, op 25. Lawrence Power, va; BBC Scottish SO/Martyn Brabbins. Hyperion CDA67546 36 Glazunov, A. Symphony no 1 in E, op 5, Slavyanskaya (1882). USSR Ministry of Culture O/Gennady Rozhdestvensky. Olympia OCD 100 35 11:30 CHAMBER ENCORE Prepared by Sheila Catzel Glazunov, A. Elegy, op 17 (1887). Yuli Turovsky, vc; Peter Pettinger, pf. Chandos CHAN 8555 9 Bowen, Y. Ballade no 2, op 87 (pub. 1931). Stephen Hough, pf. Hyperion CDA66838 Tchaikovsky, P. Andante cantabile, from String quartet no 1, op 11 (1871). Borodin Quartet. apex 0927 49815 2 12:00 NOONTIME JAZZ with Peter Mitchell 38

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Meyerbeer, G. Quintet in E flat (1813). Dieter Klöcker, cl; Berlin Philharmonia Quartet. Orfeo C 213 901 A 21

Balakirev, M. Piano concerto no 2 in E flat, op posth (1862; compl. Lyapunov). Malcolm Binns, pf; English Northern Philharmonia/David Lloyd-Jones. Hyperion CDA66640 32

Beethoven, L. An die Hoffnung, op 94 (1813). Dietrich Fischer-Dieskau, bar; Gerald Moore, pf. Orfeo C 140501 A 8

Holst, G. Symphony in F, op 8, The Cotswolds (1899-1900). Munich SO/Douglas Bostock. Classico CLASSCD 284 27

Schubert, F. Symphony no 1 in D, D82 (1813). Royal Concertgebouw O/Nikolaus Harnoncourt. Teldec 4509-91184-2

22:00 BAROQUE AND BEFORE Prepared by Elaine Siversen 28

Field, J. Sonata no 4 in B (1813). Pietro Spada, pf. Arts 47178-2 12 Mercadante, S. Flute concerto in E (1813). Jean-Pierre Rampal, fl; English CO/Claudio Scimone. LP Erato STU 71320 21 Paganini, N. Variations on Süssmayr’s La streghe, op 8 (1813). Salvatore Accardo, vn; London PO/Charles Dutoit. DG 423 717-2 10 15:00 NOCTURNAL IMPRESSIONS Prepared by Robert Vale Rubinstein, A. Nocturne, op 11 no 2 (1854). Nobuko Imai, va; Roland Pöntinen, pf BIS CD-358 7 Glinka, M. Nocturne in E flat (1828). Susan Drake, hp. Hyperion CDA66340 5

Monteverdi, C. Non si levav ‘ancor l’alba novella; Ecco mormorar l’onde, from Second book of madrigals (pub. 1590). Members of Delitiae Musicae/Marco Longhini. Naxos 8.555308 8 Gastoldi, G. La Sirena; La balleza; Caccia dámore; Il Martellato; Láccesso; Concerto (pub. 1591). Niederaltaich Scholars/Konrad Ruhland. Pro Arte CDD 307 17 Monteverdi, C. O rossinguol ch’ in queste verde fronde; O primavera gioventù del’anno, from Third book of madrigals (pub. 1592). Members of Delitiae Musicae/Marco Longhini. Naxos 8.555309 8 Wert, G. de Qual musico gentil. Tommie Andersson, lute; Song Company/Roland Peelman. ABC 454 518-2

Monteverdi, C. A’un giro sol de bel’occhi; Non piu guerra; Sfogava con le stelle from Fourth book of madrigals (pub. 1603). Deller Consort/ Alfred Deller. Vanguard OVC 2000 9

Bernstein, L. Halil, nocturne (1981). Jean-Pierre Rampal, fl; Israel PO/Leonard Bernstein. DG 415 966-2 16

Viadana, L. Sinfonie musicali, op 18 nos. 1 to 9 (pub. 1610). Symposium Musicum Prague. LP Schwann VMS 2001 22

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

Monteverdi, C. Questi vaghi concenti, from Fifth book of madrigals (pub. 1605). Irmgard Jacobeit, sop; Dorothea Förster-Dürlich, sop; Bert van t’Hoff, ten; Jacques Villisech, bass; Monteverdi Choir, Hamburg; Leonhardt Consort/Jürgen Jürgens. Teldec 4509-93268-2 7

Debussy, C. Three nocturnes (1879-99). Cleveland Ch & O/Pierre Boulez. DG 439 896-2

19:00 FRIDAY JAZZ SESSION with Sally Cameron 20:00 THE ROMANTIC CENTURY Prepared by Heather Sykes

Mercadante, S. Decimino II (pub. 1995; ed. Spada). Philharmonia Soloists/Pietro Spada, pf & dir. ASV DCA 936 28

Humperdinck, E. Shakespeare suite no 1 (1905-07). Bamberg SO/Karl Anton Rickenbacher. Schwann 3-1197-2

Excerpts from Vespers of the Blessed Virgin (1610). Jennifer Bates, sop; Romola Tyrrell, sop; Gerald English, ten; Ian McCahon, ten; Chamber Choir of Sydney University; Baroque Ensemble/Nicholas Routley. LP MBS 11 24

Saturday 18 January 17:00 THE SICILIAN CONNECTION Prepared by Chris Blower

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

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

9:00 ORCHESTRAL MINIATURES Prepared by Rex Burgess

Kreisler, F. Sicillienne and rigaudon in the style of Francoeur. Mischa Elman, vn; Joseph Seiger, pf. Vanguard OVC 8028 5

Glazunov, A. Rêverie orientale, op 14 no 2 (1887). Rumanian State O/Horia Andreescu. Marco Polo 8.220487 8 Rimsky-Korsakov, N. Fantasia on Serbian themes, op 6 (1867). Moscow SO/Igor Golovchin. Naxos 8.553513 8 Tchaikovsky, P. Sérénade mélancolique in B minor, op 26 (1875). Ilya Kaler, vn; Russian PO/ Dmitry Yablonsky. Naxos 8.557690 9 9:30 SPOTLIGHT ON VLADIMIR ASHKENAZY AND THE SYDNEY SYMPHONY ORCHESTRA Prepared by Randolph Magri-Overend Elgar, E. Overture: In the South, op 50, Alassio (1904). Exton EXCL-00029 21 Rachmaninov, S. Symphonic dances, op 45 (1940). Exton EXCL-00018 34 Mahler, G. Symphony no 4 in G (1900). Emma Matthews, sop. Sydney Symphony SSO201102 54

Christopher Bowen Rachmaninov, S. 18th variation on a theme by Paganini. Buy As You View Band/Robert Childs. Doyen DOY 173 3 12:00 JAZZ THEN AND NOW with Michael Cooper 13:00 ASIAN MUSIC Prepared by Paolo Hooke Nyman, M. Sangam: three ways of describing rain-meditation (2003). Misra brothers voices; U Srinivas, mand. Outcaste Records 35 9 Trad. Raga Oes. Ravi Shankar, sitar; Chatur Lal, tabla; N.C. Mullick, tambura. Sony 82876745022 15

Sydney SO/Vladimir Ashkenazy (3 above)

Chaurasia, H. Improvisation on Sandhya Shree, from Adi Anant. Hariprasad Chaurasia, bansuri fl; L’Orchestre Transes Europeenes. Outcaste Records 35 11

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

Trad. Sitar Todi. Ravi Shankar, sitar; Chatur Lal, tabla; N.C. Mullick, tambura. Sony 82876745022 16

Richards, G. Overture: Saddleworth festival. Australian Brass/Eric Banks. Australian Brass AB 195 9

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

Wolf-Ferrari, E. Intermezzo no 2, from The jewels of the Madonna. Scottish CWS Band/ Geoffrey Brand. LP Astor GGS 986 3

15:30 SYDNEY PHILHARMONIA IN CONCERT Prepared by Peter Bell

Ellington, D. In a sentimental mood. Buy As You View Band/Robert Childs. Doyen DOY 215 4 Meyerbeer, G. Coronation march. Black Dyke Mills Band/Roy Newsome. LP RCA LFLI 5071 4

Britten, B. War requiem (1962). Nance Grant, sop; David Parker, ten; James Christiansen, bar; Sydney Philharmonia Choir; Sydney Grammar School Boys Treble Choir; Sydney Symphony CO; Sydney SO/Peter Seymour. SPC recording 1:22

Fauré, G. Sicilienne, op 78 (1898). Paul Fried, fl; Robert Thies, pf. 4 Golden Tone GTCD 005 Verdi, G. The four seasons, from The Sicilian Vespers. Czecho-Slovak RSO/Ondrej Lenárd. Naxos 8.553272 30 17:30 DIVERSIONS AND FANTASY Prepared by Heather Sykes Pletnev, M. Divertimento brillante on themes from Bellini’s 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 on Carmen (1873-74; arr. Borne). Patrick Gallois, fl; Fabrice Pierre, hp; London FO/Ross Pople. DG 445 822-2 12 18:00 FOCUS ON FOLK Folk Federation of NSW 19:00 THE MAGIC OF STAGE AND SCREEN Prepared by Sue Jowell The music man: Meredith Wilson 20:00 LIVE AND LOCAL Sydney sings Verdi’s Requiem Recorded by Greg Ghavalas for SUGC Verdi, G. Excerpts from Requiem (1874). Celeste Lazarenko, sop; Anna Downsley, cont; Jason Wasley, ten; Gennadi Dubinsky, bass; Sydney University Graduate Choir; Joubert Singers; Willoughby Symphony Choir; Newcastle University Choir; Macquarie University Choir; various other choirs from NSW and ACT; Sydney University Graduate O/ Christopher Bowen. 1:11 21:30 KEYBOARD EXCURSIONS Prepared by Rex Burgess Brahms, J. Variations and fugue on a theme by Handel, op 24 (1861). Idil Biret, pf. Naxos 8.550350 27 22:00 AFTER HOURS with Kevin Jones January 2014

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Sunday 19 January 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SUNDAY MORNING MUSIC with Eleonore Fuchter 9:00 MUSIC OF THE DANCE Prepared by Elaine Siversen Mouret, J-J. Ballet from Les amours des dieux (1727). 12 Campra, A. Ballet from L’Europe galante (1697). 8 Symphonie du Marais/Hugo Reyne (2 above) Astrée E8650 Boismortier, J. de Third ballet, from Ballet de village, op 52. Le Concert Spirituel/Hervé Niquet. Naxos 8.554295 8 Rebel, J-F. Ballet: Les élémens (1737). Academy of Ancient Music/Christopher Hogwood. L’Oiseau-Lyre 421 656-2 25 10:00 THE DEFINING YEARS Music from the Classical era Prepared by Paul Roper

Bach, C.P.E. Fantasia in F, Wq59:5 (1784). Alfred Gross, fp. Amati 9101/1 5 Keyboard concerto in C, Wq43:6 Hamburg (1771). Melante ‘81; Bob van Asperen, hpd & dir. Virgin VBD 5 61913-2 16 Rondo in A minor, Wq56:5 (1778-80). Ludger Rémy, fp. MD+G L 3153 10 Graun, J. Symphony in D (1768). Vienna Academy/Martin Haselböck. cpo 999 887-2

Gibbons, O. O clap your hands together, from psalm 47. Cambridge Singers/John Rutter. 5 Collegium COLCD 107

Bach, C.P.E. Cello concerto in A, Wq172 (1753). Anner Bijlsma, vc; O of the Age of Enlightenment/Gustav Leonhardt. Virgin VC 7 90800-2

Psalms from the Huguenot Psalter: nos 128 and 104. Ensemble Claude Goudimel/Christine Morel. 3 NAXOS 8. 553025

12:00 SPEAK EASY, SWING HARD with Richard Hughes

Monteverdi, C. Psalm 112: Laudate pueri, from Venetian vesper music (1640). Taverner Consort, Choir & Players/Andrew Parrott. 8 EMI CDC 747 0 162

13:00 WORLD MUSIC: Whirled Wide with Josh Oshlack

Handel, G. Excerpts from Psalm 110: Dixit Dominus (1707). Diana Montague, cont; Choir of Westminster Abbey & O/Simon Preston. 9 Archiv 423 594 2

14:00 SUNDAY SPECIAL Tribute to John Hopkins Prepared by Elaine Siversen Lilburn, D. A song of islands (1946). New Zealand SO. Centre for NZ Music Trust 445 238-2

Carr, E. Symphony no. 3 (1987). Auckland SO. Manu MANU 1415 19 Arutiunian, A. Trumpet concerto (1950). Geoffrey Payne, tpt; Melbourne SO. ABC 982 697-6

Sutherland, M. Haunted hills (1953). Melbourne SO. LP ABC/Festival SFC 80020

Conyngham, B. Vast I: the sea (1988). Australian Youth O. ABC 432 528-2

Grieg, E. Piano concerto in A minor, op 16 (1868). Percy Grainger, reproducing pf; Sydney SO. LP RCA VRL1 0168 29

16:00 DVORÁK IN CHAMBER Prepared by Chris Blower Dvorák, A. Rondo in G minor, op 94 (1891). Felix Schmidt, vc; Annette Cole, pf. IMP PCD 891 8

