Fine Music March Magazine

MARCH 2020

JANE RUTTER’S LIVE AT LUNCH CONCERTS The 2020 Season at The Concourse

ENGLAND’S MUSICAL POET Thomas Campion, A Renaissance Man

PIANIST, COMPOSER, TEACHER The Amazing Life of Ignaz Moscheles

BEAUTY CAN TRANSCEND ALL A Requiem Overcoming its Origins

mAGAZINE

Everything that's happening on Fine Music this month

Subscribe online at finemusicsydney.com

Contents VOL 47 No 3

2 Jane Rutter’s Live at Lunch Concerts 4 England’s Musical Poet The Pacifist Composer 5 Pianist, Composer, Teacher 6 ‘I can do that too,’ said Oscar 7 Beauty can Transcend all 9 Program Guide 40 Composer List 41 Women who know what they want 42 Remembering Peter Schreier A Tribute to Mariss Jansons 43 Musical Families 44 What’s On in Music CD Reviews 45 The Journey to Paradise Art Expressed in Music 46 CD Reviews 47 Balancing a Career with Volunteering: Katy Rogers-Davies 48 Notes from the Editor

THIS MONTH @ FINE MUSIC Throughout the next year, we will continue to focus on our goal to promote Australian musicians and composers, with a deeper focus on young and emerging artists.

Watching these emerging artists evolve from behind the scenes while they use this precious resource is by far the most enjoyable part of my role as General Manager.

Fine Music Sydney plays an important role in encouraging young musicians and music lovers in their ambitions to become professional musicians or broadcasters. Fine Music Sydney is an integral part of Sydney’s cultural landscape promoting and encouraging an active live classical music scene in our community and supporting music education. None of these Emerging Artist projects would have ever been possible without the support and generosity of our valued stakeholders including our subscribers.

This month we are excited to launch our 2020 Emerging Artist programs. Applications for our Ken Weatherly Jazz and Stefan Kruger Scholarships and Artist-in-Residence program open on 1 April and close on 31 May. The successful recipients will be announced on 1 July.

This year we are also offering Emerging Artists the chance to apply to perform on one of our Emerging Artist Showcase broadcasts which will air in following months. If you know a talented young emerging artist, please point them in our direction. More information can be found on our website: finemusicsydney.com/emergingartists.

Rebecca Beare, General Manager, Fine Music Sydney

Registered Offices & Studios: 72-76 Chandos Street, St Leonards 2065 Tel: 02 9439 4777 Email: admin@finemusicfm.com Web: finemusicsydney.com Facebook, Twitter, YouTube: finemusicfm.com FM Frequency: 102.5 Transmitter: Governor Phillip Tower, Circular Quay.

ABN 64 379 540 010 Advertising Enquiries: sponsorship@finemusicfm.com Editor: Elaine Siversen Assistant Editors: Paul Cooke, Elizabeth Hill Subeditors and Proof readers: Chris Blower, Di Cox, Elizabeth Hill, Sue Jowell, Pamela Newling Contributors: Rebecca Beare, Chris Blower, Angela Cockburn, Paul Cooke, Susan Foulcher, Robert Gilchrist, Nicky Gluch, Elizabeth Hill, James Nightingale, David Ogilvie, Derek Parker, Catherine Peake, Frank Presley, Elaine Siversen The views expressed by contributors to this magazine do not necessarily reflect or represent the views of the publisher, Fine Music Sydney Images: Brian Acraman, Alamy, Brendan Read, Katy Rogers-Davies, Christopher Wride Program Logos: Simon Moore Art Direction: David James Distribution Coordinator: Sissi Stewart Printing: Megacolour, Unit 6, 1 Hordern Place, Camperdown, NSW, 2050 Subscribe to Fine Music: visit www.finemusicsydney.com or email friends@finemusicfm.com Cover image: Jane Rutter Photo Brendan Read

MUSIC BROADCASTING SOCIETY OF NEW SOUTH WALES CO-OPERATIVE LTD Our Mission is to be Sydney’s preferred fine music broadcaster, broadcasting classical, jazz and other fine music genres for the enjoyment and encouragement of music. We currently broadcast on FM and DAB+, streaming both from www.finemusicsydney.com. Another aim 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.

Contents and concept of Fine Music Magazine Copyright © 1975-2020 Music Broadcasting Society of NSW Co-operative Ltd trading as Fine Music Sydney ABN 64 379 540 010 Vice Regal Patron: H ​ er Excellency the Honourable Margaret Beazley AO QC, Governor of New South Wales Honorary Patron: P ​ rofessor The Honourable Dame Marie Bashir AD CVO Artistic Patrons: Elena Kats-Chernin, Simon Tedeschi, Richard Tognetti AO, Brett Weymark Emerging Artists Patron: Toby Thatcher Young Composer Award 2019: Callum O’Reilly Young Virtuoso Award 2019: Justinn Lu Kruger Scholar 2020: Harry Sdraulig Ken Weatherley Jazz Scholar 2020: Kate Wadey MARCH 2020

1

JANE RUTTER’S LIVE AT LUNCH CONCERTS CATHERINE PEAKE OUTLINES THE 2020 SEASON Now in its eighth year, the Live at Lunch series held at The Concourse, Chatswood is one of the most successful concert series in Australia. With internationally renowned flautist Jane Rutter as the Artistic Director, a position she has held for all of its eight seasons, the 2020 series will bring together renowned Australian musicians.

In a diverse range of music from Beethoven’s Serenade in D major to a special Welcome to country, the sevenconcert series will have its first performance in April and continue until the final concert in November.

Gill illustrated this in describing her playing: “Ms Rutter is very much a musician for the common man; this is not to say that she plays down to people but she makes her music accessible to all. In her work she is inclusive of everyone and values all listeners. Her advocacy for music and the flute is exemplary and her initiative is equally so.”

When asked what the highlights will be for the 2020 Live at Lunch series, Rutter says ‘every concert will be a highlight!’. Featuring the pianist Gerard Willems, the first concert begins with a tribute to Beethoven celebrating the 250th anniversary Born and educated in of his birth, with Willems Sydney, Rutter needs no performing movements introduction to Australian from two of Beethoven’s audiences. With her Jane Rutter, Flute – Paris 2019 Photo: Christopher Wride most popular sonatas, repertoire encompassing classical, jazz and pop music, and her skills is performing at the moment. She has a the Moonlight and the Appassionata extending to world music, theatre and film, she discography extending to 24 albums, and says (Sonata no 14 in C sharp minor, op 27 no 2 and performs regularly in Australia and overseas that all of her performances represent her Sonata no 23 in F minor, op 57). Rutter will join as a soloist and with leading orchestras as favourite pieces and composers. In looking at Willems on stage with some French preludes, music in a broader sense she states: “There recalling their position as the first classical well as at international flute conventions. are only two kinds of music, good and bad. musicians in Australia to enter the ‘pop’ charts.

In her non-performance work, Rutter is an It’s actually about the way you play, your Willems was also the first Australian pianist to improviser and composer (mainly for the flute), emotional and intellectual commitment to the record all 32 of Beethoven’s piano sonatas. gives masterclasses, and has taught flute and music.” chamber music at the Sydney Conservatorium A later concert in the program series again of Music. She founded The Music Scheme Rutter has a particular affinity with Bach as pays tribute to Beethoven, with the Acacia that assists young professional musicians, well as with French music, and she explains String Quartet performing the last major work has worked as a television presenter, and what music means to her. “Music fulfils a kind that he composed, String quartet no 16 in F initiated the chamber jazz group, POSH, of ‘divine homesickness’ that we humans all major, op 135, as well as a new arrangement which has now re-formed as Third Culture experience. If a piece of music creates joy, of Ode to joy. Rutter joins members of the World Chamber Music. opens emotional portals, makes one feel, takes Sydney-based quartet in a performance of As a leader in the French Flute School, one to a place of reconciliation, then it’s my Beethoven’s Serenade in D major, op 25 for a movement that focuses on the sound, favourite piece. The composer becomes your flute, violin and viola. Written around the year technique and elegance of expression in friend; you understand his or her personality 1800, the Serenade has been described as the flute, Rutter has a particular affinity with in the way you would that of a friend. There’s ‘a delightful late offshoot of the 18th century France. She won a scholarship to study there, a reciprocity: the composer gives to you, and divertimento tradition’. subsequently spent part of her adult life in you give back with your emotions and skills. Another highlight in the series will see France, and in 2016 was awarded the Ordre The beneficiaries are the audience and the multicultural world music performed by des Arts et des Lettres. She has received an players.” chamber group Third Culture World Chamber Australian Elizabethan Trust award for her As well as taking on the role of Artistic Director Music (Australia’s version of the Silk Road research on the French flute and is a Fellow of for the Live at Lunch series, Rutter will be Ensemble) who will also be playing with the Australian Institute of Music. performing in the concerts. Her approach Aboriginal Elder and didjeridu player Kevin When asked what is her favourite music, to music and her communication with her ‘Gavi’ Duncan in a special Welcome to Rutter replies that it is whichever piece she audience is paramount, and the late Richard country. In the third concert of the series, 2

MARCH 2020

Italian songs and dances will take centre stage. Complementing their new Italian classical music album, Cantabile! Cantare e Ballare! Italian Songs & Dances for Flute and Guitar, Rutter and guitarist Giuseppe Zangari will perform music by composers including Paganini, Vivaldi and Martini.

An all-Brazilian program will present a different kind of music with Australian guitarist Karen Schaupp and Brazilian guitarist and composer Chrystian Dozza performing works from their new album. Including popular pieces as well as new works written especially for them by Brazilian composers, they will be performing both solo and as a duo. Rutter will also be collaborating with them on stage for the first time.

In a further concert, Rutter will be reuniting with soprano and cellist Taryn Fiebig, who sometimes accompanies her own singing on stage with her cello, and pianist Scott Davie. A specialist in the music of Rachmaninov, Davie gave the Australian premiere performances of the original version of Rachmaninov’s Fourth Piano Concerto. In this concert Fiebig will play the cello in works by Handel and Purcell and sing arias from the ‘Fave 4’: Don Giovanni, The marriage of Figaro, The magic flute and Così fan tutte.