Haydn, J. Sonata no 11 in B, flat; Hob.XVI:2 (c1755-65). Bart van Oort, fp. Brilliant Classics 99817 16

Motet: Heilig, heilig, heilig ist Gott, Wq217 (1776). Elisabeth Jansson, cont; Stuttgart Chamber Choir; Stuttgart Baroque O/Frieder Bernius. Carus 83.212 7 fineMusic 102.5

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Slavonic dance, op 46 no 3 (1878). Raphael Wallfisch, vc; Linn Hendry, pf. Chandos CHAN 6552

Mozart, W. Psalm 117: Laudate Dominum (1780). Lynne Dawson, sop; Choir & Classical Players of King’s College, Cambridge/Stephen Cleobury. 5 EMI 749 672 2 Mendelssohn, F. Psalm 22: Mein gott, warum hast du mich verlassen. Chamber Choir of Stuttgart/Frieder Bernius. 8 Carus 83.105 Stanford, C. Villiers Psalm 150. Choir of Winchester Cathedral; David Dunnett, org; David Hill, cond. 2 Herald HAVPCD 185 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

John Hopkins, cond (all above)

Bach, C.P.E. Odes: Nach dem Gewitter, Wq198:20 (1781); Sommerlied, Wq197:20 (1780). Klaus Mertens, bar; Ludger Rémy, fp. cpo 999 708-2 5

Bach, C.P.E. Trio in B flat, Wq89:1 (1775-76). Matthias Fischer, vn; Philipp Bosbach, vc; Harald Hoeren, fp. cpo 999 216-2 13

Hüllmandel, N-J. Allegretto, from Sonata in E flat, op 6 no 1 (1782). André Raynaud, fp. Pierre Verany PV 790032 4

String quartet no 13 in G, op 106 (1895). Vlach Quartet Prague. Naxos 8.553371 41 17:00 HOSANNA Prepared by Meg Matthews Metrical psalms as hymns: nos 100, 130, 24 and 121. Scottish Philharmonic Singers, John Langdon, org; Ian McCrorie, cond. Abbey SCS 2830 11

Schubert, F. The hunter rested: Song of the cloud-maiden, from Alfonso und Estrella, D732 (1822). Oliver Widmar, bar; Hungarian National PO/Jan Schultsz. 6 Hyperion CDA67229 Dvorák, A. Song to the moon, from Rusalka (1900). Yvonne Kenny, sop; Melbourne SO/ Vladimir Kamirski. 6 ABC 476 4620 Mozart, W. Madamina, il catologo è questo; Finch’han dalvino, from Don Giovanni, K527 (1787). Teddy Tahu Rhodes, bass-bar; Tasmanian SO/Ola Rudner. 7 ABC 472 826-2 Bizet, G. Au fond du temple saint, from Les pêcheurs de perles (1803). Celso Albelo, ten; Luca Grassi, bar; Salernitana PO/Daniel Oren. 5 Brilliant Classics 944 34

Sunday 19 January

Monday 20 January 0:00 CLASSIC-ALL THROUGH THE NIGHT

An Emma, op 24 (1820).

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

Barbara Bonney, sop; Malcolm Martineau, pf (3 above) Decca 4756936

9:00 DIVERSIONS IN FINE MUSIC By arrangement. Prepared by Di Cox

Piano concerto in C, op 14 (1808). Klaus Hellwig, pf; Cologne RSO/Roland Bader. Schwann CD 311 004 H1

Schumann, R. Carnaval, op 9 (1833-35; orch. Ravel). Minnesota O/Eiji Oue. Reference RR-79CD 10

Paul Stanhope. Photo - Jason Catlett 19:30 SUNDAY NIGHT CONCERT Prepared by Rex Burgess Bach, J. Christian Overture to Lucio Silla (c1781). Failoni O/Hanspeter Gmür. Naxos 8. 553367

Méhul, É-N. Symphony no 2 in D (1808-09). Rhenish PO/Jorge Rotter. Marco Polo 8.223139 27 Taneyev, S. Concert suite, op 28 (1908-09. Lydia Mordkovitch, vn; Royal Scottish NO/ Neeme Järvi. Chandos CHAN 10491 47 21:00 NEW HORIZONS Australian voice Prepared by Chris Blower Llewellyn, B. Whales weep not! (1991). Riszard Pusz, marimba; Adelaide Chamber Choir/Carl Crossin. Move MD 3261 15 Hollier, D. Four songs of Dryden (1966). Raymond Myers, bar; Donald Hollier, pf. LP ABC AC 1011

Sculthorpe, P. Eliza Fraser sings (1978). Marilyn Richardson, sop; Christine Draeger, fl; Roslyn Dunlop, cl; Fiona Ziegler, vn; Susan Blake, vc; Daryl Pratt, perc; David Miller, pf. Vox Australis VAST018-2 12 Stanhope, P. Songs for the Shadowland (2001). Southern Cross Soloists. ABC 476 3870

Mills, J. Air (1992). Jane Edwards, sop; Nigel Crocker, tb; Jonathon Mills, microtonal pf; Synergy. ABC 465 419-2 10 Maclean, C. Et misericordia (1986). Sydney Chamber Choir/Nicholas Routley. Tall Poppies TP073 11 22:30 ULTIMA THULE

14:00 NOT OPERA Prepared by Jan Brown

Fauré, G. Pavane, op 50 (1887; arr. Desmond). The Fairer Sax. Collins 11302 5

Donizetti, G. String quartet no 10 in G minor (1821). Revolutionary Drawing Room. cpo 999 279-2 13

Busoni, F. Duettino concertante after Mozart’s K459 (1919). Isabel von Vintschger, pf; Jürg von Vintschger, pf. Jecklin JD 579-2 8

Bizet, G. Roma Symphony (c1860/71). Royal PO/Enrique Bátiz. Brilliant Classics 9 4404 33

Beethoven, L. Romance no 2 in F, op 50 (1798; transcr. 1803; arr. Müller-Schott). Daniel MüllerSchott, vc; Australian CO/Richard Tognetti. Orfeo C 080 031 A 8 Shostakovich, D. Suite from MoscowCheryomushki, op 105 (1959; arr. Cornall). Philadelphia O/Riccardo Chailly. London 452 597-2

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

Verdi, G. String quartet in E minor (1873). Giovane Quartetto Italiano. Claves CD 50-9114

10:00 MORNING CONCERT Prepared by Ron Walledge

Offenbach, J. Duet in C, op 52 no 3 (1847). Alain Meunier, vc; Philippe Muller, vc. Arion ARN 68234 10

Vaughan Williams, R. Aristophanic suite: The wasps (1909). Royal Liverpool PO/James Judd. Naxos 8.572304 26

Gluck, C. Symphony in G, Weimar. L’Orfeo Baroque O/Michi Gaigg, vn & dir. cpo 777 411-2 14

Tchaikovsky, P. Piano concerto no 3 in E flat, op 75 (1893). Geoffrey Tozer, pf; London PO/ Neeme Järvi. Chandos CHAN 9130 16

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

Mozart, W. Symphony no 38 in D, K504, Prague (1787). Royal Concertgebouw O/ Nikolaus Harnoncourt Teldec 9031-77596-2

19:00 SPIRIT OF JAZZ with Susan Gai Dowling 38

11:30 KEYBOARD EXCURSIONS Prepared by Rex Burgess Mozart, W. Sonata no 15 in C, K545 (1788). Mitsuko Uchida, pf. Philips 446 238-2 14 Handel, G. Suite no 5 in E, HWV430, The harmonious blacksmith (pub. 1720). Alicia de Larrocha, pf. Philips 456 886-2 13 12:00 SWING SESSIONS with John Buchanan 13:00 A CHIP OFF THE OLD BLOCK Prepared by Stephen Wilson Mozart, F. Rondo in E minor. Robert Aitken, fl; Robin McCabe, pf. BIS CD-183 6 Das finden; An den abenstern, from Drei deutsche Lieder, op 27 (1820).

Romanze: In der Väter Hallen ruhte, op 12 (1808). 8

20:00 STORMY MONDAY with Austin Harrison and Garth Sundberg 22:00 INTO THE 20TH CENTURY Prepared by Di Cox Hindemith, P. Symphonic metamorphoses on themes of Carl Maria von Weber (1943). Philharmonia O/Neeme Järvi. Chandos CHAN 8766 20 Lutoslawski, W. Cello concerto (1968-70). Heinrich Schiff, vc; Bavarian RSO/Witold Lutoslawski. Philips 416 817-2 23 Kodály, Z. Psalmus Hungaricus, op 13 (1923). Lajos Kozma, ten; Brighton Festival Ch; Wandsworth School Boys’ Choir; London SO/ István Kertész. Decca 480 4853 23 Copland, A. Symphony no 3 (1946). New Zealand SO/James Judd. Naxos 8.559106 January 2014

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Tuesday 21 January

The Lindsays

Joseph Mariano

0:00 CONTEMPORARY COLLECTIVE

Respighi, O. Pines of Rome (1924). West Australian SO/Jorge Mester. ABC 442 348-2

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

Tchaikovsky, P. Violin concerto in D, op 35 (1878). Itzhak Perlman, vn; Philadelphia O/ Eugene Ormándy. EMI CMS 7 64922 2 37

9:00 DIVERSIONS IN FINE MUSIC Artist of choice: Klaus Thunemann Prepared by Francis Frank

11:30 ARRANGED FOR CELLO Prepared by Elaine Siversen

Berwald, F. Concert piece in F, op 2 (1820). Academy of St Martin in the Fields/Neville Marriner. Philips 446 096-2 11 Devienne, F. Sonata in F, op 24 no 3 (c1785). Klaus Stoll, vle; Jörg Ewald Dähler, fp. Claves CD 50-9207 9 Kreutzer, C. Variations in B flat. .

Kalliwoda, J. Variations and rondo in B flat, op 57. 11 Academy of St Martin in the Fields/Neville Marriner (2 above) Philips 446096-2 Vivaldi, A. Double concerto in G, RV545. Heinz Holliger, ob; I Musici. Philips 411 480-2

10:00 MORNING CONCERT Prepared by Giovanna Grech Auber, D-F-E. Overture to Marco Spada (1852). New Philharmonia O/Richard Bonynge. Decca 466 431-2 9 Dukas, P. The sorcerer’s apprentice (1897). Ulster O/Yan Pascal Tortelier. Chandos CHAN 8852 11 fineMusic 102.5

January 2014

Beethoven, L. Horn sonata in F, op 17 (1800; arr.). Maria Kliegel, vc; Nina Tichman, pf. Naxos 8.555785 14 Strauss, R. Morgen, op 27 no 4 (1894; arr.). Mischa Maisky, vc; Pavel Gililov, pf. DG 477 7465 4 Dohnányi, E. Ruralia hungarica, op 32d (c1930; arr.). Maria Kliegel, vc; Jenö Jandó, pf. Naxos 8.554468 6 12:00 JAZZ RHYTHM with Jeannie McInnes 13:00 A HAYDN MASS Prepared by Philip Lidbury

Klaus Thunemann, bn (all above)

Haydn, J. String quartet in D, Hob.III:63, Lark (1790). The Lindsays. ASV QS 6145 17 Mass in C, Hob.XXII:5, St Cecilia (1766). Brigitte Fournier, sop; Bernarda Fink, cont; Charles Daniels, ten; Marcos Fink, bass; O & Choir of the Gulbenkian Foundation/Michel Corboz. Aria Music 592309 1:06 14:30 FOR DANCING Prepared by Robert Vale Debussy, C. Jeux: Poème danse (1913). Lyon NO/Jun Märkl. Naxos 8.570759 19

Piston, W. The incredible flutist (1938). Joseph Mariano, fl; Eastman Rochester O/Howard Hanson. Mercury 475 627 4 16 Grieg, E. Improvisations on two Norwegian folk-songs, op 29 (1878). Einar SteenNökleberg, pf. 7 Naxos 8.550882 Delius, F. On hearing the first cuckoo in spring; Summer night on the river, from Two pieces (no 2) (1911). Royal Scottish NO/David Lloyd-Jones. Naxos 8.557143 12 Falla, M. de Dances from The three-cornered hat (1919). John Williams, gui. Sony 88697529852 6 Kodály, Z. Dances of Galánta (1933). Chicago SO/Neeme Järvi. Chandos CHAN 8877 17 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Andrew Dziedzic 19:00 THE JAZZ BEAT with Lloyd Capps 20:00 RECENT RELEASES with David Garrett 22:00 THE AUSTRALIAN JAZZ SCENE with Susan Gai Dowling

Wednesday 22 January

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

9:00 DIVERSIONS IN FINE MUSIC Aspects of Baroque

15:00 THE SYMPHONIES OF HAYDN Prepared by Chris Blower

Vivaldi, A. Concerto in G. Dagmar ZsapkováSebestova, fl; Jozef Zsapka, gui; Slovak CO/ Bohdan Warchal. Point Classics 267192-2 12

Haydn, J. Symphony in C, Hob.I:30, Hallelujah (1765). Vienna CO/Ernst Märzendorfer. LP Musical Heritage Society OR H-201-249 15

0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN

Geminiani, F. Sonata no 3 in C, op 5 (pub. 1746). Jaap ter Linden, vc; Judith-Maria Becker, vc continuo; Lars Ulrik Mortensen, hpd. Brilliant Classics 93646 12 Scarlatti, A. Olimpia (c1690). Jane Edwards, sop; Chacona/Rosalind Halton. ABC 461 687-2 17 Marcello, A. Concerto no 3 in B minor. Heinz Holliger; ob; Louise Pellerin, ob; Camerata Bern. Archiv 427 137-2 11

Giuliani, M. Serenade in G, op 127. Mikael Helasvuo, fl; Jukka Savijoki, gui. BIS CD-412 16 Haydn, J. Symphony in D, Hob.I:31, Hornsignal (1765). Vienna CO/Ernst Märzendorfer. LP Musical Heritage Society OR H-201-249 23 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Camille Mercep 19:00 JAZZ STARS AND STRIPES with Peter Mitchell

10:00 MORNING CONCERT Prepared by Brian Drummond

20:00 AT THE OPERA A Baroque double bill Prepared by Elaine Siversen

Rossini, G. Overture to The thieving magpie (1817). Staatskapelle Dresden/Silvio Varviso. Philips 468 148-2 10

Purcell, H. Dido and Aeneas. Opera in three acts. Libretto by Nahum Tate. First performed London, 1689.

Mozart, W. Ruhe sanft, mein holdes Leben, from Zaïde, K344 (1779). Beverly Sills, sop; London PO/Aldo Ceccato. DG 471 766-2 8

DIDO, Queen of Carthage: Susan Graham, mezz AENEAS, a Prince of Troy: Ian Bostridge, ten BELINDA: Camilla Tiling, sop SORCERESS: Felicity Palmer, cont SPIRIT, a false messenger (Mercury): David Daniels, ct European Voices; Le Concert d’Astrée/ Emannuelle Haïm. Virgin 5 45604 2 53

Mozart, W. Piano concerto no 25 in C, K503 (1786). Daniel Barenboim, pf; New Philharmonia O/Otto Klemperer. Philips 456 721-2 34 Strauss, J. II Suite from Die Fledermaus (1874; arr. Davis). London PO/Carl Davis. Virgin VC 7 90716-2 27 11:30 ROMANTIC VARIATIONS Chopin, F. Variations in D (1829). Idil Biret, pf; Martin Sauer, pf. Naxos 8.554537 8 Brahms, J. Variations on a theme by Joseph Haydn, op 56b (1873). Martha Argerich, pf; Nelson Freire, pf. DG 477 8570 17 12:00 JAZZ SKETCHES with Robert Vale 13:00 YOUNG VIRTUOSI

Dido, Queen of Carthage, is full of grief. Her sister and handmaiden, Belinda, recommends that love will cure her and that she should marry Aeneas, a Trojan prince. Aeneas has sought refuge in Carthage after the destruction of Troy and has shown interest in marrying Dido. At first, Dido reacts coldly to Aeneas but eventually warms to him and promises to marry him. An evil sorcerer plots to bring destruction to Carthage and its queen. Witches cast a spell to bring on a thunderstorm to disrupt the hunting party which Dido and Aeneas have joined. The party hurriedly returns to the city but Aeneas remains behind to admire the scenery. The sorcerer’s most trusted spirit, disguised as the god Mercury, approaches Aeneas and tells him that he must set sail for his homeland to establish a new city of Troy. Aeneas, believing the ‘god’, makes preparations for his ships to depart.The sorcerer and his apprentices monitor the preparations and the sorcerer reveals

his plan that the ship will founder and Aeneas will drown causing Dido to die from a broken heart. Dido, concerned at the absence of Aeneas, is consoled by Belinda. When Aeneas appears, Dido confronts him and he admits that he has planned to leave but he will defy the gods and remain with Dido. Dido rejects him because of his falseness and orders him to leave. Grief-stricken, Dido dies from a broken heart. Blow, J. Venus and Adonis. Opera in a prologue and three acts. Libretto by Anne Kingsmill (later Finch). First performed at the Court of Charles II at London or Windsor, 1681. CUPID: Nancy Argenta, sop VENUS: Lynne Dawson, sop ADONIS: Stephen Varcoe, bass Nicholas Parle, hpd; London Baroque/Charles Medlam. Harmonia Mundi HMC 901276 49 Cupid, the son of Venus, invites assorted shepherds and shepherdesses, to enjoy pastoral pleasures and give up infidelity. Venus, goddess of love, has fallen in love with a human, Adonis. As they prepare for lovemaking, huntsmen are heard singing of an enormous boar. Venus urges Adonis to join the hunt. In a comic scene, Cupid teaches a group of Little Cupids about the ways of love. Cupid advises his mother that the way to make Adonis love her more is to ‘use him very ill’. The Graces, givers of beauty and charm, enter to give honour to the goddess of love. Adonis is brought in, dying from the wound given to him by the boar. He duets with Venus, and dies in her arms. As a lament, she begins a funeral march, and the refrain is taken up by the pastoral characters. 22:00 SERENADES --- AND SERENADES Prepared by Denis Patterson Wirén, D. Serenade, op 11 (1937). Academy of St Martin in the Fields/Neville Marriner. Decca 442 8196 15 Schnittke, A. Serenade (1968). Sarah Leonard, sop; Capricorn. Hyperion CDA66885 8 Moeran, E.J. Serenade in G (1948). Northern Sinfonia of England/Richard Hickox. EMI 7 64721 2 14 Berkeley, L. Serenade (1936). BBC Welsh NO/ Richard Hickox. Chandos CHAN 9981 13 Antheil, G. Serenade no 1 (1948). Philadelphia Virtuosi CO/Daniel Spalding. Naxos 8.559060 16 Volkmann, R. Serenade no 1 in C, op 62 (1869). German Chamber Academy/Johannes Goritzki. cpo 999 159-2 8 Korngold, E. Symphonic serenade, op 39 (1947-48). Berlin RSO/John Mauceri. Decca 444 170-2 36 January 2014

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Thursday 23 January Delibes, L. Les filles de Cádiz (1872). Joan Sutherland, sop; Richard Bonynge, pf. Decca 475 6302

Mussorgsky, M. The puppet-show (1870). Anatoli Safiulin, bass; Nikolai Demidenko, pf. Hyperion CDA66775 14 12:00 JAZZ, PURE AND SIMPLE with Maureen Meers 13:00 MUSIC IN WARTIME: 1914 Prepared by Derek Parker Elgar, E. Land of hope and glory, from Pomp and circumstance march no 1 (1914). Sydney Philharmonia Symphonic Choir & O/Antony Walker. ABC 476 695-5 7

Maurizio Pollini 0:00 CONTEMPORARY COLLECTIVE

Vaughan Williams, R. The lark ascending (1914/20). Julia Fischer, vn; Monte-Carlo PO/ Yakov Kreizberg. Decca 478 2684 14

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 Anne Irish Wagner, R. Overture to Rienzi (1840). Munich PO/Hans Knappertsbusch. DG 479 1148 14 Beethoven, L. Piano concerto no 1 in C, op 15 (1795). Maurizio Pollini, pf; Vienna PO/Claudio Abbado. DG 479 0913 38 Elgar, E. Variations on an original theme, op 36, Enigma (1899). Sydney SO/Vladimir Ashkenazy. Exton EXCL-00029 30 11:30 ART SONG Prepared by Jan Brown Ireland, J. Sea fever (1913); The vagabond (1922). Bryn Terfel, bass-bar; Malcolm Martineau, pf. DG 445 946-2

Purcell, H. Music for a while. Kathleen Battle, sop; James Levine, pf. DG 415 361-2 4 44

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Georg Solti 19:00 JAZZ VIBES with Matt Bailey 20:00 EVENINGS WITH THE ORCHESTRA Prepared by Stephen Wilson

Holst, G. Mars, from The planets, op 32 (191416; arr. Sauer). Summit Brass. Summit DCD 171 8

Elgar, E. Wand of youth: suites no 1, opus 1a; no 2, op 1b (1907). Welsh National Opera O/ Charles Mackerras. Argo 433 214-2 37

Ravel, M. Mother goose (1908-10; transcr. Walter). Claire Désert, pf; Moraguès Quintet. Le Chant du Monde LDC2781116 15

Vaughan Williams, R. In the Fen country (1907). London PO/Bryden Thomson. Chandos CHAN 8502 18

Nielsen, C. Symphony no 4, op 29, The inextinguishable (1914-16). Danish NRSO/Ulf Schirmer. Decca 452 486-2 36

Elgar, E. Chanson de matin, op 15 no 2; Chanson de nuit, op 15 no 1 (1901). New Zealand SO/James Judd. Naxos 8.557577

14:30 KEYBOARD CONTRASTS Prepared by Frank Morrison

Elgar, E. Symphony no 1 in A flat (1907-08). London PO/Georg Solti. Decca 421387-2 49

Mozart, W. Sonata no 16 in B flat, K570 (1789). Alfred Brendel, pf. Philips 462 903-2 18

22:00 CHAMBER SOIRÉE Prepared by Stephen Wilson

Galuppi, B. Sonata no 1 in F, from A past time at the harpsichord (1781). Jörg Ewald Dähler, hpd. Claves 50-603 11

Khandoshkin, I. Six old Russian songs (1783). Anastasia Khitruk, vn; Dimitry Yakubovsky, va; Kyrill Yevtushenko, vc. Naxos 8.570028 24

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

Taneyev, S. Quartet no 7 in E flat (1880). Carpe Diem String Quartet. Naxos 8.573010

Rachmaninov, S. Two salon pieces, op 2 (1892). Members of Moscow Rachmaninov Trio. Hyperion CDA67178 10

Poulenc, F. Sonata (1952-3). Alexandre Tharaud, pf; François Chaplin, pf. Naxos 8.553613 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Marilyn Schock

Juon, P. Sextet in C minor, op 22 (1902). Thomas Grossenbacher, vc; Oliver Triendl, pf; Carmina Quartett. cpo 777 507-2 38

Friday 24 January 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Janine Burrus 9:00 DIVERSIONS IN FINE MUSIC Exploring Chamber Prepared by Jennifer Foong Mendelssohn, F. Concert piece no 2 in D minor, op 114 (1832). Alan Hacker, cl; Lesley Schatzberger, bshn; Richard Burnett, pf. Amon Ra SAR 38

Fauré, G. Sonata no 2 in G minor, op 117 (1921). Frédéric Lodéon, vc; Jean-Philippe Collard, pf. EMI CMS 7 62545 2 18 Beethoven, L. Piano quintet in E flat, op 16 (1796). Robert Levin, fp; Academy of Ancient Music Chamber Ensemble. Decca 455 994-2 27 10:00 MORNING CONCERT Prepared by Di Cox Smetana, B. The Moldau (1874). Vienna PO/ James Levine. DG 419 768-2 12 Bartók, B. Violin concerto no 2 (1939). AnneSophie Mutter, vn; Boston SO/Seiji Ozawa. DG 431 626-2 38 Cherubini, L. Symphony in D (1815). London SO/Charles Mackerras. Carlton Classics 15656 91372 30 11:30 SACRED VOICES Prepared by Elaine Siversen Schubert, F. Offertorium, D963 (1828). Alejandro Ramirez, ten; Lausanne Vocal Ensemble; Philippe Corboz, org; Lausanne CO/ Michel Corboz. LP Erato STU 71262 11 Mozart, W. Mass no 2 in D minor, K65 (1769). Helen Donath, sop; Annette Markert, cont; Uwe Heilmann, ten; Andreas Schmidt, bass; Leipzig Radio Choir; Michael-Christfried Winkler, org; Leipzig RSO/Herbert Kegel. Philips 422 264-2 15 12:00 NOONTIME JAZZ with Peter Mitchell

Frank Beermann

Luigi Piovano

13:00 MUSICDIRECT with Stephen Schafer New and recent releases from www.MusicDirect.net.au

22:00 BAROQUE AND BEFORE Prepared by Rex Burgess Bach, J. Unser Leben ist ein Schatten. Collegium Vocale; Ricercar Consort/Philippe Herreweghe. Ricercar RIC 017001 7

15:00 CONCERT HALL Prepared by Stephen Schafer Herzogenberg, H. Six choral songs, op 10 (1870). Ensemble Cantissimo/Markus Utz. Carus 83-452

Symphony no 1 in C minor, op 50 (1883-4). NDR Philharmonie/Frank Beermann. cpo 777 122-2 42 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 France Prepared by Phil Vendy Widor, C-M. Quintet in D minor, op 7 (1890). Ilona Prunyi, pf; New Budapest Quartet. Naxos 8.555416 29

Bach, H. Ich danke dir, Gott. Maria Zedelius, sop; Ulla Groenewold, cont; David Cordier, ct; Paul Elliott, ten; Michael Schopper, bass; Rheinische Kantorei; Members of Musica Antiqua, Cologne/Reinhard Goebel. Archiv 419 253-2 6 Bach, J.M. Allein Gott in der höh sei ehr; Auf meinen lieben Gott, or Wo sol ich fliehen hin. Franz Haselböck, org. Hänssler NR 98558 5 Bach, J. Christoph Siehe, wie fein und lieblich ist. Paul Elliott, ten; Hein Meens, ten; Stephen Varcoe, bass; Members of Musica Antiqua Cologne/Reinhard Goebel. Archiv 419 253-2 6 Bach, W.F. Harpsichord concerto in A minor (1733). London Baroque. Harmonia Mundi HMC 901558 15