In developing the programs for each series, Rutter works with the idea of a ‘concept concert’ and says that ‘the title, the feel, the lighting, the visual, and the music, must all come together as one’. She has several techniques that inform her choices for a program, with some ideas beginning to develop a couple of years in advance of the concert. She adds that the creative process for developing a program is ‘part intellect, part emotional, part instinct’, and aims for each concert to have a ‘buzz’ about it, seeking to engage the musicians as well as the audience.

In looking at the series as a whole, Rutter creates a balance between appreciating current musical trends and employing an instinct for the traditional. She likes to include fine music across different genres, from chamber music and instrumental and operatic recitals to world music and jazz, often with exclusive and one-off performances. She says: “I like the audience to travel on an engaging musical journey with us, and that they should be privy to as much insight, musical and other, as possible. Drawing on many ideas and influences, my ultimate formula in devising the series is to connect people via the emotions, the senses, the spirit and the intellect.”

There will a change behind the scenes of the

interest and later research in the late 18th and early 19th century bel canto repertoire.

Having established a world-renowned musical partnership with his wife and coloratura soprano, Joan Sutherland, Bonynge conducted almost all of her operatic performances from 1962 until her retirement in 1990. Bonynge was named Companion of the Order of Australia in 2012.

In speaking of his role as Patron, Bonynge says: “With Jane Rutter as its Artistic Director, the series provides the North Shore and Sydney audiences with an inspiring combination of social inclusion, entertainment and fine music. As the series enters its eighth successful year, I look forward to watching Live at Lunch flourish even further.” Jane Rutter is also very happy that Bonynge is coming on board as Patron of the series and sees an additional affinity with both of them having a strong appreciation of the importance of the vocal line in music.

Rutter appreciates the inclusive aspect of the Live at Lunch concerts that encompasses more than just the music, although that is, of course, its main reason for being. “Inclusion is also a reason that, from its inception, we have offered audience members the opportunity to dine with the musicians after the performance.

It’s a rewarding experience after a concert to connect with those who have been on the musical journey with us. The goodwill is palpable; it’s life-validating, and makes me, indeed everyone, so happy!”

EVENTS 15 April: Beethoven Wunderbar!

21 May: Welcome to World!

Welcome to Country!

1 July: Cantabile!

12 August: Ode to Joy! Ode to Life!

16 September: Brasileira!

14 October: Divine Mozart, Glorious Handel and Purcell 18 November: Pan and the angels Louis Lot - antique French flute 1887 — considered to be the Stradivarius of the flute world.

Photo: Brendan Read

VENUE AND TIME The Concourse, Chatswood at 12 noon

In the final concert of the series, harpist Louise Johnson joins Rutter on stage. Former Principal Harp with the Sydney Symphony Orchestra, Johnson has performed with major Australian symphonies and theatre orchestras including the Australian Chamber Orchestra and the Australia Ensemble. Johnson and Rutter will perform works by Bizet, SaintSaëns, Ross Edwards, Anne Boyd and Elena Kats-Chernin, as well as Debussy’s L’après-midi d’un faune.

BOOKINGS Willoughby Council website or telephone The Concourse 8075 8111 or Ticketek 1300 795 012 Subscriptions are available for concert packages.

Purchase a lunch package with the artists with your ticket or season subscription.

Live at Lunch series this year, with Australian opera conductor and pianist Richard Bonynge being welcomed as the new Patron. As ‘a major force in the operatic world for more than half a century’, Bonynge will bring his expertise and experience to the role. He debuted as an opera conductor in 1963, having earlier worked as a singing coach, and has continued conducting and recording primarily opera and ballet music ever since, informed by an early

MARCH 2020

3

ENGLAND’S MUSICAL POET

PIANIST, COMPOSER, TEACHER

SUSAN FOULCHER DEFINES THOMAS CAMPION

PAUL COOKE EXAMINES THE LIFE OF MOSCHELES

Thomas Campion, who died 400 years ago this March, lived at the heart of the worlds of music and poetry. A true Renaissance man, he was a poet of the highest order (in both Latin and English), a composer, a theorist in both poetry and music, and an extremely wellstudied individual, with training in both law and medicine. He worked as a physician for the last 12 years of his life but still produced five books of ayres, three masque libretti for the English court, treatises on both poetry and musical counterpoint, and a huge number of Latin poems, elegies and epigrams.

was soon to become King James’ lutenist.

It contains some of Campion’s best known and loved songs and ably demonstrates the intrinsic contribution he made to the lute song genre. The songs tell tales of ordinary folk, their lives and loves, and express the delights of the natural world in terms of sound, music and movement. The music so flawlessly follows and augments the lyric poetry that Campion’s respect for the nature of the language and its capacities for pleasing intonation are clearly evident.

Renowned in his day as the writer of beautifullycrafted ayres, he was soon forgotten, his work consigned to obscurity for 260 or so years, until rediscovered in 1887 by A.H. Bullen when his Lyrics from the Elizabethan Songbooks was published. Campion’s revival was fervent indeed, but only as a lyric poet, the musical settings long since divorced from their exquisite lyrics.

Design by Inigo Jones for A fiery spirit In Thomas Campion’s Lorde’s masque, 1613

However, we would not be discussing Campion here if he was ‘just’ a poet and subsequent study over the past century has focused on the craftsmanship which sees his lute songs

marry words and music to such astounding effect. His first book of lute songs, A Book of Ayres, published in 1601, was a collaborative work with his best friend, Philip Rosseter, who

All of Campion’s work reflects a mature understanding of his own art and voice. He told earthy, light-hearted, flirtatious stories of fickle love, as well as deeply moral and religious songs culminating in the profoundly beautiful Never weather-beaten sail, the words always deeply etched with the poet’s care for its ultimate fusion with music.

A large selection of Campion’s songs, from the frivolous to the divine, as well as music from other composers of his time, some of it setting Campion’s exceptional poetry, will be heard in Baroque and Before at 10pm on Friday 6 March.

THE PACIFIST COMPOSER ROBERT GILCHRIST REVEALS A CARING MUSICIAN How often does one hear of a music teacher who hands out confectionery to keep his students alert?

Undergraduates at Kings College, London, fondly remember Geoffrey Bush’s generosity with Mars bars as an accompaniment to their studies of modern music!

Bush spent five impressionable years as a chorister at Salisbury Cathedral, from 1928 to 1933, an experience which left him with a first-hand knowledge of the English Library of King’s College, London, where Geoffrey Bush taught choral tradition. His dedication to composition led him to lessons with the lecturer with Oxford University between 1947 composer John Ireland, with whom he and 1952. He then moved to the extramural remained a lifelong friend. A Nettleship Department at King’s College, London, where Scholarship in composition at Balliol College, he went on to become a visiting Professor.

Oxford, was interrupted by the Second World He composed across a wide variety of genres, War. Bush was a pacifist and later a supporter including orchestral, chamber and keyboard of the Campaign for Nuclear Disarmament. works, choral works for accompanied and These interests were reflected in his short unaccompanied choirs, operas, and many opera, The equation from 1967. During World songs. Many of his songs are settings War II he cared for troubled evacuee children of classical verse from poets such as in Wales.

Shakespeare, Chaucer and Shelley. Among Bush’s career as an educator started as a the most popular titles from Geoffrey Bush’s 4

MARCH 2020

catalogue are his Concerto for light orchestra and his two choral works A Christmas cantata and In praise of Mary. His music for theatre was witty and served to embellish and illuminate the written word, as shown in the scintillating one-act opera, Lord Arthur Saville’s crime. When not composing or teaching music, he was a voracious reader of detective novels!

Bush was not averse to the adoption of other idioms; in his First Symphony he included a blues-style slow movement, as a tribute to his friend and fellowcomposer Constant Lambert. His insights into Elizabethan polyphony and 19th century harmony infuse his many transcriptions and Stravinskian arrangements, while his music’s chromaticism, within a broadly tonal idiom, his love of counterpoint and his delicate, colourful orchestration betray the influences of Prokofiev.

For the centenary of Geoffrey Bush’s birth on 23 March, you can hear a selection of his music in Sunday Special at 3pm on 22 March.

Ignaz Moscheles’ career spanned much of the 19th century, and it was spent in the important musical cities of Vienna, London and Leipzig in regular contact with other influential musicians. It was a time when the piano developed from a ‘flimsy, delicate contraption’ into an expressive and powerful instrument. Moscheles is, however, largely missing from literary works devoted to great musicians.

Was it because his compositions were often intended to serve his performing career? Was it because his talents as a virtuoso were not as irresistible as those of the allconquering Liszt? Was it because he devoted himself increasingly to teaching?

1825, with his marriage to Charlotte Embden and their subsequent move to England. Until 1846 he taught piano at the Royal Academy of Music in London, his pupils including Henry Litolff and Sigismond Thalberg. His compositions at this time were often piano works of a lightweight or ephemeral nature designed for salons or amateur markets, although he also managed to write a few more piano concertos.

He maintained his friendship with Mendelssohn: together they played the latter’s Concerto in E for two pianos and a Mozart double concerto, and Moscheles in turn went to Leipzig in 1835 to take part in Mendelssohn’s first Gewandhaus concerts. Mendelssohn was a frequent guest at the Moscheles residence at 3 Chester Place, Regent’s Park, where the first rehearsal of his Elijah was held on 10 August 1846. Other visitors at various times in the 1830s and 1840s were Paganini, Meyerbeer, Ole Bull, Czerny, Liszt and Joachim.