Massé, V. Carnaval de Vénise. Sumi Jo, sop; English CO/Richard Bonynge. Decca 440 679-2 7

Bach, C.P.E. Trio sonata in D minor, Wq146 (1731). Alain Marion, fl; Marzio Conti, fl; Daniele Roi, hpd. Fonè 89 F 04-28 16

Saint-Saëns, C. Sonata no 1 in C minor, op 32 (1872). Luigi Piovano, vc; Luisa Prayer, pf. Eloquentia EL 1024 43

Bach, J. Christian Symphonie concertante in G (c1765). Hanover Band/Anthony Halstead. cpo 999 627-2 17

Bizet, G. Symphony in C (1855). Royal PO/ Enrique Bátiz. ASV DCA 696 34

Bach, J.S. Magnificat in E flat, BWV243a (1723). Collegium Vocale/Philippe Herreweghe. Harmonia Mundi HMX 2971782 33 January 2014

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saturday 25 January 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SATURDAY MORNING MUSIC with Stephen Wilson 9:00 HANDEL HORS D’OEUVRE Prepared by Oscar Foong Handel, G. Sinfonia and Ombra mai fu, from Xerxes, HWV40 (1738). Akademie für Alte Musick. Harmonia Mundi HMX 2901726 4 Organ concerto in B flat, op 4 no 6 (1736). Academy of Ancient Music/Richard Egarr, org & dir. Harmonia Mundi HMU 807446 13 Chaconne in G, HWV435 (1733). Angela Hewitt, pf. Hyperion CDA67736 7 9:30 SPOTLIGHT ON ALBAN BERG Prepared by Francis Frank Berg, A. Dort links geht’s in die Stadt, from Wozzeck, op 7 (1925). Anja Silja, sop; Eberhard Waechter, bar; Vienna PO/Christoph von Dohnányi. Decca 460 805-2 5 Four pieces, op 5 (1913). Peter Jenkin, cl; Lisa Moore, pf. Tall Poppies TP086 8 Altenberg-Lieder, op 4 (1912). Margaret Price, sop; London SO/Claudio Abbado. DG 423 238-2 12 String quartet, op 3 (1910). Alban Berg Quartet. EMI 5 55190 2 20 Sonata, op 1 (1908). Allison Brewster Franzetti, pf. Naxos 8.570401 11

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

Dean, B. Carlo (1997). Swedish CO/H.K. Gruber. BIS 1576 20 Koehne, G. A closed world of fine feelings. Tim Kain, gui. Tall Poppies TP169 5

14:00 EARTH AND FIRE Prepared by Randolph Magri-Overend Purcell, H. Thy hand, Belinda ... When I am laid in earth ... With drooping wings, from Dido and Aeneas (1689). Catherine Bott, sop; Academy of Ancient Music Ch & O/Christopher Hogwood. L’Oiseau-Lyre 444 620-2 8 Stravinsky, I. Adoration of the earth, from The rite of spring (1911-13). Melbourne Symphony Orchestra/Hiroyuki Iwaki. ABC 434 896-2 15 Chatman, S. Earth songs (2008). University of British Colombia Singers; CBC RO/Alain Trudel. Centrediscs CMCCD 14709 23 Falla, M. de Ritual fire dance, from Love, the magician (1915; arr.). Guitar Trek. ABC 476 3389 4 Stravinsky, I. The firebird, ballet suite (1945). London SO/Neeme Järvi. Chandos CHAN 8783 31 15:30 AT THE MOVIES Prepared by Nicholas Chaplin Rota, N. Soundtrack: Romeo and Juliet (1968). Glen Weston, vocal; Studio O/Nino Rota. Capitol Records CDP 792057-2 48

Violin concerto (1935). Daniel Hope, vn; BBC SO/Paul Watkins. Warner 2564 60291-2 29

Zimmer, H. Excerpts from the soundtrack of The Ring Two (2005). Studio O/Gavin Greenway; Fiachra Trench. Decca 988 0778

Three orchestral pieces, op 6 (1914-15). BBC SO/ Pierre Boulez. Sony SMK 68331 20

16:30 SWEDISH CHAMBER Prepared by Chris Blower

Jessel, L. Parade of the tin soldiers (arr. Langford). Sellers Engineering Band/Phillip McCann. Sony SK 48076 4

Berwald, F. Piano trio in C (1853). Susan Tomes, pf; Gaudier Ensemble. Hyperion CDA66835

Grainger, P. Colonial song (1912). Hawthorn Band/Ken MacDonald. 7

Crusell, B. Divertimento in C, op 9. Max Artved, ob; Elise Båtnes, vn; Tue Lautrup, vn; Dimitri Golovanov, va; Lars Holm Johansen, vc. Naxos 8.557361 10

Fernie, A. Scottish rhapsody. Sellers Engineering Band/Douglas Blackledge. Chandos CHAN 4511

Arlen, H. I love a parade (arr. Fernie). Sellers Engineering Band/Phillip McCann. Chandos CHAN 4527 6 fineMusic 102.5

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19:00 THE MAGIC OF STAGE AND SCREEN Prepared by Maureen Meers Kander, J. Excerpts from Cabaret (1975). Liza Minelli, Michal York, voices; members of the original film cast. HID P HIDP 40027 19 Strouse, C. Excerpts from Applause (1970). Lauren Bacall, Len Cariou, Robert Mandan, Ann Williams, voices; members of the original Broadway cast. Decca 012159404-2 12 Porter, C. Excerpts from Kiss me Kate (1948). Kathryn Grayson, Howard Keel, Ann Miller, voices; members of the original Broadway cast; O/André Previn. Membran 221848-207 19 20:00 LIVE AND LOCAL The age of elegance Recorded by Roger Doyle for FINE MUSIC Haydn, J. Flute quartet in G, op 5 no 2.

Boccherini, L. Flute quintet in E flat, op 17 no 6 (1773). 6 Mozart, W. Divertimento in B flat, K137 (1772). 8 Pleyel, I. Flute quintet in C, B201a, Nocturne (1789). 23

Larsson, L-E. Late autumn leaves, op 20 (1940). Stenhammar Quartet. Daphne 1035

Various. Songs (arr. Boyle): South Australia; Ryebuck shearer; Click go the shears; Waltzing Matilda. David Hobson, ten; Teddy Tahu Rhodes, bass-bar; Sharon Kimmorley, pf. ABC 476 4861 6

Haydn, M. Divertimento in D, MH 319 (1782). 18

11:30 ON PARADE Prepared by Paul Hopwood

Gershwin, G. Strike up the band (1932). Hawthorn Band/Ken MacDonald. Walsingham WAL 9000-2 (2 above)

Sculthorpe, P. From Ubirr (1994). William Barton, didjeridoo; Queensland SO/Michael Christie. ABC 476 192-1 12

12:00 JAZZ THEN AND NOW with Michael Cooper

Boccherini, L. String quintet in C, op 30 no 6, Night music of the streets of Madrid (1780). 11 Australian Haydn Ensemble (all above)

Stenhammar, W. String quartet no 1 in C, op 2 (1894). Fresk Quartet. LP Caprice CAP 1201-03 33 18:00 AUSTRALIAN COMPOSERS’ HOUR Prepared by Janie Fitch Jong, S. de Unreal fair (1993). Mara Kiek, vocal; Satsuki Odamura, koto; Philip South, perc. Vox Australis VAST022-2 7

21:30 ORCHESTRAL MINIATURES Prepared by Rex Burgess Weber, C.M. Invitation to the dance, op 65 (1819; orch. Berlioz). Berlin PO/Herbert von Karajan. DG 419 070-2 9 Wagenseil, G. Symphony in E. Salieri CO/ Tamás Pál. Arkadia CDAK 130.1 9 Cherubini, L. Sonata no 2 in F (1804). Luciano Giuliani, hn; I Solisti Aquilani/Vittorio Antonellini. Nuova Era 6910 7 22:00 AFTER HOURS with Kevin Jones

Sunday 26 January 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SUNDAY MORNING MUSIC with David Garrett

Westlake, N. Piano trio (2003). Tall Poppies TP187

9:00 MUSIC OF THE DANCE Prepared by Angela Bell Grieg, E. Norwegian dances, op 35 (1881). Bergen PO/Ole Kristian Ruud. BIS CD-1740/42

Schubert, F. Notturno in E flat, D897 (c1827). ABC 465 792-2 11 21

Brahms, J. Piano trio no 3 in C minor, op 101 (1886). ABC 472 668-2 22 18

Brahms, J. Waltzes, op 39 (1864). Jenö Jandó, pf. Naxos 8.570290 18 Alwyn, W. Elizabethan dances (1956-57). Royal Liverpool PO/David Lloyd-Jones. Naxos 8.570144 18 10:00 THE DEFINING YEARS Music from the classical era Prepared by Denis Patterson Arne, T. Symphony no 4 in C minor (1767). Bournemouth Sinfonietta/Kenneth Montgomery. LP EMI ESD 1060241 12 Paisiello, G. Mandolin concerto in E flat. Ugo Orlandi, mand; I Solisti Veneti/Claudio Scimone. LP Erato NUM 75248 15 Schubert, F. Rondo in A, Grand Rondeau, D951. Nelson Freire, pf; Martha Argerich, pf. DG 477 9523 11 Boccherini, L. Guitar quintet no 1 in D minor (c1798). Pepe Romero, gui; Academy of St Martin in the Fields Chamber Ensemble. Philips 438 769-2 17 Geminiani, F. Sonata no 3 in D. Ede Banda, vc; László Karper, gui; János Sebestyén, hpd. LP Hungaroton SLPX 1201 11 Arriaga, J. String quartet no 3 in E flat (1824). Camerata Boccherini. Naxos 8.557628 23 Dittersdorf, C. Symphony in C, The four ages of the world (pub. 1767). Failoni O/Hanspeter Gmür. Naxos 8.553368 17

Piazzolla, A. The four porteño seasons (1969). ABC 980 678-0 23 Macquarie Trio (all above) 16:00 FROM OPERA AND FILM Prepared by Giovanna Grech Tchaikovsky, P. Fantasy overture: Romeo and Juliet (1869/80). Philharmonia O/Riccardo Muti. EMI CZS 7 67318 2 19 Verdi, G. Fantasy for flute on A masked ball (arr. Genin). Patrick Gallois, fl; Fabrice Pierre, hp; Richard Friedman, vn; London FO/Ross Pople. DG 445 822-2 12 Borodin, A. There is neither sleep nor rest, from Prince Igor (1890). Mykola Koval, bar; Ukraine National RSO/Theodore Kuchar. Naxos 8.557456 7 Ibert, J. Suite from Don Quichotte (1933). Slovak RSO/Adriano. Marco Polo 8.223287

17:00 HOSANNA Prepared by Warwick Bartle Hymns and anthems: Come down O love divine; Hail gladdening light; If ye love me. 10 Psalms: no 84, O how amiable; no 22, My God look upon me; no 122, I was glad. 14 Anthems and canticles: Evening canticles; And I saw a new heaven; Faire is the heaven. 22 Choir of King’s College, Cambridge (all above) Angel 724358088020

12:00 CLASSIC JAZZ AND RAGTIME With John Buchanan

Widor, C-M. Toccata, from Symphonie no 5. Roger Tebbett, org. RL Records RLR 001 6

13:00 WORLD MUSIC: Whirled Wide with Linda Marr

18:00 FEATURING THE CON Prepared by Jan Brown

14:00 SUNDAY SPECIAL Featuring the Macquarie Trio Prepared by Marilyn Schock

Piazzolla, A. History of the tango, op 66 (1986). Geoffrey Collins, fl; Alice Giles, hp. Tall Poppies TP031 19

Beethoven, L. Piano trio in E flat, op 1 no 1 (1794-95). ABC 446 626-2 29

Beethoven, L. Sonata no 14 in C sharp minor, op 27 no 2, Moonlight (1801). Gerard Willems, pf. ABC 465 077-2 16

Sculthorpe, P. Landscape II (1979). Leigh Middenway, vn; Dimity Hall, va; Catherine Hewgill, vc; Anthony Fogg, amplified pf. MBS 16 CD 18 19:00 OPERA HIGHLIGHTS Prepared by Giovanna Grech Donizetti, G. Prelude, Nella fatal di Rimini, from Lucrezia Borgia (1833). Marilyn Horne, mezz; London Opera Ch; National PO/Richard Bonynge. Decca 421 497-2 12 Verdi, G. Sul fil d’un soffio etesio, from Falstaff (1893). Mirella Freni, sop; Italiana RCA Ch & O/Georg Solti. 4 Decca 421 307-2 Rossini, G. Don Basilio! Cosa veggo! from Il barbiere di Siviglia. Maria Callas, sop; Luigi Alva, ten; Tito Gobbi, bar; Nicola Zaccaria, bass; Philharmonia O/Alceo Galliera. 9 EMI 763076-2 19:30 SUNDAY NIGHT CONCERT Bach, J.C.F. Symphony in C (1770). Neues Bachisches Collegium Musicum/Burkhard Glaetzner. Brilliant Classics 99785/7