Moscheles was born in the Jewish quarter of Prague in 1794. Ten years later he was studying piano with Friedrich Dionys Weber, the founder of the Prague Conservatory and a strict disciplinarian who insisted upon a solid grounding in the works of Bach, Mozart and Clementi. In response to During his time in London he Image: Alamy Moscheles’ attempts to learn Ignaz Moscheles c1860 conducted the Philharmonic Beethoven’s Pathétique Sonata, Society, and met and played duets Weber countered that ‘Beethoven, clever as piano concertos. His Piano concerto no 2 in with Chopin, a composer whom he admired he is, writes a lot of hare-brained stuff, and E flat major has been praised for its elegant for his creativity and virtuosity, but whose leads pupils astray’. reticence, cultivated technical precision, clear improvisations he thought to be too showy and decorative (he had similar views about Liszt).

It is not surprising that in 1808 Moscheles moved phrasing and lightness of touch. The Piano Like Mendelssohn, he too was beguiled by to Vienna in order to be within Beethoven’s concerto no 3 in G minor was held in high earlier music. He edited and interpreted music orbit and studied with two of Beethoven’s own esteem by Robert Schumann, who was of the

by Handel, Haydn, Mozart and Clementi, and teachers, Salieri and Albrechtsberger. While opinion that it was one of two works ‘through instituted a series of ‘historical soirées’. The in Vienna, he was involved, playing cymbals, which alone he has secured for himself a first of these in 1837 included sonatas by in the premiere of Beethoven’s Wellington’s place in the first row of contemporary piano Beethoven and Carl Maria von Weber, music victory (Meyerbeer played the bass drum concertos’. Both works, probably composed

by Bach, Scarlatti and Handel played on a and Hummel directed the cannonade). A year about 1822, melded Classical form with 1771 harpsichord, and vocal music by Purcell, later, in 1814, Moscheles was commissioned Romantic idiom and can be seen as providing Mozart and Mendelssohn. to prepare a piano reduction of Beethoven’s a bridge to the music of Mendelssohn. opera Fidelio, which was received positively Moscheles met Mendelssohn in 1824 and In 1846 he moved to Leipzig to take up the by the composer. Moscheles’ performance of it gave him some piano lessons. He was also position of Principal Professor of Piano at the saw him become one of Vienna’s most popular present at Fanny Mendelssohn’s 19th birthday Conservatory recently established there by virtuoso pianists, a celebrity reinforced by his celebrations in November and was eloquent Mendelssohn. Even though Mendelssohn died own composition of 1815, La marche d’Alexan- in his praise of both. Of Fanny he wrote that the following year, Moscheles remained there dre. Moscheles would later go on to conduct she was ‘also extraordinarily gifted, played until his own death on 10 March 1870, teaching the London premiere of Beethoven’s Missa by ear, and with admirable precision Fugues piano to, and encouraging, a new generation solemnis in 1832, and translate Schindler’s and Passacailles by Bach’, and he signed her including Grieg, Sullivan and Bruch. While in album, with a mark of his most ‘deep esteem’ biography as The life of Beethoven in 1841.

Leipzig he published compositions including and referencing her expertise in double From 1815 to 1825 Moscheles pursued a counterpoint. Of her brother he wrote: “Felix, songs and works for cello and piano, as ever career as a travelling recitalist, giving concerts a boy of fifteen, is a phenomenon. What are displaying restraint and classical balance. throughout Germany and in Paris, London all prodigies as compared with him? Gifted To commemorate the 150th anniversary of his and Prague. Many of his compositions at this children, but nothing else.” death, we celebrate the music of Ignaz Moscheles time were, as a result, display pieces and New horizons beckoned for Moscheles in in Sunday Special on 8 March at 3pm.

MARCH 2020

5

‘I CAN DO THAT, TOO’, SAID OSCAR

BEAUTY CAN TRANSCEND ALL

DEREK PARKER DISCUSSES THE OTHER STRAUS

NICKY GLUCH FINDS A MASTERFUL REQUIEM

author asking for the rights. Shaw was not impressed, but grudgingly granted permission on condition that none of his dialogue could be used, nor any of the characters’ names, and he would accept no payment for the use of the plot. It’s difficult not to think that he did not bitterly regret this condition when the Straus operetta, entitled The chocolate soldier, opened to great enthusiasm, and ran and ran and ran in Europe and America. (Just as well Shaw did not live to see My fair lady.)

With a middle name like Nathan, it’s no surprise that Oscar Strauss was born of a Viennese Jewish family, of whose antecedents reference books, and even the allembracing World Wide Web, are silent. Clearly there was no lack of funds, and no lack of musical talent on young Oscar’s part, for the first thing we hear of him is as a piano student at the Vienna Conservatory under the celebrated piano teacher Adolf Prosniz, a pupil of Václav Tomásek, a friend of Beethoven, Robert and Clara Schumann and others. In 1891 Oscar moved on to Berlin and studied composition with Max Bruch. By then, in his 20s and still named Oscar Strauss, he was already moving about among the composers of his time, including Johann Strauss II who advised him to drop the final ‘s’ in his name, to avoid confusion with the other musical Strauss family, to whom Oscar was unrelated.

These days only a few of the numbers in Straus’s two most successful operettas come readily to the lips of the bathroom tenor: but the most popular were as wellknown as any melodies of the time.

Although he wrote 20 other operettas between 1909 and 1952 (the last, two years before his death) none was anywhere near as successful as A waltz dream and The chocolate soldier.

So, as Oscar Straus he started Under the Nazi threat, Straus moved work as a peripatetic theatre from Vienna, first to Paris and then, conductor in and around Berlin, natürlich, to Hollywood, where he and in his 30th year was engaged wrote the scores for 11 films, the as conductor at the Überbrettl last being the extremely popular cabaret in Berlin, sharing a baton Oscar Straus 1907 Image: Alamy theme waltz for Max Ophüls’ film La with Arnold Schoenberg. The Ronde, for which he was extremely Überbrettl was far and away the best-known a novella, Nux, the Prince Consort, which unfortunate not to win an Oscar. avant-garde cabaret in the city, its home in the writer Hans Müller-Einigen had included Alexanderstrasse, impertinently next door to in his Book of Adventures. It was a highly Straus’s career was not, you may say, a the police station. Straus was soon composing suitable ‘operettish’ story about an army wildly successful one but after all, he made a the music for the political and social parodies lieutenant, Niki, his wife, Princess Helene of good living as a composer, and he wrote two of poet Christian Morgenstern, and competing Rurislavenstein (where else?) and Franzi, the operettas which, within their own genre, were with Schoenberg in writing popular songs. lady leader of a beer garden orchestra. Any among the most popular of his time.

The intellectual aristocracy of Berlin beat a enthusiast for operetta will be able to construct path past the doors of the police station and the plot from these simple details, and will be a ry of hundred percent correct. through those of the Überbrettl. iversa No doubt like most young composers, Straus had serious musical ambitions. He wrote some orchestral music, and an opera, The orphan girl of Córdova, and in 1904 he returned to Vienna. A year after his return, Lehár’s The merry widow was produced, and when leaving the Theater an der Wien, Straus turned to a friend and said, ‘Das kann ich auch!’ (I can do that, too); and, so it proved.

His first two efforts were rather less than moderately successful, but then, in 1906, a young writer called Leopold Jacobson nudged Straus’s arm in a Vienna Prater coffee house and presented him with a libretto that he had prepared with his friend Felix Dorman from 6

MARCH 2020

n

0th an

n

nna o

e 15 n Vie Oscar Straus loved the story on sight, rate th ar Straus i adcasting b e l e wrote the score within a year, and To c th of Osc ’ll be bro s in r a the day after A waltz dream opened, the bi h 1870, we us operett The c o r a m on pm: fa on 2 March 1907, there were queues 6M most ee at 2.30 arch and, s o w t n e i M at the Carltheater box office winding t n his a on 14 ay M of sce right around the house. In January of Saurd ate soldier r selection tta that e l the following year an English production choco rch, a majo , the oper ltz dream, m a a a e w M r d A opened in Philadelphia and New York, and 28 three waltz . After in March of that year in London. from A t him fame cerpts from ster for How was Straus to follow such a success?

Well, the next idea was also Jacobson’s. He had seen in London a production of Bernard Shaw’s 1893 comedy Arms and the Man, thought that with some work it would make a fine operetta story, and cheekily wrote to the

x h ta broug l be short e z Lehár, a April and l ’ n n i e a r r s of the tas by F rogram nniversary p t e a r t t e a re op 150th ur ope the fo arking the m May, birth. ’s Lehár

I am not sure whether the ‘call’ to Paris in March 2018 was for the opportunity to witness Mariss Jansons conduct, or the fact that the Philharmonie was holding an organ ‘weekend’. It certainly wasn’t the political climate, with French customs halting the trains from London and the gilets jaunes descending on Montmartre. Indeed, I was starting to think the eighthour bus ride was far from worth it, until I heard the music. Escaping the chaos of the streets, I entered the hall to hear the Bavarian Radio Symphony Orchestra perform Poulenc’s Concerto for organ, timpani and strings. Latvian Organ of St Étienne-du-Mont, Paris, where Maurice Duruflé was organist Image: Alamy organist, Iveta Apkalna was the soloist and it was a privilege to see her the basis of the Prélude et fugue sur le nom parts of the service (most notably the Dies feet! While organ connoisseurs might grumble, d’Alain with Duruflé extending the tribute by irae, although the Pie Jesu is retained) and I was delighted that at the Philharmonie, the quoting the theme of Alain’s most popular including the Libera me and In Paradisum (electric) organ keyboard is placed on the work, Litanies, at the end of the Prélude. from the burial service. As Fauré intended stage with the pipes built into the hall’s back his Requiem to represent death as ‘a happy wall. Behind the pipes are ‘shutters’ which Two days after the Battle of Saumur, the deliverance, an aspiration towards happiness open to expose coloured lights, so that volume armistice between France and Germany was above, rather than as a painful experience’, so and vision are one. I was spellbound, by the signed. Less than three weeks later, Marshall Duruflé’s work is similarly calm, although his experience and, of course, by the music, for Pétain was granted full powers by the National intention was for the work to be profoundly Poulenc’s concerto is unique in the repertory. I Assembly and France found itself under the human. later learned how much Poulenc was indebted Vichy regime. Although Paris could no longer to the man who premiered the piece, Maurice be the centre of the avant-garde, the Nazis liked There’s a sense of effortlessness to the Introit. the idea of their ‘temperance’ being reflected by The opening is peaceful, and unmistakably Duruflé. its remaining an arts capital. Music flowed, at chant-like, with Duruflé shifting time signature Maurice Duruflé: not so well-known outside first to boost the morale of the French people, to create angelic long lines. There are moments organ circles so let us amend that. He was later becoming more collaborationist, and the of recitation, first by the sopranos, then by the born in Louviers in 1902. From the age of Vichy regime commissioned many new works. contraltos before a beautifully contrapuntal ten, he was surrounded by the sounds of From 1938, the Administration des BeauxKyrie which grows to a rich climax. The the Catholic Church, first as a choral scholar Arts had been commissioning compositions Offertory starts low and deep, giving rise to a at Rouen Cathedral and then, in Paris, as a to provide incentive in a tough economic movement rich in textural density, including a student of Charles Tournemire. Tournemire climate. The scheme continued under Vichy stirring baritone solo of Hostias with tremolos was known for his improvisations on Gregorian but became more restrictive in the composers in the strings. The main solo movement, chant, perhaps planting the seeds for Duruflé’s chosen; they had to uphold conservative, antihowever, is the Pie Jesu centrepiece. own fascination with the form. After completing modernist and pro-Catholic values.

Accompanying the mezzo-soprano is an ad his studies at the Paris Conservatoire libitum cello line. It is in this movement that (where he was taught composition by Paul Duruflé ‘fitted the bill’; he received 10,000 Duruflé’s intended humanity is unmistakable.

Dukas), Duruflé was appointed organist at francs to write a symphonic poem, but The Lux aeterna that follows takes us into the St Étienne-du-Mont and ten years later, in chose instead to compose a requiem. A heavenly plains before the Libera me which, 1939, he premiered Poulenc’s concerto. Then, known perfectionist, the work was ironically with its ‘dread and trembling’, hints at Hell. incomplete when the Vichy regime collapsed unfortunately, came the War. Still the work is not yet complete, for Duruflé but was eventually completed in September provides an In Paradisum that is delicate, long One of Duruflé’s best known works was 1947. and sustained. written in memory of his friend, and fellow organist, Jehan Alain who died in the Battle of It is truly a masterful work, built upon themes Duruflé’s Requiem may have controversial Saumur. As Ravel had done in his Minuet sur from Gregorian chant, a technique Duruflé origins, but the beauty of the work that he le nom d’Haydn, Duruflé extended the musical would repeat in his subsequent opus, Quatre wrote reminds us that music can transcend all. alphabet (ABCDEFGH) by making I equivalent motets sur des thèmes grégoriens. The to A, J to B, etc., so that he could spell ‘Alain’, other evident inspiration is Fauré’s Requiem This beautiful Requiem can be heard in musically, as ADAAF. These five notes form in D minor with Duruflé omitting the same Sunday Special on 1 March at 3pm.

MARCH 2020

7

Sunday 1 March 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SUNDAY MORNING MUSIC with Paul Roper 9:00 MUSICA SACRA Prepared by Stephen Matthews Jacob, V. Missa dei Filii. Capella Regia Praha/Robert Hugo.

Supraphon SU 3971-2 47 Zelenka, J. Beatus Vir. Ensemble Inegal; Prague Baroque Soloists/Adam Viktora.

Nibiru 01632231 7 10:00 THE CLASSICAL ERA Prepared by Rex Burgess Méhul, É-N. Overture to Mélidore et Phrosine (1794). O de Bretagne/Stefan Sanderling.

ASV DCA 1140 11 Kozeluch, L. Sinfonia in F (1787). Jirina Dvoráková, hpd; Czech Chamber PO/ Marek Stilec.

Naxos 8.573872 22 Beethoven, L. Music for Friedrich Duncker’s Leonore Prohaska, WoO96 (1815). Bodil Arnesen, sop; Berlin Radio Choir & SO/Karl Anton Rickenbacher.

Koch Schwann 3-1485-2 15 Spohr, L. Nonet for strings and winds, op 31 (1813). Consortium Classicum/Dieter Klöcker.

Orfeo C 155 871 A 28 Schubert, F. Impromptu in F minor, D935 no 1 (1827). Alfred Brendel, pf.

Philips 456 727-2 11 Mozart, W. Symphony no 29 in A, K201 (1774). London Mozart Players/Jane Glover.

ASV DCA 717 21 12:00 CLASSIC JAZZ AND RAGTIME with Maureen Meers 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 Carole Garland Showcases diverse music from cultures around the world, both traditional and modern, featuring musicians from all corners of the globe, including Australia 14:00 HOMAGE TO ROSSINI Prepared by Chris Blower Sarasate, P. de Homage to Rossini, op 2.

Tianwa Yang, vn; Markus Hadulla, pf.

Naxos 8.570192 12

Giovacchini, G. Homage to Rossini.

Members of Ex Novo Ensemble.

Giulia GS 201001 18 Respighi, O. Rossiniana (1925). BBC PO/Gianandrea Noseda.

Chandos CHAN 10388 23 15:00 SUNDAY SPECIAL Duruflé’s Requiem Prepared by Nicky Gluch Gregorian chant. Crux fidelis. Singers of Saint Laurence/Neil McEwan.

ABC 476 5106 4 Fauré, G. Cello sonata no 2 in G minor, op 117 (1918). Alban Gerhardt, vc; Cecile Licad, pf.

Hyperion CDA67872 18 Duruflé, M. Prelude and fugue on the name Alain, op 7 (1942). Edward Theodore, org.

Move 3102 13 Debussy, C. Sonata (1915). Jean-Pierre Rampal, fl; Pierre Pasquier, alto viol; Lily Laskine, hp.

Erato 0630-13705-2 17 Ravel, M. Sonata, in memory of Claude Debussy (1920-22). Richard Tognetti, vn; Patrick Demenga, vc.

Fine Music concert recording 21 Duruflé, M. Requiem, op 9 (1947).

Cecilia Bartoli, mezz; Bryn Terfel, bassbar; National Academy of St Cecilia Ch & O/Myung-Whun Chung.

Decca 478 3640 38 17:00 HOSANNA Prepared by Stephen Matthews Hymns: The Lord’s my shepherd; Ye holy angels bright. Choir of Wells Cathedral; Rupert Gough, org; Malcolm Archer, cond.

Hyperion CDP12105 7 Byrd, W. Teach me, O Lord. Choir of Lincoln Cathedral; James Vivien, org; Colin Walsh, cond.

Priory PRCD 454 4 Ristori, G. Motet pastorale. Dresden Chamber Choir & Baroque O/HansChristoph Raderman.

Carus 83.044 9 Psalm: No 55: Listen to my prayer, O God. Choir of Peterborough Cathedral; David Humphreys, org; Andrew Reid, cond.

Priory PRCD1082 7 Parry, H. Magnificat in D; Nunc dimittis in D; Blest pair of sirens. Choir of St George’s Chapel, Windsor; Roger Judd, org; Jonathan Rees-Williams, cond.

Signum SIGCD567 24

18:00 SMALL FORCES Prepared by Rita Felton Haydn, J. Piano trio in G, Hob.XV:25, Gypsy rondo (1795). Streeton Trio.

Fine Music concert recording 15 Scheidt, S. Battle suite. Peter Walmsley, tpt; Catherine Walmsley, tpt; Justin Kearin, tb; Louise Balletti, hn; Matthew Walmsley, tuba.

Fine Music tape archive 9 Mendelssohn, F. String quartet in D, op 44 no 1 (1838). Coull String Quartet.

Hyperion CDS 44051/53 31 19:00 SUNDAY NIGHT CONCERT Prepared by Frank Morrison Sibelius, J. Suite: Karelia, op 11 (1893).

Finnish RSO/Jukka-Pekka Saraste.

RCA RD87765 14 Shostakovich, D. Cello concerto no 1 in E flat, op 107 (1959). Mason Jones, hn; Mstislav Rostropovich, vc; Philadelphia O/Eugene Ormandy.

CBS MPK 44850 27 Franck, C. Symphony in D minor (188788). ORTF NO/Jean Martinon.

Erato 2292-45088-2 41 20:30 NEW HORIZONS Prepared by Calogero Panvino Glass, P. Knee 1, from Einstein on the beach (1975). Philip Glass Ensemble/ Michael Riesman.

Elektra 7559-79323-2 8 Morlock, J. Revenant for baroque flute, baroque violin, viola da gamba and harpsichord (2002). Europa Ritrovata.

Arcana A116 12 Ferneyhough, B. Unity capsule (1976).

Laura Chislett, fl.

Vox Australis VAST 007-2 12 Linde, H-M. Anspielungen (1998). Matteo Gemelo, baroque fl.

Arcana A116 7 Ferneyhough, B. Lemma-icon-epigram (1981). Ian Pace, pf.

NMC D066 14 Polymeneas-Liontiris, A. Sun bleached (2018). Europa Ritrovata.

Arcana A116 9 Glass, P. Violin sonata no 1 (2008).

Alexandra Osborne, vn; Sally Whitwell, pf.

ABC 481 8617 21 22:00 JAZZ AFTER HOURS

MARCH 2020

9

Monday 2 March 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Robert Small 9:00 DIVERSIONS IN FINE MUSIC A year in retrospect: 1941 Prepared by Paul Cooke Glière, R. Overture: Holiday at Ferghana, op 75 (1941). BBC PO/Vassily Sinaisky.

Chandos CHAN 9518 9 Tansman, A. Violin sonatine no 2 (1941).

Klaidi Sahitçi, vn; Giorgio Koukl, pf.

Naxos 8.573127 12 Addinsell, R. Warsaw concerto (1941).

Philip Fowke, pf; RTE Concert O/ Proinnsias O’Duinn.