Saint-Saëns, C. Piano concerto no 3 in E flat, op 29 (1869). Gabriel Tacchino, pf; Luxemburg RSO/Louis de Froment. Mediaphon 25407-147 29 Elgar, E. Falstaff, symphonic study in C minor, op 68 (1913). National Youth O/Christopher Seaman. IMP PCD 934 35 21:00 NEW HORIZONS Music for Australia day Prepared by Robert Small Sculthorpe, P. Advance Australia fair (1996). Sydney SO/David Stanhope. 3 ABC 465720-2 Lockley, G. Symphony of Australia (2007). Harry Adkins, treb; Renée Martin, mezz; Cantillation; Janet Webb, fl; Shefali Pryor, ob; Matthew Doyle, didgeridoo; Gavin Lockley, bar, pf; Rick MIller, timp; Brian Nixon, timp; Sharolyn Kimmorley, pf; Sydney SO/Brett Weymark. ABC 476 3659 49 Easton, M. Concerto on Australian themes. Len Vorster, pf; State O of Victoria/Brett Kelly. Naxos 8.554368 19 Beath, B. Piccolo victory: images of colonial Australia. Harold Wilson, didgeridoo; Brisbane Baroque Trio. 9 LP Grevillea GRV 1082 22:30 ULTIMA THULE January 2014

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Monday 27 January 11:30 HIGHLIGHTS FROM THE MAGIC FLUTE Prepared by Giovanna Grech Mozart, W. Ein Mädchen oder Weibchen, from The magic flute (1791). Bryn Terfel, bassbar; Scottish CO/Charles Mackerras. DG 477 5886 4 Now, marching down the road of morning, from The magic flute. Deborah Riedel, sop; Andrew Phipps, treb; Michael Tierny, treb; Christopher Taplin, treb; Australian Opera & Ballet O/Richard Bonynge. ABC 434 140-2 6

Edo de Waart 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 FINE MUSIC BREAKFAST including Arts Calender at 7.30am with James Hunter 9:00 DIVERSIONS IN FINE MUSIC By arrangement Prepared by Francis Frank Wagner, R. Brünhildes Opfertat, from Götterdämmerung (1869-74; arr. Vlieger). Netherlands RPO/Edo de Waart. Fidelio FIDELIO 9201

Chopin, F. Romanza, from Piano concerto no 1 in E minor, op 11 (1830; transcr. Balakirev). MarcAndré Hamelin, pf. Hyperion CDA66765 10 Walton, W. Ballet: The wise virgins, after J.S. Bach (1940). Concert Arts O/Robert Irving. EMI 65911 21 Gershwin, G. Rhapsody in blue (1924; transcr. Dokshitser). Edward Tarr, tpt; Elisabeth Westenholz, pf. BIS 152 12 10:00 MORNING CONCERT Prepared by Derek Parker Handel, G. Overture and ballet music from Alcina, HWV34 (1735). Academy of St Martin in the Fields/Neville Marriner. Decca 480 1388 21 Sinding, C. Piano concerto in D flat, op 6 (1889/1901). Piers Lane, pf; Bergen PO/Andrew Litton. Hyperion CDA67555 34 Piazzolla, A. Buenos Aires symphony, op 15 (1951). Daniel Binelli, ban; Nashville SO/ Giancarlo Guerrero. Naxos 8.572271 26 48

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Rimsky-Korsakov, N. Suite from The snow maiden (1898). Czecho-Slovak RSO/Donald Johanos. Naxos 8.553247 13 14:30 PIANO PLUS Prepared by Jan Brown Schumann, R. Fantasy in C, op 17 (1836-38). Maurizio Pollini, pf. DG 479 0908 31 Sonata no 1 in A minor, op 105 (1851). Anthony Marwood, vn; Susan Tomes, pf. Hyperion CDA67180 16

In diesen heil’gen hallen, from The magic flute. Conal Coad, bass; Tasmanian SO/Dobbs Frank. ABC 432 697-2 5

Piano concerto in A minor, op 54 (1841-45). Maurizio Pollini, pf; Berlin PO/Claudio Abbado. DG 479 0908 31

Pa-Pa-Pa-Pa, from The magic flute. Cecilia Bartoli, mezz; Bryn Terfel, bass-bar; St Cecilia Academy O/Myung-Whun Chung. Decca 473 380-2 2

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

Hm hm hm hm! from The magic flute. Wendy Dixon, sop; Kerry Elizabeth Brown, mezz; Rosemary Gunn, mezz; Michael Martin, ten; Roger Lemke, bar; Australian Opera & Ballet O/Richard Bonynge. ABC 434 140-2 7 12:00 SWING SESSIONS with John Buchanan

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 Judy Ekstein

13:00 RAIN AND SNOW Prepared by Randolph Magri-Overend

Castelnuovo-Tedesco, M. Guitar concerto no 1 in D, op 99 (1939). John Williams, gui; English CO/Charles Groves. CBS M 2 YK 45610 21

Koehne, G. Rainforest (1982). Sydney SO/Louis Frémaux. LP ABC AC 1076 13

Malipiero, G. Vivaldiana (1952). Veneto PO/ Peter Maag. Naxos 8.555515 15

Britten, B. Canticle III: Still falls the rain, op 55 (1954). Peter Pears, ten; Dennis Brain, hn; Benjamin Britten, pf. BBC BBCB 8014-2 11

Ravel, M. Le tombeau de Couperin (1913-17). Louis Lortie, pf. Chandos CHAN 7004/5 24

Sviridov, G. It is snowing (1966). Gnesins Institute Boys’ Choir; Female voices of RSFSR Yurlov Academic Choir; Moscow Radio Large SO Chamber Players/Gennady Rozhdestvensky. LP Melodiya CM 01943-03542 9 Liszt, F. Snow-whirls. Jenö Jandó, pf. Naxos 8.553119

Finzi, G. Earth and air and rain, op 15 (1928-32). Benjamin Luxon, bar; David Willison, pf. Decca 476 2163 29

Martinu, B. La revue de cuisine (1927). Karel Dlouhy, cl; Jirí Formácek, bn; Václav Junek, tpt; Bruno Belcík, vn; Milos Sádlo, vc; Frantisek Rauch, pf. Supraphon SU 3058-2011 13 Medtner, N. Piano concerto no 1 in C minor, op 33 (1914-18). Dmitri Alexeev, pf; BBC SO/ Alexander Lazarev. Hyperion CDA66744 34

Tuesday 28 January 0:00 CONTEMPORARY COLLECTIVE

Koehne, G. Powerhouse (1993). Sydney SO/ Takuo Yuasa. Naxos 8.555847 11

3:00 CLASSICAL TILL DAWN

Tippett, M. Suite in D for the birthday of Prince Charles (1948). English Northern Philharmonia/Michael Tippett. Nimbus NI 5217

6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Julie Simonds 9:00 DIVERSIONS IN FINE MUSIC Artist of choice: Elizabeth Wallfisch Prepared by Madilina Tresca

Respighi, O. Concerto all’antica (pub. 1923). Ingolf Turban, vn; English CO/Marcello Viotti. Claves 50-9017 28

14:00 THE SEASONS Prepared by Stephen Wilson Trad. Four seasons reminiscences. Shu-Cheen Yu, sop; Sinfonia Australis/Antony Walker. ABC 472 223-2 5 German, E. The seasons (1899). RTE Concert O/Andrew Penny. Marco Polo 8.223695 39 Piazzolla, A. The four porteño seasons (1969). Macquarie Trio. ABC 980 678-0 23

Matteis, N. L’amore. Rosanne Hunt, vc; Linda Kent, hpd. ABC 465 269-2 4

Mahler, G. Adagio, from Symphony no 10 (1910). Gustav Mahler Youth O/Bernard Haitink. Radio Nederland transcription 25

Biber, H. Passacaglia in G minor (c1675). Hyperion CDA67238

11:30 CHAMBER VIGNETTES Prepared by Rex Burgess

Spohr, L. Symphony no 9 in B minor, op 143, The seasons (1850). Slovak State PO/Alfred Walter. Marco Polo 8.223454 27

Beethoven, L. Piano trio no 9 in E flat, WoO38 (c1791). Beaux Arts Trio. Philips 438 948-2

Dreyfus, G. The seasons. Margaret Crawford, fl; Madeleine Dietrich, va; Glen Davies, perc. LP ABC PRX 5599 11

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

Rossini, G. String sonata no 4 in B flat (1804). Marshall Marcus, vn; Richard Tunnicliffe, vc; Chi-chi Nwanoku, db. Hyperion CDA66595 14 Locatelli, P. Violin concerto in D, op 3 no 12 (pub. 1733). Raglan Baroque Players/Nicholas Kraemer. Hyperion CDS44391/3 24 Elizabeth Wallfisch, vn (all above) 10:00 MORNING CONCERT Prepared by Michael Field

Grosse Fuge in B flat, op 133 (1826). New Budapest String Quartet. Hyperion CDA66407 12:00 JAZZ RHYTHM with Jeannie McInnes

19:00 THE JAZZ BEAT with Lloyd Capps

13:00 AUSTRALIAN CHAMBER ORCHESTRA Produced by Simon Moore Highlights and previews of the month’s concerts including interviews with the key players

20:00 RECENT RELEASES with Stephen Wilson 22:00 THE AUSTRALIAN JAZZ SCENE with Susan Gai Dowling

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 January 2014

fineMusic 102.5

Wednesday 29 January 12:00 JAZZ SKETCHES with Robert Vale

0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN

13:00 YOUNG VIRTUOSI

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 Rex Burgess Gabrieli, G. Canzona: La spirituate (1608). Members of Hesperion XX/Jordi Savall. EMI 8. 26521 2

Buonamente, G. Suite, from Book 3 (1626). Palladium Ensemble. LINN CKD 015 8

Haydn, J. Symphony in C, Hob.I:32 (c1760). Vienna CO/Ernst Märzendorfer. LP Musical Heritage Society OR H-201-249 17

Scheidt, S. Sonata in D minor (1622); Pauduene in C (1625). Triton Trombone Quartet. BIS CD-644 7

Boccherini, L. Quintet in E minor, op 57 no 3 (c1799). Riccardo Caramella, pf; Zagreb String Quartet. Nuova Era 7160 18

Schmelzer, J. Sonata in G, after La Carolieta. Concerto Castello/Bruce Dickey. EMI 8.25535.2 6 Biber, H. Sonata no 4 (1681). Ingrid Seifert, vn; John Toll, org. EMI 8. 26534.2 12 Buxtehude, D. Sonata in B flat. John Holloway, vn; Jaap ter Linden, va da gamba; Lars Ulrik Mortensen, org. Marco Polo 8.224005 14 10:00 MORNING CONCERT Prepared by Frank Morrison Beethoven, L. Overture to Leonora, no 3, op 72a (1814). Philharmonia O/Herbert von Karajan. EMI CDM 1 66426 2 15 Mozart, W. Bassoon concerto in B flat, K191 (1774). Milan Turkovic, bn; Stuttgart CO/Martin Sieghart. Orfeo C 223 911 A 19 Stravinsky, I. Ballet: The firebird (1910). Birmingham SO/Simon Rattle. EMI 7 49178 2

11:30 LITTLE SONATAS Arnold, M. Sonatina, op 29 (1951). Paul Meyer, cl; Eric Lesage, pf. Denon CO-18016 8 Benjamin, A. Sonatina (1924). Jane Peters, vn; Rachel Valler, pf. MBS 27 17 50

15:00 THE SYMPHONIES OF HAYDN Prepared by Chris Blower

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January 2014

Haydn, J. Symphony in C, Hob.I:33 (c1760). Vienna CO/Ernst Märzendorfer. LP Musical Heritage Society OR H-201-249 19

Len Vorster 22:30 KU-RING-GAI VIRTUOSI The melting pot Recorded by Kerry Joyner for FINE MUSIC Edwards, R. Binyang; Interior. Deborah de Graaff, cl; Len Vorster, wood blocks. 7 Le Gallienne, D. Fear no more the heat of the sun; Farewell, thou are too dear for my possessing. 6 Sutherland, M. The orange tree (1938).

16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm With Oscar Foong

Adele Johnston, sop (2 above) Sutherland, M. Sonata (1949).

19:00 JAZZ STARS AND STRIPES with Peter Mitchell

Kats-Chernin, E. Russian rag (1996).

Deborah de Graaff, cl (2 above)

20:00 AT THE OPERA Prepared by Colleen Chesterman Glanville-Hicks, P. Sappho. Opera in three acts. Libretto by Lawrence Durrell and composer. Completed 1963, never performed. SAPPHO: Deborah Polaski, sop PHAON: Martin Homrich, ten PITTAKOS: Scott MacAllister, ten DIOMEDES: Roman Trekel, bar MINOS: Wolfgang Koch, bass-bar KREON: John Tomlinson, bass Gulbenkian Ch & O/Jennifer Condon. Toccata Classics TOCC 0154-55

Korngold, E. Love letter, op 9 no 4 (191113); Dying song, op 14 no 1 (1909); Resigned farewell, op 14 no 4 (1909); Summer, op 9 no 6 (1911-13). Adele Johnston, sop. 14 Len Vorster, pf (5 above) Henderson, M. Glassbury documents no 1 (1978). Deborah de Graaff, cl. 7 Carmichael, J. Fête champêtre (1959).