Naxos 8.570575/76 9 Clarke, R. Prelude, allegro and pastorale (1941). Peter Hadcock, cl; Patricia McCarty, va.

Northeastern NR 212 15 Skinner - Salter. Bela’s funeral; Sir John’s discovery, from The wolf man (1941). Moscow SO/William T. Stromberg.

Marco Polo 8.223747 15 Wirén, D. String quartet no 3, op 18 (1941-45). Lysell Quartet.

Daphne 1021 19 10:30 CONCERT HALL Prepared by Felicity Nop Tchaikovsky, P. Overture:1812, op 49 (1880). SO of Russia/Veronika Dudarova,.

Olympia OCD 512 16 Martinu, B. Rhapsody concerto (1952).

Vladimir Bukac, va; Czech RSO/Vladimir Valek.

Calliope CAL 9364 19 Glière, R. Symphony no 2 in C minor, op 25 (1907). Czecho-Slovak RSO Bratislava/Keith Clark.

Naxos 8.550899 47 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 THREE STRAUSSES Prepared by Andrew Parker Strauss, J. I Radetzky march, op 228 (1848); Waltz à la Paganini, op 11.

Concentus Musicus Vienna/Nikolaus Harnoncourt.

Sony 88697914112 12 10

MARCH 2020

Homage to Queen Victoria of Great Britain, op 103 (1838). London SO/John Georgiadis.

Chandos CHAN 8739 8 Strauss, J. II Bei uns z’Haus, op 361 (1873). Vienna PO/Carlos Kleiber.

CBS M2XK 45564 8 Emperor waltz, op 437 (1889). Vienna SO/Robert Stolz.

Eurodisc 258 663 11 Laughing song, from Die Fledermaus (1874). Kiri Te Kanawa, sop; New Zealand Broadcasting Corporation Little SO/Stanford Robinson.

Decca 430 325-2 4 Waltz: On the beautiful blue Danube, op 314 (1867). Hallé O/John Barbirolli.

EMI CDM 1 66422 2 9 Strauss, R. Romance in F (1883).

Mischa Maisky, vc; Pavel Gililov, pf.

DG 477 7465 11 Finale to Act I, from Arabella (1933).

Lucia Popp, sop; Alan Titus, bar; Bamberg SO/Horst Stein.

Eurodisc 258938 8 Heimliche Aufforderung, op 27 no 3 (1894). Olaf Bär, bar; Geoffrey Parsons, pf.

EMI 5 55345 2 3 Ist ein Traum, from Der Rosenkavalier.

(1911) Erna Berger, sop; Tiana Lemnitz, sop; Berlin State Opera O/Clemens Krauss.

Nimbus NI 7848 5 Marie Theres’, wie gut Sie ist, from Der

Tuesday 3 March Rosenkavalier. Natalie Dessay, sop; Felicity Lott, sop; Angelika Kirchschlager, mezz; Royal Opera House O/Antonio Pappano.

Virgin 5 45705 2 5 Till Eulenspiegel’s merry pranks, op 28 (1895). London SO/Claudio Abbado.

DG 429 492-2 15 15:00 THE PARISIANS Prepared by Jacky Ternisien Adam, A. Overture to Si j’étais roi (1852).

Czecho-Slovak PO/Richard Hayman.

Naxos 8.553264 8 Chausson, E. Chanson perpetuelle, op 37 (1898). Jessye Norman, sop; Ronald Patterson, vn; Salvatore Sansalone, vn; Jean-Pierre Pigerre, va; Lane Anderson, vc; Michel Dalberto, pf.

Erato 2292 45368-2 7 Debussy, C. Première rapsodie (1910).

Catherine McCorkill, cl; Kathryn Selby, pf.

Fine Music concert recording 8 Chausson, E. Symphony in B flat, op 20 (1889). Philharmonia O/Francesco d’Avalos.

ASV DCA 708 31 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm 19:00 JAZZ PULSE with Chris Wetherall 20:00 STORMY MONDAY with Austin Harrison and Garth Sundberg 22:00 JAZZ AFTER HOURS

CONTINUING PROGRAM SERIES Musical Families prepared by Jennifer Foong: Tuesdays 3, 17 at 2pm Evenings with the Orchestra, The Great Conductors prepared by David Brett: Friday 20 at 8pm Come to the Opera prepared by Derek Parker: Saturday 21 at 1pm The Brahms Concertos prepared by Ron Walledge: Fridays 13 and 27 at 2.30pm Despite the ‘new’ music of Skryabin with its strange harmonies and implied eroticism, and the ‘diabolical’ piano pieces of the young Prokofiev having some influence on Reinhold Glière, his Second Symphony of 1908 owes a considerable debt to the music of Rimsky-Korsakov and is strongly nationalistic. There are also hints of Rachmaninov’s influence notably from that composer’s Second Symphony completed the year before.

A comparison has been made between Glière’s first two symphonies by Tom Godell (ClassicalNet, 1997). “The thematic material of the opening movement is bold, striking, and full of pent-up energy, a distinct improvement over the lackluster ideas of Glière’s First. The development is dramatic and explosive, as fragments of the principal theme are tossed about by the various orchestral choirs.” He calls the finale ‘joyous’ with ‘an exotic, oriental atmosphere, and the brilliant scoring is worthy of Rimsky-Korsakov at his best’. Another commentator writes that in the slow movement’s ‘magical’ central section there are ‘intriguing pre-echoes of the later symphony’, the monumental Third, Ilya Muromets.

0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Annabelle Drumm 9:00 DIVERSIONS IN FINE MUSIC Colours of the keyboard Prepared by Rex Burgess Alkan, C-V. Concerto da camera in C sharp minor, op 10 no 2 (1832). Giovanni Bellucci, pf; Padua and Veneto O/Roberto Forès Veses.

Brilliant Classics 95568 8 Le Roux, G. Suite in D. Rosalind Halton, hpd.

ABC 454 502-2 8 Tcherepnin, A. Five Chinese concert studies, op 52 (1934-36). Jenny Lin, pf.

BIS CD-1110 18 Muset, C. En mai, quant li rossignolez.

Paul Hillier, voice; Andrew LawrenceKing, portative org.

Harmonia Mundi HMU 907184 7 Ravel, M. Violin sonata no 2 in G (1923-27). Alina Ibragimova, vn; Cédric Tiberghien, pf.

Hyperion CDA67820 18 Beethoven, L. Piano sonata no 31 in A flat, op 110 (1821-22). Paul Lewis, pf.

Harmonia Mundi HMC 901909.11 19 10:30 CONCERT HALL Prepared by Jarrod Dolon Fibich, Z. Symphonic poem: Othello, op 6 (1873). Czech NSO/Marek Stilec.

Naxos 8.573197 17 Frederick II. Flute concerto in G. Manfred Friedrich, fl; Carl Philipp Emanuel Bach CO/Hartmut Haenchen.

Capriccio 10 064 25 Brahms, J. Piano quartet no 1 in G minor, op 25 (1861; arr. Schoenberg).

London SO/Geoffrey Simon.

Cala CACD 1006 40 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 ALONG THE SILK ROAD Prepared by Anabela Pina Ketèlbey, A. In a Persian market (1920).

Ambrosian Ch; London Promenade O/ Alexander Faris.

Philips 400 011-2 7 Weber, C.M. Overture; March, from

Turandot (1809). Queensland PO/John Georgiadis.

Naxos 8.550928 7 Ma, S. Nostalgia, from Inner Mongolia suite (1937; arr. Wu). Lu Siquing, vn; Taipei Chinese O/Chung Yiu-Kwong.

BIS BIS-2104 6 Fernström, J. Rao-Nai-Nai’s songs, A Chinese rhapsody, op 43 (1939). Malmö SO/Lan Shui.

BIS CD-997 13 Ippolitov-Ivanov, M. In the village; Procession of the Sardar, from Caucasian sketches, op 10 (1894). BBC PO/Fedor Gluschenko.

Chandos CHAN 9321 11 Trad. River of Sorrow (arr. Xiuwen Peng).

Claude Delangle, sax; Taipei Chinese O/ En Shao.

BIS CD-1790 8 14:00 MUSICAL FAMILIES Father and son Prepared by Jennifer Foong Scarlatti, A. Sinfonia no 2 in D. Vladislav Kozderka, tpt; Musica Barocca di Praga.

Milan Vlcek SY 0002-2 131 9 Scarlatti, D. Keyboard sonata in B minor, Kk87. Vladimir Horowitz, pf.

DG 479 2553 4 Scarlatti, A. Recitative and aria: O vane speme! ... Cara tomba del mio diletto, from Mitridate Eupatore (1706). Elizabeth Watts, sop; English Concert/Laurence Cummings.

Harmonia Mundi HMU 807574 6 Quartet in F (c1715). Music Antiqua Toulon/Christian Mendoze.

Pierre Verany PV795031 7 Scarlatti, D. Keyboard sonata in G, Kk348. Ralph Kirkpatrick, hpd.

Archiv 479 1045 2 Scarlatti, A. Toccata no 3. Daniele Calcagno, org.

Dynamic CDS 65 3 Scarlatti, D. Keyboard sonata in E, Kk28.

Alicia de Larrocha, pf.

Philips 456 886-2 4 Magnificat. Immortal Bach Ensemble/ Morten Schuldt-Jensen.

Naxos 8.570382 12 Allegrissimo, from Sonata, Kk096.

Amsterdam Guitar Trio.

Emergo Classics EC 3939-2 5 Scarlatti, A. Concerto grosso no 2 in C minor (c1715). Concerto de’ Cavalieri/ Marcello Di Lisa.

DHM 88985370012 7

Concerto in C for recorder, two violins, cello and basso continuo. Tamara Lalo, rec; La Ritirata/Josetxu Obregón.

Glossa GCD 923106 7 Scarlatti, D. Sinfonia (1730). XVIII-21 Musique des Lumières/Jean-Christophe Frisch.