2:08

Sappho is married to a rich older man Kreon and is bored. She is no longer writing poetry. Her friends include twin brothers: Pittakos, a general and her former lover, and Phaon, a sponge diver. She spends time drinking with Diomedes, a witty poet and her tutor Minos. Kreon pays Phaon to retrieve stone Tablets from the sea; these reveal Kreon is Sappho’s father. Pittakos exiles them and Sappho farewells her world in sadness.

Mozart, W. Parto, parto ma tu ben; Ecco il punto O, Vitellia, from La clemenza di Tito, K621 (1791). 14 McCabe, J. Folk songs, op 19 (1967): Johnny has gone for a soldier; Hush-a-by birdie; John Peel. 6 Adele Johnston, sop (2 above) Deborah de Graaff, cl; Len Vorster, pf (3 above)

Thursday 30 January 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Simon Moore

Schubert, F. Overture to The magic harp, D644 (1820). Vienna SO/Nikolaus Harnoncourt. Apex 0927 498132 11 Notturno in E flat, D897 (1828). Trio Wanderer. Harmonia Mundi HMC 902002/03 9

Impromptu in C minor, D899 no 1 (1827). Lili Kraus, pf. Vanguard 08 4068 71 9 An die Musik, D547 (1819). Bryn Terfel, bass-bar; Malcolm Martineau, pf. DG 449 190-2 3 10:00 MORNING CONCERT Prepared by Jan Brown Balakirev, M. Suite in D minor after Chopin (1910). USSR SO/Yevgeny Svetlanov. LP Melodiya C10 234-5 001 22 Chopin, F. Piano concerto no 1 in E minor, op 11 (1830). Daniel Barenboim, pf; Staatskapelle Berlin/Andris Nelsons. DG 477 9520 41 Haydn, J. Symphony in E, Hob.I:12 (1763). Academy of Ancient Music/Christopher Hogwood. Decca 433 661-2

11:30 YVONNE KENNY SINGS MOZART Prepared by Rex Burgess Mozart, W. Parto, parto, from La clemenza di Tito, K621 (1791). Alan Vivian, cl. 6 Ei parte. Per pietà, from Così fan tutte, K588 (1790). Cameron Retchford, vc. 9 Ch’io mi scordi di te?, K505 (1786). Pierre Nola, pf. 10 Yvonne Kenny, sop; Australian CO/Richard Tognetti (all above) Sony SK 66282

19:00 JAZZ VIBES with Matt Bailey

13:00 RUSSIAN PIANOS

20:00 EVENINGS WITH THE ORCHESTRA Prepared by Denis Patterson

Medtner, N. Knight errant, op 58 no 2 (1940). Dmitri Alexeev, pf; Nikolai Demidenko, pf. Hyperion CDA66654 11

9:00 DIVERSIONS IN FINE MUSIC Composer focus Prepared by Jan Brown

Fantasie in F minor, D940 (1828). Anne Queffélec, Imogen Cooper, pf. apex 0927 49812 2

12:00 JAZZ, PURE AND SIMPLE with Maureen Meers

Arensky, A. Suite no 1, op 15 (1888). Joan Yarbrough, pf; Robert Cowan, pf. Pantheon D 07183

Banks, D. Four pieces (1953). Melbourne SO. LP ABC RRCS 124 12 Fauré, G. Pavane, op 50 (1887). West Australian SO. ABC 442 377-2

13:30 MUSIC FROM THE 30s AND 40s Prepared by Frank Morrison

Ravel, M. Daphnis and Chloë: Suite no 2 (1912). ABC 438 195-2 16

Milhaud, D. String trio, op 274 (1947). String Trio of Paris. Erato ECD 88254 16

Beethoven, L. Symphony no 4 in B flat, op 60 (1806). LP RCA VRL4 0190 33

Ibert, J. Four songs of Don Quichotte (1932). José van Dam, bar; Jean-Philippe Collard, pf. EMI CDC 7 49288 2 11

Butterley, N. Fire in the heavens (1973). LP RCA VRL1 0191

Stravinsky, I. The Rite of Spring (1913). LP ABC AO 7041

Barber, S. Cello concerto, op 22 (1945). Steven Isserlis, vc; Saint Louis SO/Leonard Slatkin. RCA 09026-68283-2 26 14:30 KEYBOARD CONTRASTS Prepared by Francis Frank

Sydney SO (4 above) Willem van Otterloo, cond (all above)

Stanley, J. Harpsichord concerto in C minor, op 10 no 4. London Baroque. Amon Ra SAR 14 10 Morawetz, O. Duo (1947). Jasper Wood, vn; David Riley, pf. Centrediscs CMCCD 12807 8 Arne, T. Trio sonata no 2 in G (1757). London Baroque. Amon Ra CD SAR 14 9

22:00 CHAMBER SOIRÉE Prepared by Judy Ekstein Rossini, G. String sonata no 1 in G (1804). Elizabeth Wallfisch, vn; Marshall Marcus, vn; Richard Tunnicliffe, vc; Chi-chi Nwanoku, db. Hyperion CDA66595 11 Mozart, W. Keyboard trio no 3 in B flat, K502 (1788). Mozartrios. Tall Poppies TP070 24

Dupré, M. Ballade, op 30 (1932). Stefan Engels, org; Alessio Bax, pf. Naxos 8.554210 9

Françaix, J. Clarinet quintet (1977). Richard Hosford, cl, members of the Gaudier Ensemble. Hyperion CDA67036 24

Couperin, A-L. Harpsichord symphony. William Christie, hpd; David Fuller, hpd. Harmonia Mundi HMX 2908250.79

Martinu, B. Trio (1937). Members of Feinstein Ensemble. Naxos 8.553459 16

Beethoven, L. Sonata no 10 in G, op 96 (1812/15). Josef Suk, vn; Jan Panenka, pf. Supraphon SU 4077-2

Clementi, M. Piano trio, op 22 no 1 (pub. 1788). Trio Fauré. Dynamic CDS 93

Bach, J.S. Harpsichord concerto in F, BWV1057 (c1738-39). English Concert/Trevor Pinnock. Archiv 427 158-2 16 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Stephen Wilson

January 2014

fineMusic 102.5

Friday 31 January

3:00 CLASSICAL TILL DAWN

13:00 FLUTE PLUS Prepared by Jan Brown

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

Milhaud, D. Sonatina (1922). Kurt Redel, fl; Noël Lee, pf. Arion ARN 68238 9

9:00 DIVERSIONS IN FINE MUSIC Exploring chamber Haydn, J. String quartet no 67 in D, Lark (1790). Caspar da Salo Quartett. Onyx 66552

Schumann, R. Fantasiestücke, op 73 (1849). Gershon Dembinsky, cl; Jonathan Zak, pf. PWK Classics PWK 1142 12 Paganini, N. Two caprices, op 1. David Garrett, vn; Bruno Canino, pf. DG 476 2466 7 Mozart, W. Flute quartet no 1 in D, K285 (1777). Australia Ensemble. Tall Poppies TP 029

10:00 MORNING CONCERT Liszt, F. Symphonic tone poem no 7, Festklänge (1853). London PO/Bernard Haitink. Philips 438 751-2 20 Bach, C.P.E. Cello concerto no 2 in B flat, Wq167. Balázs Máté, vc; Concerto Armonico/ Péter Szüts. Brilliant Classics 99785/2 24 Rimsky-Korsakov, N. Symphony no 3 in C, op 32 (1886). USSR SO/Evgeni Svetlanov. Melodiya MX 20753 001 39 11:30 CHAMBER VIGNETTES Prepared by Rex Burgess

Mozart, W. Quartet no 1 in D, K285 (1777). Judith Hall, fl; Paul Barrit, vn; Gustav Clarkson, va; Josephine Horder, vc. Collins D 26003 17 Bach, C.P.E. Flute concerto in G, Wq169 (c1755). Patrick Gallois, fl; Karl-Phillip Emanuel Bach CO/Peter Schreier. DG 439 895-2 25 Hotteterre, J-M. Suite no 2 in C minor, op 5 (1715). Masahiro Arita, fl; Kiyomi Suga, fl; Masako Hirao, bass viol; Yasunori Imamura, theorbo; Chiyoko Arita, hpd. Denon CO-75957/8 17 Schubert, F. Fifteen original dances, D365 (1821). William Bennett, fl; Simon Wynberg, gui. ASV DCA 692 10 14:30 THE ART OF STEPHEN HOUGH Prepared by Stephen Wilson Liszt, F. Rhapsody espagnol (c1863). Virgin 5 61129 2

Grieg, E. Piano concerto in A minor, op 16 (1868). Bergen PO/Andrew Litton. Hyperion CDA 67824 30 Britten, B. Holiday diary, op 5 (1934). Virgin VC 7 91203-2

Poulenc, F. Sonata (1922). Thierry Caens, tpt; André Cazalet, hn; Michel Becquet, tb. Pierre Verany PV 793041 9

16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Oscar Foong

Bruckner, A. Aequalus no 1; no 2 (1847). Trombones of City of Birmingham Wind Ensemble/Simon Halsey. Conifer CDCF 192

19:00 FRIDAY JAZZ SESSION with Sally Cameron 4

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January 2014

Rubinstein, A. Sonata no 1 in D, op 18 (1852). Steven Isserlis, vc. RCA 09026 68290 2 23

Beethoven, L. Three Equali in D minor, D and B flat (1812). Trombones of Australian Baroque Brass. Tubicium Records TR761901 5

Guilmant, A. Symphonic piece. Alain Trudel, tb; Patrick Wedd, org. Naxos 8.553716 8 52

Suk, J. Pohádka, fairy tale suite, op 16 (18991900). Northwest German PO/Alun Francis. cpo 999 576-2 30

12:00 NOONTIME JAZZ with Peter Mitchell

0:00 CONTEMPORARY COLLECTIVE

Stephen Hough, pf (all above)

20:00 THE ROMANTIC CENTURY Prepared by Di Cox Kuhlau, F. Overture to The elf’s hill, op 100 (1828). Odense SO/Othmar Maga. Unicorn-Kanchana DKPCD 9110 11

Saint-Saëns, C. Concert piece in G, op 154 (1919). Marielle Nordmann, hp; Orchestral Ensemble of Paris/Jean-Jacques Kantorow. EMI 5 55587 2 13 Berlioz, H. Orchestral music from Romeo and Juliet, dramatic symphony, op 17 (1839). . Chicago SO/Carlo Maria Giulini. EMI 5 85974 2 53 22:00 BAROQUE AND BEFORE Prepared by Paul Hopwood Corelli, A. Concerto grosso in G minor, op 6 no 8, Christmas (pub. 1714). Concerto Italiano/ Rinaldo Alessandrini. Opus 111 OPS 30-156 15 Bach, J.S. Duo harpsichord concerto in C, BWV1061 (1732-33). Anton Heiller, hpd; Erna Hiller, hpd; Kurt Rapf, hpd; Christa Landon, hpd; I Solisti di Zagreb/Antonio Janigro. Vanguard 08 2025 72 18 Praetorius, M. Magnificat per omnes versus super ut re mi fa sol la. Huelgas Ensemble/Paul van Nevel. Sony SK 48 039 18 Handel, G. Concerto no 3 in F, HWV334 (174647). Academy of St Martin in the Fields/Neville Marriner. Decca 480 1388 16 Flecha, M. El Viejo The joust. Isabel Palacios, mezz; Andrew King, ten; Michael George, bar; Simon Grant, bass; New London Consort/Philip Pickett. L’Oiseau-Lyre 444 810-2 14 Lawes, W. Suite no 9 in F, from The royall consort suites (c1620s). Nigel North, theorbo; Paul O’Dette, theorbo; Purcell Quartet. Chandos CHAN 0584/5 16 Telemann, G. Double concerto in D minor. Colin Lawson, chalumeau; Michael Harris, chalumeau; Collegium Musicum 90/Simon Standage. Chandos CHAN 0593 11

The following composers have works of at least five minutes on the January dates listed Albéniz, I. 1860-1909 3,6 Albinoni, T. 1671-1751 4 Albrechtsberger, J. 1736-1809 14 Alfvén, H. 1872-1960 16 Alkan, C-V. 1813-1888 11 Alwyn, W. 1905-1985 26 Antheil, G. 1900-1959 22 Arensky, A. 1861-1906 16,30 Arlen, H. 1905-1986 25 Arne, T. 1710-1778 26,30 Arnold, M. 1921-2006 29 Arriaga, J. 1806-1826 26 Arutiunian, A. b 1920 19 Atterberg, K. 1887-1974 13,16 Auber, D-F-E. 1782-1871 14,21 Auric, G. 1899-1983 6