Astrée E 8673 4 Concerto grosso no 12 in D (arr. Avison 1744). Academy of St Martin in the Fields/Neville Marriner.

Philips 438 806-2 15 Scarlatti, A. Salve Regina (1703). Gérard Lesne, ct; Il Seminario Musicale.

Virgin VC 5 45103 2 16 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm 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 22:00 CHAMBER SOIRÉE Prepared by Frank Morrison Spohr, L. Octet in E for winds and strings, op 32 (1814). Vienna Octet.

Decca 466 580-2 25 Fauré, G. Cello sonata no 1 in D minor, op 109 (1917). Paul Tortelier, vc; Jean Hubeau, pf.

Erato 2292-45738-2 19 Dohnányi, E. Sextet in C, op 37 (1935).

Béla Kovács, cl; Ferenc Tarjáni, hn; Vilmos Tátrai, vn; György Konrád, va; Ede Banda, vc; Ernö Szegedi, pf.

Hungaroton HCD 1162 30 Bach, J.S. Sonata in A minor, BWV1034 (c1717-20). Matthew Wilkie, bn; Kees Boersma, db; Neal Peres da Costa, hpd.

Melba MR 301124 15 Mozart, W. Trio in E flat, K498, Kegelstatt (1786). Janet Hilton, cl; Nobuko Imai, va; Roger Vignoles, pf.

Chandos CHAN 8776 20

Czech composer Zdenek Fibich wrote a symphonic poem based on Othello, Shakespeare’s story of love, jealousy and murder. Unfortunately, his music has always been overshadowed by that of his compatriots Smetana and Dvoràk, the latter also composing a symphonic poem on the same subject.

MARCH 2020

11

Wednesday 4 March 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with James Hunter 9:00 DIVERSIONS IN FINE MUSIC Inspired by literature Prepared by Dan Bickel Prokofiev, S. Symphonic suite: War and peace, op 91 (1941-43). Philharmonia O/ Neeme Järvi.

Chandos CHAN 9096 27 I won’t, I can’t sleep ... How lovely is the sun, from War and peace. Anna Netrebko, sop; Ekaterina Semenchuk, mezz; Dmitri Hvorostovsky, bar; Metropolitan Opera Ch & O/Valery Gergiev.

DG 477 9903 6 Rota, N. War and peace (1956). Cinema Italiano Soloists & O. Recording Arts AG 5X060 12 Ford, A. War and peace: No man’s land (2004). Anna McMichael, vn; Claire Edwardes, perc.

ABC 481 4828 7 Sviridov, G. Choruses from music to Tolstoy’s Tsar Feodor Ioannovich (1973).

Valeria Golubeva, sop; Irina Kornilova, mezz; Yurlov Russian State Academic Choir; USSR RT Large SO/Yuri Ukhov.

LP Melodiya C 10-06461-2 9 Lambert, C. Suite, from Anna Karenina (1948). National PO/Bernard Herrmann.

Decca 448 954-2 11 Glass, P. Tolstoy farm, from Satyagraha (1980). Claudia Cummings, sop; Sheryl Sutton, sop; Rhonda Liss, cont; Douglas Perry, ten; Robert McFarland, bar; Scott Reeve, bass; Philip Glass Ensemble/ Michael Riesman.

Sony SMK87977 5 10:30 CONCERT HALL Prepared by Brianna Wassell Handel, G. Overture to Faramondo, HWV39 (1738). English CO/Richard Bonynge.

ABC 482 1059 8 Debussy, C. Children’s corner (1908; orch. Caplet). Montreal SO/Charles Dutoit.

Decca 444 386-2 18 d’Albert, E. Cello concerto in C (1899).

Christoph Henkel, vc; Berlin RSO/Jirí Stárek.

Schwann 11628 23 Fesca, F. Symphony no 1 in E flat, op 6 (1810-12). North German RPO/Frank 12

MARCH 2020

Beermann. cpo 999 889-2 32 12:00 JAZZ SKETCHES with Robert Vale World-wide contemporary jazz including contributions from Australian artists and those from culturally emerging nations 13:00 IN CONVERSATION with Christopher Waterhouse Each week we meet one of the world’s great musicians, singers, composers or conductors, along with up-and-comers and some of the men and women who influence the arts landscape.

14:00 CONTEMPORARIES Rimsky-Korsakov, N. Overture to May night (1880). Moscow SO/Igor Golovschin.

Naxos 8.553858 10 Grieg, E. Old Norwegian melody with variations, op 51 (1890; orch.1900/05).

Bergen PO/Ole Kristian Ruud.

BIS CD-1740/42 24 Dvorák, A. Rondo in G minor, op 94 (1891). Steven Isserlis, vc; Stephen Hough, pf.

Hyperion CDA67529 7 Massenet, J. Suite no 7: Scènes alsaciennes (1881). Monte Carlo National Opera O/John Eliot Gardiner.

Erato 2292-45859-2 23 Sullivan, A. Ballet: Pineapple Poll (arr.

Mackerras 1951). Royal Liverpool PO/ David Lloyd-Jones.

Naxos 8.570351 43 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm 19:00 A TWIST OF JAZZ with Andrew Piper 20:00 AT THE OPERA Prepared by Angela Cockburn Rossini, G. Elisabetta, regina d’Inghilterra. Opera in two acts. Libretto

by Giovanni Schmidt. First performed Dresden, 1818.

ELISABETTA: Montserrat Caballé, sop LEICESTER: José Carreras, ten MATILDE: Valerie Masterson, sop NORFOLK: Ugo Benelli, ten Ambrosian Singers; London SO/ Gianfranco Masini.

Philips 432 453-2 2:21 Leicester returns triumphant to 16th century London from the Scottish wars.

Among his hostages are the sons of Scottish nobles and Matilde, whom he has secretly married, unaware that she

Thursday 5 March is the daughter of Mary, Queen of Scots, Elizabeth’s great rival. Leicester confides in Norfolk, who informs the Queen. She announces that Leicester is to be her consort. The unhappy pair is thrown into the dungeons. Then the Queen offers to spare their lives if Matilde will renounce the marriage. Leicester will have none of that. He tears up the document and declares that they both prefer death.

Norfolk is arrested when he encourages the crowd to revolt and free their hero.

Elizabeth visits Leicester in his dungeon, not as a queen, but as a woman in love, to help him escape. He declines her offer but learns for the first time that it was Norfolk who betrayed him. Norfolk tries to stab the Queen but is thwarted

by Matilde. Norfolk is condemned to death while Leicester and Matilde are pardoned. She presents Leicester as protector of the throne and the realm and announces that in future she’ll concern herself with affairs of state rather than affairs of the heart.

Dowland, J. The most sacred Queen Elizabeth, her galliard. David Miller, lute.

Hyperion CDA66447 1 Britten, B. Choral dances, from Gloriana, op 53 (1953). Ian Partridge, ten; The Sixteen; Helen Tunstall, hp; Harry Christophers, cond.

Collins 12862 12 23:00 AUSTRALIAN CHAMBER MUSIC Prepared by James Nightingale Houghton, P. Opals. Saffire.

ABC 476 7012 10 Abbott, K. Re-echo (2015). Julian Smiles, vc; Claire Edwardes, vibraphone.

ABC 481 4828 5 Barton, W. Birdsong at dusk. William Barton, voice, did, gui; Kurilpa String Quartet.

ABC 481 0962 12 Hill, A. String quartet no 4 in C minor (1916). Dominion Quartet.

Naxos 8.572097 24

In Finland Sibelius described old legends in his music and, in doing so, forged a national identity. In Norway, Grieg brought the folk melodies of Norway to international notice through his compositions much as Smetana had done with the folk music of Bohemia. A simple little Norwegian song forms the basis of Grieg’s orchestral work Old Norwegian melody with variations.

0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Simon Moore 9:00 DIVERSIONS IN FINE MUSIC The instruments: Brass Prepared by Paul Cooke Patterson, P. Eurostar fanfare. London Brass Virtuosi/David Honeyball.

Hyperion CDA66870 2 Duvernoy, F. Trio no 1. Jenoe Kevehazi, hn; Ildiko Hegyi, vn; Jenö Jandó, pf.

Naxos 8.550441 9 Berlioz, H. Le jeune pâtre breton (1834).

Joan Sutherland, sop; Barry Tuckwell, hn; Richard Bonynge, pf.

Decca 421 552-2 4 Stanford, C. Villiers Fantasy in A minor (1922). Stephen Stirling, hn; RTÉ Vanbrugh Quartet.

Hyperion CDA67434 12 Bononcini, G. Sinfonia decima, op 3 no 7 (pub. 1685). Stephen Keavy, tpt; Crispian Steele-Perkins, tpt; Parley of Instruments.

Hyperion CDA66255 8 Czerny, C. Introduction et variations concertantes, op 248. Andrew Clark, hn; Geoffrey Govier, fp.

Helios CDH55074 16 Mozart, W. Ei parte ... Per pietà, from Così fan tutte, K588 (1790). Cecilia Bartoli, mezz; Vienna CO/Gyorgy Fischer.

Decca 443 452-2 9 Saint-Saëns, C. Septet in E flat for trumpet, strings and piano, op 65 (1881).

Nash Ensemble.

Hyperion CDA67431/2 17 10:30 CONCERT HALL Prepared by Aaron Peng Debussy, C. Prélude à l’après-midi d’un faune (1894). St Cecilia Academy O/ Leonard Bernstein.

DG 429 728-2 12 Sibelius, J. Violin concerto in D minor, op 47 (1903/05). Silvia Marcovici, vn; Gothenburg SO/Neeme Järvi.

BIS CD-372 33 Schubert, F. Symphony no 6 in C, D589, Little C major (1817-18). Stockholm Sinfonietta/Neeme Järvi.

BIS CD-387 33

12:00 JAZZ, PURE AND SIMPLE with Maureen Meers Covering the many aspects of jazz from Swing to Mainstream, with the Great American Songbook making regular appearances 13:00 SOIRÉE MUSICALE Prepared by Ray Lemond Debussy, C. En blanc et noir (1915).