Offenbach, J. 1819-1880 20 Ortiz, D. c1510-c1570 15

Shostakovich, D. 1906-1975 7,12,13,20 Sibelius, J. 1865-1957 5 Sinding, C. 1856-1941 27 Falconieri, A. c1586-1656 15 Pachelbel, J. 1653-1706 9,11 Falla, M. de 1876-1946 5,21 Paganini, N. 1782-1840 7,9,16,17,31 Smetana, B. 1824-1884 12,23,24 Smyth, E. 1858-1944 10 Fauré, G. 1845-1924 24,30 Paisiello, G. 1740-1816 26 Sor, F. 1778-1839 5 Fernie, A. 20th c 25 Pasculli, A. 1842-1924 18 Spohr, L. 1784-1859 3,13,16,28 Field, J. 1782-1837 17 Pergolesi, G. 1710-1736 3 Stanhope, P. b 1969 19 Finzi, G. 1901-1956 27 Peterson-Berger, W. 1867Stanley, J. 1712-1786 30 Flecha, M. [El Viejo] 1481-1553 31 Lanner, J. 1801-1843 12 1942 16 Stenhammar, W. 1871-1927 Foster, G. b1945 11 Petit, R. 1893-1976 5 Larsson, L-E. 1908-1986 10,25 11,16,25 Françaix, J. 1912-1997 30 Pezel, J. 1639-1704 1 Lawes, W. 1602-1645 31 Strauss, J. I 1804-1849 12 Frescobaldi, G. 1583-1643 15 Piazzolla, A. 1922-1992 Le Gallienne, D. 1915-1963 29 Strauss, J. II 1825-1899 12,22 16,26,27,28 Cambini, G. 1746-1825 16 Leclair, J-M. 1697-1764 16 Strauss, Josef. 1827-1870 12 Gade, N. 1817-1890 13 Piccinni, N. 1728-1800 12 Campra, A. 1660-1744 19 Lecuna, J. 1899-1954 2 Strauss, R. 1864-1949 1,8 Gál, H. 1890-1987 10 Pichl, V. 1741-1805 8 Cannabich, C. 1731-1798 8 Lehár, F. 1870-1948 14 Stravinsky, I. 1882-1971 Galuppi, B. 1706-1785 23 Piston, W. 1894-1976 21 Carmichael, J. b1930 29 Lilburn, D. 1915-2001 19 8,25,29,30 Gamley, D. 1924-1998 14 Carr-Boyd, A. b1938 11 Liszt, F. 1811-1886 8,10,13,14,27,31 Platti, G. 1700-1763 2,10 Bach, C.P.E. 1714-1788 Strouse, C. b 1928 11,25 Gastinel, G. b1949 5 Pletnev, M. b1957 18 Carr, E. 1926-2003 19 Llewellyn, B. b1950 19 2,4,9,17,19,24,31 Suk, J. 1874-1935 31 Gastoldi, G. c1550-1622 17 Carulli, F. 1770-1841 9 Locatelli, P. 1695-1764 10,15,28 Pleyel, I. 1757-1831 25 Bach, H. 1615-1692 24 Sullivan, A. 1842-1900 4,6 Geminiani, F. 1687-1762 8,22,26 Lockley, G. b1978 26 Porpora, N. 1686-1768 8 Castelnuovo-Tedesco, M. Bach, J. 1604-1673 24 Süssmayr, F. 1766-1803 9 German, E. 1862-1936 4,28 Porter, C. 1891-1964 25 1895-1968 5,10,27 Lovelock, W. 1899-1986 11 Bach, J. Christian 1735-1782 Sutherland, M. 1897-1984 Gershwin, G. 1898-1937 11,12,27 Lutoslawski, W. 1913-1994 11,20 Poulenc, F. 1899-1963 23,31 Chabrier, E. 1841-1894 11 19,24 9,19,29 Ginastera, A. 1916-1983 5 Praetorius, M. c1571-1621 31 Bach, J. Christoph 1642-1703 24 Chaminade, C. 1857-1944 11 Svendsen, J. 1840-1911 9 Giuliani, M. 1781-1829 9,22 Presti, I. 1924-1967 5 Chatman, S. b1950 25 Maclean, C. b1958 19 Bach, J.C.F. 1732-1795 26 Sviridov, G. 1915-1998 27 Glazunov, A. 1865-1936 17,18 Prokofiev, S. 1891-1953 7,12 Chausson, E. 1855-1899 10,11 Mahler, G. 1860-1911 18,28 Bach, J.L. 1677-1731 10 Puccini, G. 1858-1924 12 Cherubini, L. 1760-1842 12,24,25 Glinka, M. 1804-1857 9,17 Malipiero, G. 1882-1973 27 Bach, J.M. 1648-1694 24 Taneyev, S. 1856-1915 19,23 Gluck, C. 1714-1787 20 Pugnani, G. 1731-1798 12 Chopin, F. 1810-1849 Marais, M. 1656-1728 3,15 Bach, J.S. 1685-1750 Tansman, A. 1897-1986 5 Grainger, P. 1882-1961 11,25 Purcell, H. 1659-1695 1,25 3,9,13,22,27,30 Marcello, A. 1684-1750 13,22 3,6,7,9,10,11,14,24,30,31 Tchaikovsky, P. 1840-1893 Graun, J. 1702-1771 19 Clarke, H. 1867-1945 4 Martin, F. 1890-1974 5 Bach, W.F. 1710-1784 24 3,13,16,17,18,20,21,26 Grieg, E. 1843-1907 19,21,26,31 Rachmaninov, S. 1873-1943 Martines, M. 1744-1812 12 Balakirev, M. 1837-1910 2,7,17,30 Clarke, J. 1673-1707 10 Telemann, G. 1681-1767 9,10,31 Clementi, M. 1752-1832 16,30 Guilmant, A. 1837-1911 31 Martinu, B. 1890-1959 5,11,27,30 10,14,18,23 Banks, D. 1923-1980 30 Ticheli, F. b1958 2 Rameau, J-P. 1683-1764 2,7,16 Conyngham, B. b1944 19 Mascagni, P. 1863-1945 12 Barber, S. 1910-1981 30 Halffter, C. b1930 6 Ravel, M. 1875-1937 4,9,23,27,30 Tippett, M. 1905-1998 28 Copland, A. 1900-1990 16,20 Massé, V. 1822-1884 24 Bartók, B. 1881-1945 3,11,24 Torelli, G. 1658-1709 3 Handel, G. 1685-1759 Rebel, J-F. 1666-1747 19 Corelli, A. 1653-1713 6,15,31 Mattheson, J. 1681-1764 16 Bax, A. 1883-1953 1,2 Tyberg, M. 1893-1944 2 4,10,15,16,19,20,27,31 Reicha, A. 1770-1836 16 Corrette, M. 1709-1795 16 Maxwell Davies, P. b1934 13 Beach, A. 1867-1944 12 Harty, H. 1879-1941 10 Respighi, O. 1879-1936 10,21,28 Couperin, A-L. 1727-1789 30 McCabe, J. b1939 29 Beath, B. b1932 26 Vanhal, J. 1739-1813 2 Haydn, J. 1732-1809 1,4,5,6,8,10,12 McDowall, C. b1951 2 Rheinberger, J. 1839-1901 1 Beethoven, L. 1770-1827 1,2,3 Couperin, F. 1668-1733 16 Vaughan Williams, R. 1872-1958 ,15,16,19,21,22,25,29,30,31 Medtner, N. 1880-1951 14,27,30 Richards, G. b1944 18 ,4,5,7,9,10,11,14,17,20,21,23,24,26, Couperin, L. c1626-1661 9 4,13,20,23 Haydn, M. 1737-1806 12,25 Richter, F. 1709-1789 14 Crusell, B. 1775-1838 10,25 Méhul, É-N. 1763-1817 19 28,29,30 Veracini, F. 1690-1768 5 Heinze, G. 1820-1904 10 Ries, F. 1784-1838 5 Czerny, C. 1791-1857 14 Melani, A. 1639-1703 14 Benda, F. 1709-1786 5 Henderson, M. b1941 29 Rimsky-Korsakov, N. 1844-1908 Verdi, G. 1813-1901 Mendelssohn, F. 1809-1847 Benda, G. 1722-1795 5 5,7,11,12,18,20,26 Herzogenberg, H. 1843-1900 18,27,31 d’Indy, V. 1851-1931 6,9 2,3,5,7,9,10,13,19,24 Benda, J. Sr 1686-1757 5 Viadana, L. c1560-1627 17 16,24 Roncalli, C. c1652-c1692 8 Damase, J-M. b1928 5 Mendelssohn, Fanny. 1805Benjamin, A. 1893-1960 29 Vine, C. b1954 11 Heuberger, R. 1850-1914 12 Röntgen, J. 1855-1932 14 1847 12 Bennett, Robert. 1894-1981 2 Danzi, F. 1763-1826 5,13 Vivaldi, A. 1678-1741 3,7,8,13,21,22 Hindemith, P. 1895-1963 20 Daquin, L-C. 1694-1772 11 Mercadante, S. 1795-1870 9,17 Rossini, G. 1792-1868 Berkeley, L. 1905-1989 22 Viviani, G. 1638-c1692 8 Hoffmann, E. 1776-1823 13 3,4,7,10,16,17,20,22,26,28,30 Dean, B. b1961 25 Messiaen, O. 1908-1992 7 Berlioz, H. 1803-1869 31 Volkmann, R. 1815-1883 22 Hoffmeister, F. 1754-1812 5 Rota, N. 1911-1979 25 Debussy, C. 1862-1918 Meyerbeer, G. 1791-1864 17 Bernstein, L. 1918-1990 11,17 Hold, T. b1939 16 Rubinstein, A. 1829-1894 17,31 Milhaud, D. 1892-1974 6,30,31 Berwald, F. 1796-1868 1,13,21,25 2,3,6,9,17,21 Wagenseil, G. 1715-1777 25 Hollier, D. b1934 19 Delius, F. 1862-1934 9,21 Mills, J. b1969 19 Biber, H. 1644-1704 28,29 Wagner, R. 1813-1883 7,23,27 Holst, G. 1874-1934 17,23 Saint-Saëns, C. 1835-1921 Destouches, A. 1672-1749 1 Moeran, E.J. 1894-1950 22 Biscogli, F. fl..c1740 15 Walton, W. 1902-1983 27 Hotteterre, J-M. 1674-1763 31 2,3,6,24,26,31 Molique, B. 1802-1869 2 Bizet, G. 1838-1875 2,18,19,20,24 Devienne, F. 1759-1803 11,21 Wassenaer, U. 1692-1766 14 Howells, H. 1892-1983 4 Dittersdorf, C. 1739-1799 26 Monteverdi, C. 1567-1643 3,17,19 Scarlatti, A. 1659-1725 22 Blavet, M. 1700-1768 16 Weber, C.M. 1786-1826 6,15,25 Hummel, J. 1778-1837 9,10,13 Scharwenka, X. 1850-1924 2 Dohnányi, E. 1877-1960 21 Morawetz, O. b1917 30 Bliss, A. 1891-1975 8 Wert, G. de 1535-1596 3,17 Humperdinck, E. 1854-1921 17 Scheidt, S. 1587-1654 29 Donizetti, G. 1797-1848 Mouret, J-J. 1682-1738 19 Bloch, E. 1880-1959 2,12 Schmelzer, J. c1620-1680 2,29 Westlake, N. b1958 26 10,20,26 Mozart, F. 1791-1844 20 Boccherini, L. 1743-1805 Widor, C-M. 1844-1937 24,26 Ibert, J. 1890-1962 9,26,30 Dove, J. b1959 5 Mozart, W. 1756-1791 1,2,4,7,8,9,1 Schmitt, F. 1870-1958 7 3,6,13,16,25,26,29 Wirén, D. 1905-1986 22 Dreyfus, G. b1928 28 1,13,17,19,20,22,23,24,25,29,30,31 Schnittke, A. 1934-1998 22 Böhm, T. 1794-1881 13 Wolf, H. 1860-1903 10 Jong, S. de b1952 25 Schoenberg, A. 1874-1951 16 Ducol, B. b1949 5 Muffat, G. 1653-1704 16 Boiko, R. b1931 12 Wolff, J-C. b1946 5 Juon, P. 1872-1940 23 Schubert, F. 1797-1828 Mussorgsky, M. 1839-1881 23 Boismortier, J. de 1689-1755 Dukas, P. 1865-1935 3,21 1,5,7,8,9,10,17,19,24,26,30,31 Dupré, M. 1886-1971 16,30 16,19 Kalliwoda, J. 1801-1866 21 Schumann, C. 1819-1896 1,10,12 Zanetti, G. fl 1626-1645 8 Neuburger, J-F. b1986 5 Borodin, A. 1833-1887 3,11,26 Duruflé, M. 1902-1986 12 Ziehrer, C. 1843-1922 12 Schumann, R. 1810-1856 Neukomm, S. 1778-1858 2,10 Bortnyansky, D. 1751-1825 12 Dvorák, A. 1841-1904 5,8,12,19 Kander, J. b1927 11,25 Zimmer, H. b1957 25 Kats-Chernin, E. b1957 2 3,9,20,27,31 Nielsen, C. 1865-1931 23 Bottesini, G. 1821-1889 16 Khachaturian, A. 1903-1978 Sculthorpe, P. b1929 3,19,25,26 Easton, M. 1954-2004 26 Nyman, M. b1948 18 Boulanger, L. 1893-1918 6 3,11,13 Shchedrin, R. b1932 12 Edwards, R. b1943 11,29 Bowen, Y. 1884-1961 17 Boyce, W. 1711-1779 4 Boyd, A. b1946 13 Brahms, J. 1833-1897 3,4,10,11,14,18,22,26 Britten, B. 1913-1976 8,11,18,27,31 Brixi, F. 1732-1771 12 Bruckner, A. 1824-1896 15 Buonamente, G. d 1643 29 Busoni, F. 1866-1924 20 Butterley, N. b1935 30 Buxtehude, D. 1637-1707 2,29 Byrd, W. 1543-1623 9

Elgar, E. 1857-1934 1,3,4,10,16,18,23,26

Khandoshkin, I. 1747-1804 23 Kodály, Z. 1882-1967 20,21 Koehne, G. b1956 27,28 Korngold, E. 1897-1957 5,22,29 Kozeluch, L. 1747-1818 2 Krebs, J.G. 1741-1814 15 Kreutzer, C. 1780-1849 21 Kuhlau, F. 1786-1832 12,14,31

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

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

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

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

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

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

January 2014

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

fineMusic 102.5

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

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

DIRECTORS Peter Kurti - Chairman, David Ogilvie - Vice-Chairman, Janine Burrus - Secretary, Nicholas Chaplin - Treasurer, Jacqui Axford, Roger Doyle, Maureen Meers, Stephen Wilson STAFF Liz Terracini - General Manager, Peter Bailey - Technical Manager, Sue Ferguson - Financial Administrator, Michael Guilfoyle- Production Coordinator, Lizzie Herbert - Marketing PR Manager, Steve-Marc McCulloch - Program Coordinator, Denise Schoupp - Sponsorship & Sales Manager

COMMITTEE CHAIRS Broadcasting - Liz Terracini, Programming - Paul Hopwood, Presenters - Ross Hayes, Technical - Max Benyon, Volunteers - Sissi Stewart, Finance - Ron Walledge, Jazz - Kevin Jones, Library- Bob Hallahan, Young Virtuosi - Judy Deacon, Work Health and Safety - John Mitchell FRIENDS OF FINE MUSIC ADMINISTRATOR Allen Ford MAGAZINE DISTRIBUTION Sissi Stewart INTERNSHIP COORDINATOR Janine Burrus PROGRAM SUBEDITORS Jan Akers, Chris Blower, Colleen Chesterman, Di Cox, Susanne Hurst, Simon Kung, John Nowlan, Elaine Siversen, Jill Wagstaff LIBRARIANS Jan Akers, Angela Bird, Barbara Brady, Gaby Brown, Michael Cooper, Bob Hallahan, Valerie Haynes, Maria Hinds, Cynthia Kaye, David Knapp, Bradley Kunda, Mike Marchbank, Helen Milthorpe, John Pearce, Susan Ping Kee, Manfred Stauber.

VOLUNTEER RECORDING ENGINEERS Peter Bell, Roger Doyle, Greg Ghavalas, Jayson McBride, Tim Saddler, Greg Simmons VOLUNTEER PROGRAMMERS AND PRESENTERS Matt Bailey, Warwick Bartle, Charles Barton, Angela Bell, Peter Bell, Chris Blower, David

Brett, Barrie Brockwell, Jan Brown, Terry Brown, John Buchanan, Andrew Bukenya, Rex Burgess, Janine Burrus, Sally Cameron, Lloyd Capps, Vince Carnovale, Sheila Catzel, Nicholas Chaplin, Colleen Chesterman, Chloe Chung, Andrew Clark, Angela Cockburn, Liam Collins, Michael Cooper, Angus Cornwell, Marc Cottee, George Coumbis, Di Cox, George Cruickshank, Nick Dan, Nev Dorrington, Susan Gai Dowling, Brian Drummond, Ian Dunbar, Andrew Dziedzic, Judy Ekstein, Emyr Evans, Michael Field, Richard Fielding, Troy Fil, Owen Fisher, Janie Fitch, Jennifer Foong, Oscar Foong, Tom Forrester-Paton, Francis Frank, Eleonore Fuchter, Carole Garland, David Garrett, Keith Glendinning, Andrew Grahame, Giovanna Grech, Austin Harrison, Ross Hayes, Andre Hayter, Paolo Hooke, Pat Hopper, Paul Hopwood, Richard Hughes, James Hunter, Tony Immergluck, Anne Irish, Paul Jackson, Kevin Jones, Sue Jowell, Kerry Joyner, Peter Kurti, Ray Levis, Philip Lidbury, Christina MacGuinness, Linda Marr, Meg Matthews, Jason McBride, Sue McCreadie, Jeannie McInnes, Terry McMullen, Joshua McNulty, Randolph MagriOverend, Maureen Meers, Camille Mercep, John Milce, Peter Mitchell, Simon Moore, Frank Morrison, Michael Morton-Evans, Clarissa Mulas, Richard Munge, David Nutting, David Ogilvie, Josh Oshlack, Chris Othen, Derek Parker, Denis Patterson, Johan Rahman, Kate Rockstrom, Paul Roper, David Rossell, Tim Sadler, Stephen Schafer, Marilyn Schock, Debbie Scholem, George Segal, Jon Shapiro, Dan Sharkey, Julie Simonds, Elaine Siversen, Robert Small, Manfred Stäuber, Garth Sundberg, Heather Sykes, Michael Tesoriero, Anna Tranter, Madilina Tresca, Robert Vale, Phil Vendy, Ron Walledge, Brendan Walsh, Alastair Wilson, Stephen Wilson, Glenn Winfield, Chris Winner, Tom Zelinka

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

or call 9439 4777.

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

BOOK & CD FAIR @ CROWS NEST Thursday 16 January Opening Night 6pm-10pm Friday 17 January - Sunday 26 January 9am-6pm 2 Ernest Place, Crows Nest

fineMusic 102.5

January 2014

FINE MUSIC PATRONS & FRIENDS Benefactors ($2500 +)

The Berg Family Foundation, Dr David Block, Mr J D O Burns, Hon Mr Justice David Davies S C, The Frank Family Foundation, The Garrett Riggleman Trust, Mrs Freda Hugenberger, Prof Clive Kessler, Dr Bill McKee, Hon Mr Justice B S O’Keefe AM, Prof Jack Richards, Mrs Joyce Sproat, Mr Ron Walledge, Mr P M Weate, Mrs Jill Wran (Anon 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, Mr Michael Field, Prof Jacqueline Goodnow, Miss J E Hamilton, The Holden Family Foundation, Mrs Ann Kirby, Mr Ian & Mrs Pam McGaw, Mrs Judith McKernan, Ms Maureen Meers, Ms Nola Nettheim, Mrs Renee Pollack, Dr Peter E Power, Mr Anthony C Strachan, Mr Edward J Wailes, Mr Richard Wingate, Anonymous 2

Silver Patrons ($500-$999)

Mr Chris Abbott AM, Mr Lloyd & Mrs Mary Jo Capps, Dr H Bashir, Mr John Boden, Prof Roger Covell, Mr Noel Craven, Mr Brett Ayron Davies, Ms Francis 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, Michael Morton-Evans OAM, NSW Doctors Orchestra, Miss Joan Perkins, Fed Magistrate K Raphael, Mr Kenneth Reed, Ms Alice Roberts, Mrs Marilyn Schock, Dr Gideon Schoombie, Mrs Josephine R Strutt, Sydney Conservatorium Association, Mrs Beatrice L Watts, Hon Mr Justice A G Whealy, Anonymous 2

Bronze Patrons ($250-$499)

Prof Peter Bayliss, Mr John Beneke, Mr David Brett, Mrs EA 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 Alison 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 Ian K Lloyd, Mr Diccon Loxton, Mrs Patricia McAlary, Dr D S Maynard, Dr Yugan & Abby Mudaliar, Mr John Nowlan, Mr Trevor Parkin, Mr Denis Patterson, Mr Michael Peck, Mr J A Roberts, Mr David Rothery, Dr Janice Russell, 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, Ms Jill L N Hickson, Dr Peter Hook, Mr Roger Howard-Smith, Mr David E Hunt, Mr Robert Hunt, Mr David Hurwood, Mr John Hyde, Dr C P Ingle, Mrs Virginia Jacques, Ms Ruth Jeremy, Mr Ken Johnstone, Mr Christopher Joscelyne, Mr Michael Joseph, Dr Thomas E Karplus, Dr Keith Keen, Mr Paul L Kelly, Mrs Christine Kelly, Ms Patricia Kennedy, Prof Clive Kessler, Mr Roger Kingcott, Mr R J Lamble Ao, Mr Stewart Lamond, Ms Sophie Landa, Mrs Sarah Lawrence, Mr Gregory Layman, Ms Judy Lee, Ms Annette Lemercier, Ms Karen Loblay, Dr David C Ludowici, Mrs Ruth G MacLeod, Mr Joseph Malouf, Mrs Anita Masselos, Miss Lynne Matarese, 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, Asst Prof Robt 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, Mr P A & Mrs H F Thomas M .B.E., Miss Margaret Thompson, Mr Iain M Thompson, Mr Christopher A Thorndike, Dr Robin Torrence, Mrs Margaret Tuckson, Mrs Helen J Tweeddale, Mr 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, 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, 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 Margaret 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, 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, Mrs M A Grant, Mr David Green, Mr R N Greenwell, 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 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, 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 A M, 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 January 2014

fineMusic 102.5

crossword 1

Compiled by Nevil Anderson

Name:_______________________________________________

ACROSS 8 First Balinese vessel to go up in smoke (4)

Down 1 Perhaps bulletmark excites gnomes (10)

9 Why help a bongo drummer who’s forever slinging off at the Motherland (10)

2 Tell all we’re superabundant if you must, but omit Spanish savoury snack (8)

10 Show off accommodation housing international forum (6)

3 Disgusting ! I’m raw at all hours of the day since powers that be suspended civil administration (10)

11 Absorbing just one, vagrants make briefs (8) 12 Without hoo-ha Sherpa ideals settled the account (4)

4 Short French artist in retreat when referring to the elderly (4) 5 Firm in North Sydney swindles (4)

13 After pondering a little, probations recognisable as form of osmosis (10)

6 Include Rwandan capital in move to confession (6)

17 First and foremost, she knows it’s needed to cover all human beings (4)

7 Remove anno domini from mediaeval overcoat and lo! one happy skier (4)

18 Really angry when I see eye guardian taking in a full half dozen (5)

14 Maybe cut stopwatch from timeservers (5)

19 No abstainer, he or she with short cut hair (4) 20 Disagreeably howled “rort” when faced with proposal of life after death (10)

15 Fancy married lad morphing into lepidoptera (10) 16 Hopeful in spite of camera gear taking up Irish mist (10) 19 Obscure seminars - close call ! (8)

22 Slam not grand, but beggars live on Address: _____________________________________________ them (4)

21 Being medical specialist before leader less city (6)

Tel:______________ Email_______________________________ 23 Not everyone always at pains to

24 Soon Brazilian ontology (4)

preserve for later time (4,4)

To go in the draw to win the Amy Dickson Dusk & Dawn CD email your answers to competitions@finemusicfm.com by 22 January or by post to:

27 Intimate feelings-fashionable and of the majority (6)

The Crossword 72-76 Chandos Street St Leonards NSW 2065

29 Dear, your petticoat sounds to me like a real blunder (4)

28 They tell me art house OK in part of old Manchukuo (5,5)

MUSICAL TRIVIA with Michael Morton-Evans How well do you know the world of classical music? Test your knowledge with these musical brain teasers from Fine Music 102.5 presenter, Michael Morton-Evans. 1. For which British king’s coronation did Sir William Walton write his Crown Imperial March? 2. What is the first name of French pianist Katia Labèque’s sister? 3. Mozart wrote his Symphony No 38 on a visit to Prague in 1787. What did he call it? 4. What was Robert Schumann’s favourite drink? 5. Who wrote the Spatzenmesse, better known as The Sparrow Mass? 6. What was a Gravicembalo? 7. Who wrote the music for the opera The Making of the Representative for Planet 8 in 1988? 8. How many books of madrigals did Monteverdi write? Was it 5, 6 or 8?

25 Foamy path weakest without Eastern Standard Time (4) 26 Nary a chat (4)

Crossword Solution -DECEMBER 2013

Across: 1 Coping, 5 Cold cuts, 9 Licenses, 10 Mainly, 11 Amalgamate, 12 Oust, 13 Fretwork, 16 Teapot, 17 Spinet, 19 Unawares, 21 Cede, 22 Exhaustive, 25 Simile, 26 Poolside, 27 Threnody, 28 Sermon. Down: 2 Odium, 3 Ideal, 4 Gestapo, 5 Cossack, 6 Lambent, 7 Chipolata, 8 Telescope, 14 Replenish, 15 Tenderise, 18 Thereto, 19 Unhappy, 20 Aqueous, 23 Taser, 24 Video.

TRIVIA ANSWERS: 1. King George VI, 2. Marielle, 3. The Prague Symphony, 4. Champagne, 5. Mozart, 6. The Italian name for a harpsichord, 7. Philip Glass, 8. Eight 56

fineMusic 102.5

January 2014

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