Stephen Coombs, pf; Christopher Scott, pf.

Hyperion CDA66468 15 Poulenc, F. Sextet for piano and wind quintet (1932-39). Eva Knardahl, pf; Gothenburg Wind Quintet.

BIS CD-24 18 Napoli, suite for piano (1925). Antony Gray, pf.

ABC 481 1835 10 Alain, J. Litanies, from Three pieces, op 79 (1937). Peter Hurford, org.

Argo 410 165-2 5 Three dances. Eric Lebrun, org.

Naxos 8.553633 24 Ravel, M. Introduction and allegro for harp, flute, clarinet and string quartet (1906). Osian Ellis, hp; Melos Ensemble.

Decca 421 154-2 10 Bizet, G. Symphony in C (1855). French National RSO/Thomas Beecham.

EMI CDC 7 47794 2 28 15:00 FOREST DWELLERS Curzon, F. Suite: Robin Hood (1936).

Czecho-Slovak RSO/Adrian Leaper.

Naxos 8.554709 12 Bax, A. Nympholept (1912). Royal Scottish NO/David Lloyd-Jones.

Naxos 8.555343 16 Novák, V. Toman and the wood nymph, op 40 (1907). BBC PO/Libor Pesek.

Chandos CHAN 9821 26 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm 19:00 THE NEW JAZZ STANDARD with Frank Presley 20:00 THE WORLD OF A SYMPHONY Prepared by Nicky Gluch Mendelssohn, F. Prelude and fugue in F minor, op 35 no 5 (1832-37). Benjamin Frith, pf.

Naxos 8.550939 7 Bach, J.S. Brandenburg concerto no 6 in B flat, BWV1051 (1720). Akademie für Alte Musik.

Harmonia Mundi HMG 501634.35 16

Bruckner, A. Psalm 150: Praise the Lord in his sanctuary (1892). Ruth Welting, sop; Chicago Symphony Ch & O/Daniel Barenboim.

DG 437 250-2 9 Moscheles, I. Concertante in F. Marc Grauwels, fl; Joris van den Hauwe, ob; Belgian RTSO/André Vandernoot.

Naxos 8.555977 14 Mendelssohn, F. Symphony no 2 in B flat, op 52, Hymn of praise (1840). Sara Macliver, sop; Elena Xanthoudakis, sop; Jaewoo Kim, ten; Sydney Philharmonia Chamber Singers; Tasmanian Ch & SO/ Sebastian Lang-Lessing.

ABC 476 3623 1:07 22:00 NOCTURNES Prepared by Jacky Ternisien Borodin, A. Nocturne, from String quartet no 2 in D (1885). Adelaide SO/ David Stanhope.

ABC 481 0773 9 Thalberg, S. Nocturne in E, op 28 (c1835). Francesco Nicolosi, pf.

Naxos 8.553701 7 Alwyn, W. Summer rain, from Six Nocturnes (1973). Jeremy Huw Williams, bar; Iain Burnside, pf.

Naxos 8.570201 1 Duvernoy, F. Nocturne no 2. Sören Hermansson, hn; Erica Goodman, hp.

BIS CD-648 7 22:30 ULTIMA THULE with Marc Cottee Ambient and atmospheric music

A Czech folk story tells of a young man disappointed in love who, on Midsummer’s Eve, turns to an alluring wood nymph for consolation only to die in her supernatural arms. It was the inspiration for symphonic poems

by Zdenek Fibich and Vítzslav Novák.

The Fibich work is decidedly romantic in style. Novák’s setting of this legend, written some 50 years later, was influenced by the opera Salome

by Richard Strauss. Christoph Schlüren writes that Novák reveals ‘a clear sonic affinity to the music of Strauss: a complex polyphonic texture with precipitate dissonant thrusts in the individual voices, with continuous shocks and tremors of the sonic masses, with the swirl of wild passions thrusting forward in inexorable haste’.

MARCH 2020

13

Friday 6 March 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Annabelle Drumm 9:00 DIVERSIONS IN FINE MUSIC Al fresco Prepared by Chris Blower Bridge, F. There’s a willow grows aslant a brook (1928). English String O/William Boughton.

Nimbus NI 5450/3 10 Schubert, F. The shepherd on the rock, D965 (1828). Jennifer Bates, sop; Nigel Westlake, cl; David Bollard, pf.

Tall Poppies TP011 12 Rachmaninov, S. La mer er les mouettes, op 39 no 2 (1917; orch. Respighi 1930).

BBC PO/Gianandrea Noseda.

Chandos CHAN 10388 9 Glazunov, A. The forest, op 19 (1882-87; arr. Glazunov). Aurora Piano Quartet.

Naxos 8.557717D 17 Whitacre, E. The River Cam (2011).

Julian Lloyd Webber, vc; London SO/Eric Whitacre.

Decca 279 6323 12 Haydn, J. String quartet in C, Hob.III:39, The bird (1781). Jerusalem Quartet.

Harmonia Mundi HMX 2962030 20 10:30 CONCERT HALL Prepared by Anne Irish Riisager, K. Summer rhapsody (1943).

Aarhus SO/Bo Holten.

Dacapo 8.226148 12 Spohr, L. Clarinet concerto no 2 in E flat, op 57 (1810). Jon Manasse, cl; Seattle SO/Gerard Schwarz.

Harmonia Mundi HMU 907516 26 Brahms, J. Symphony no 2 in D, op 73 (1877). Vienna PO/István Kertész.

Decca 448 197-2 45 12:00 A JAZZ HOUR with Barry O’Sullivan 13:00 AMERICAN GALA Prepared by Albert Gormley Sousa, J.P. Waltzes, from The bride elect (1897). Razumovsky SO/Keith Brion.

Naxos 8.559008 7 Bernstein, L. Suite from West Side story (1960; arr. Brown). Joshua Bell, vn; Philharmonia O/David Zinman.

Sony SK 89358 19 On the town: three dance episodes (1945). New York PO/Leonard Bernstein.

CBS MYK 44773 10 14

MARCH 2020

Gershwin, G. Summertime, from Porgy and Bess (1935). Renée Fleming, sop; New York Voices; Metropolitan Opera O/ James Levine.

Decca 478 8583 4 Nice work if you can get it (1937); Someone to watch over me (1932).

Simon Tedeschi, pf.

ABC 481 0032 11 14:00 WATER MUSIC Prepared by Ron Walledge Maconchy, E. Overture: Proud Thames (1952). London PO/Vernon Handley.

Lyrita SRCD 288 6 Elgar, E. Severn suite, op 87a (1930).

London SO/Richard Hickox.

Chandos CHAN 9156/7 18 Smetana, B. Vltava, from Má vlast (1874). Vienna PO/Nikolaus Harnoncourt.

Teldec 0927-44890-2 13 Bax, A. Mediterranean (1922). London PO/Bryden Thomson.

Chandos CHAN 8494 4 Grofé, F. Mississippi suite (1925).

Hollywood Bowl SO/Felix Slatkin.

EMI 5 74117 2 13 Villa-Lobos, H. Erosão, origem do Rio Amazonas (1950). Czecho-Slovak RSO/ Roberto Duarte.

Marco Polo 8.223357 20 Arne, T. Thou soft flowing Avon (1769).

Emma Kirkby, sop; Parley of Instruments/ Roy Goodman.

Hyperion CDA66237 4 Handel, G. Suite from The water music, HWV348-50 (1717; arr. Baines). Royal PO/Yehudi Menuhin.

ASV RPO 8002 27 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm 19:00 FRIDAY JAZZ SESSION with Christopher Waterhouse An hour of the best in jazz with a weekly ‘album of the week’ feature and a guide to upcoming live jazz gigs in Sydney 20:00 EVENINGS WITH THE ORCHESTRA The English revival Prepared by Robert Small Elgar, E. Violin concerto, op 61 (1910).

Tasmin Little, vn; Royal Scottish NO/ Andrew Davis.

Chandos CHSA 5083 50 Walton, W. Symphony no 1 in B flat minor (1931-35). London PO/Bryden Thomson.

Chandos CHAN 8862 45

Friday 6 March Finzi, G. Five bagatelles, op 23a (1943; arr. Ashmore). Robert Plane, cl; Northern Sinfonia/Howard Griffiths.

Naxos 8.553566 15 22:00 BAROQUE AND BEFORE Thomas Campion 400th anniversary Prepared by Susan Foulcher Campion, T. It fell on a summer’s day; I care not for these ladies, from A booke of ayres (pub. 1601). Robin Blaze, ct; Elizabeth Kenny, lute.

Hyperion CDA67268 5 The sypres curten of the night. Barbara Bonney, sop; Jacob Heringman, lute.

Decca 466 132-2 5 Dowland, J. Pavan lachrimae, from Seven teares (pub. 1604); Praise blindness eies; Fine knacks for ladies, from The second booke of songs or ayres (pub. 1600).

Attaignant Consort/Kate Clarke.

Ramée RAM 0706 9 Campion, T. Now hath Flora robbed her bowers; Mr Confess’s coranto; Lord Hay’s masque, from the masque commissioned to celebrate the marriage of Lord Hay and Honora Denny (1607). Robin Blaze, ct; Elizabeth Kenny, lute; David Miller, theorbo, lute; Joanna Levine, bass viol; Mark Levy, lyra viol.

Hyperion CDA67268 9 Rosseter, P. Fantasia (pub. c1609).

Elizabeth Kenny, lute.

Hyperion CDA67268 6 Campion, T. Most sweet and pleasing are thy wayes, O God; Author of light; Tune thy musicke to thy hart, from The first booke of ayres: Divine and morall songs; Sweet exclude mee not; Come you pretty false-eyed wanton, from The second booke of ayres: Light conceits of lovers. Steven Rickards, ct; Dorothy Linell, lute.

Naxos 8.553380 12 Ward, J. Fantasias: nos 4 and 3.

Concerto di Viole.

Harmonia Mundi HMC 901993 6 Coprario, J. To the most sacred King James; To the most high and mighty Prince Charles; To the world, from Songs of mourning bewailing the untimely death of Prince Henry, son of James VI (1613).

Martyn Hill, ten; Trevor Jones, bass viol; Anthony Rooley, lute.

L’Oiseau-Lyre/Decca 480 2298 10 Farnaby, G. Spagnioletta; The old Spagnoleta, from The Fitzwilliam virginal book (1613). Atrium Musicae de Madrid/ Gregorio Paniagua.

BIS CD-163 5

Campion, T. Woo her, and win her; Second dance, from The Lordes masque, written for the marriage of Princess Elizabeth (1613). Robin Blaze, ct; Elizabeth Kenny, lute; David Miller, theorbo; Joanna Levine, bass viol; Mark Levy, lyra viol.

Hyperion CDA67268 4 Never love unless you can; Oft have I sighed for him that heares me not; If thou longst so much to learn, from The third booke of ayres (pub. 1617). Janet Baker, mezz; Robert Spencer, lute.

Testament SBT 1241 6 Break now my heart and die; Fire! Fire!

Fire! Fire!, from The third booke of ayres (pub. 1617). Robin Blaze, ct; Elizabeth Keeny, lute; David Miller, theorbo; Joanna Levine, bass viol; Mark Levy, lyra viol.

Hyperion CDA67268 5 Brade, W. Der Koeniginnen Intrada; Des Rothschenken Tanz; Robert Batemans volta; Brand; A Scottish dance, from The third collection of dances. Hespèrion XX. EMI CDS 7 49246 8 11 Campion, T. Beauty, since you so much desire; Love me or not; Are you what your faire looks express? from The fourthe booke of ayres (pub. 1617). Drew Minter, ct; Paul O’Dette, lute.

Harmonia Mundi HMU 907023 8 Never weather-beaten sail, from The first booke of ayres (pub. 1612/13). Stile Antico.

Harmonia Mundi HMU 807554 3

Knudåge Riisager was a prominent exponent of the French-oriented trend in Danish music between the two World Wars. Not surprisingly, he had studied in Paris in the 1920s with Albert Roussel and had experienced French neo-classicism and music of Stravinsky and the composers of Les Six. Riisager’s international fame is largely based on his ballet music, some original, some arrangements, such as Czerny’s Études. In Summer rhapsody of 1943, and in his later symphonies, despite his former intention to ‘kill off’ classical form, Riisager returns to this style revealing him as a ‘searching, unprejudiced composer’ for whom the classical form kept its attraction and fascination. (Please refer to Concert Hall on the previous page.)

Saturday 7 March 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SATURDAY MORNING MUSIC with David Garrett 9:00 WHAT’S ON IN MUSIC Our weekly guide to musical events in and around Sydney 9:05 THE PIANO ALONE Prepared by Jennifer Foong Mendelssohn, F. Andante and rondo capriccioso in E minor, op 14 (1824).

Murray Perahia, pf.

CBS MK 42401 7 Grieg, E. March of the dwarfs, op 54 no 3 (1891) Barbara Moser, pf.

Gramola 98820 3 Chopin, F. Ballade no 4 in F minor, op 52 (1842). Benno Moiseiwitsch, pf.

Philips 456 907-2 10 Schubert, F. Piano sonata no 19 in C minor, D958 (1828). Sviatoslav Richter, pf.

Notes PGP 11011 29 10:00 MUSIC OF THE DANCE Prepared by Rodrigo Azaola Arensky, A. Suite from Egyptian nights, op 50a (1902). USSR RSO/Boris Demchenko.

Melodiya MEL 45002-2 20 Glazunov, A. The birthday offering, from The seasons: autumn, op 67 (1899).

Royal PO/Vladimir Ashkenazy.

ABC 480 6403 5 Stravinsky, I. Suite from Petrushka (1921). Chia Chou, pf.

LP EMI YPRX 1972 16 Rimsky-Korsakov, N. Festival at Baghdad; The sea, from Scheherazade, symphonic suite after 1001 Nights, op 35 (1888). Seattle SO/Gerard Schwarz.

Naxos 8.578269-70 13 Respighi, O. Valse lente, from La boutique fantasque, op 40 (1919).

Scottish NO/Alexander Gibson.

Chandos CHAN 6503 2 Prokofiev, S. Suite no 3, from Cinderella, op 109 (1944). Ukranian State SO/ Theodore Kuchar.

Naxos 8.550968-9 27 11:30 ON PARADE Music that’s band Prepared by Owen Fisher Loewe, F. Excerpts from Paint your wagon. Royal Doulton Band/Edward Gray.

LP Astor GGS 1506 6

Bach, J.S. Fugue in G minor, BWV578, Little. Allentown Band/Ronald Demkee.

AMP 87107 4 Rossini, G. Overture to The silken ladder. Band of Yorkshire Imperial Metals/ Trevor Walmsley.

LP Astor GGS 1508 6 Arlen, H. I love a parade. Sellers Engineering Band/Phillip McCann.

Chandos CHAN 4527 6 Richards, W. March: Namur. Hawthorne City Band/Laurie Hicks.

LP ABC ABCL 8004 3 12:00 URBAN JAZZ LOUNGE with Leita Hutchings 13:00 EXPLORING CHAMBER Prepared by Di Cox Dvorák, A. Rondo in G minor, op 94 (1891). Christian Poltéra, vc; Kathryn Stott, pf.

BIS SACD-1947 7 Mozart, W. Divertimento in B flat, K439b no 2 (c1783). Gilles Thomé, bshn; Gili Rinot, bshn; Lorenzo Coppola, bshn.

Pierre Verany PV795021 19 Franck, C. Violin sonata in A (1886). Gil Shaham, vn; Gerhard Oppitz, pf.

DG 429 729-2 28 Weber, C.M. Clarinet quintet in B flat, op 34 (1815). Benny Goodman, cl; Berkshire String Quartet.

Music Masters 5027-2-C 25 14:30 SATURDAY MATINÉE Elgar’s dream Elgar, E. The dream of Gerontius, op 38 (1900). Felicity Palmer, mezz; Arthur Davies, ten; Gwynne Howell, bass; Roderick Elms, org; London Symphony Ch & O/Richard Hickox.

Chandos CHAN 8641/2 1:35 Violin concerto in B minor, op 61 (1909-10). Marat Bisengaliev, vn; West Kazakhstan PO/Bundit Ungrangsee.

Naxos 8.572643-45 46 17:00 SOCIETY SPOT Folk Federation of NSW 18:00 MUSIC OF THE SCREEN Music of all kinds featured on the screen, small and large 19:00 JAZZ 20:00 THE LIFE OF A COMPOSER Richard Meale Prepared by James Nightingale Meale, R. Lumen (1998; orch. 2007).

Tasmanian SO/Richard Mills.

ABC 476 3222 7 MARCH 2020

15

Saturday 7 March Flute sonata (1960). Christine Draeger, fl; Clemens Leske, pf.

Fine Music tape archive 16 Very high kings (1968). Sydney SO/Stuart Challender.

ABC 434 895-2 13 Interlude II, from Incredible Floridas (1971). Seymour Group/Mark Summerbell.

ABC 434 901-2 5 Coruscations (1970). Lachlan Redd, pf.

Canberra School of Music CSM:24 8 Viridian (1979). Adelaide SO/David Porcelijn.

ABC 446 477-2 14 Concert monologue, from Mer de glace (1991). Merlyn Quaife, sop; Tasmanian SO/Richard Mills.

ABC 476 3218 19 Symphony no 1 (1994). Adelaide SO/ David Porcelijn.

ABC 446 477-2 23 22:00 SATURDAY NIGHT AT HOME Prepared by Di Cox Tubin, E. Suite on Estonian dances (1943). Arvo Leibur, vn; Vardo Rumessen, pf.

BIS CD-541/42 17 Rachmaninov, S. Symphony no 2 in E minor, op 27 (1906-07). Sydney SO/Edo de Waart.

ABC 462 012-2 56 Balakirev, M. Overture on three Russian themes (1858-81). Philharmonia O/ Yevgeny Svetlanov.

Hyperion CDA66586 9 Weber, C.M. Clarinet quintet in B flat, op 34 (1815). Dieter Klöcker, cl; members of Consortium Classicum.

Orfeo C314 941 A 27

Richard Meale, in the forefront of Australian avant-garde music with works such as Very high kings, abandoned this exclusively atonal approach in the late 1970s, adopting a polytonal style (as in Viridian) and later full tonality although his works still exhibited individuality. His operas, composed in collaboration with writer David Malouf, include Mer de glace based on parts of Mary Shelley’s Frankenstein and on the real-life interactions between Mary, her brother Percy Bysshe Shelley and Lord Byron.

16

MARCH 2020

Sunday 8 March 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SUNDAY MORNING MUSIC with Terry McMullen 9:00 MUSICA SACRA Prepared by Rex Burgess Bach, J.S. Vom Himmel hoch da komm ich her, BWV769. John O’Donnell, org.

Tall Poppies TP166 13 Charpentier, M-A. Pastorale on the nativity of Jesus Christ (c1670). Les Arts Florissants/William Christie.

Harmonia Mundi HMX 2971082 42 10:00 THE CLASSICAL ERA Prepared by Paul Cooke Bach, J. Christian Sinfonia in D for double orchestra, op 18 no 3 (Overture to Endimione) (c1781). Failoni O/Hanspeter Gmür.

Naxos 8.553367 11 Clementi, M. Piano sonata in F minor, op 13 no 6 (1785). Susan Alexander-Max, pf.

Naxos 8.555808 21 Hook, J. Clarinet concerto in E flat (1812). Colin Lawson, cl; Parley of Instruments/Peter Holman.

Helios CDH55261 20 Wesley, S. String quartet in E flat.

Salomon Quartet.

Hyperion CDA66780 22 Potter, C. Symphony no 8 in E flat (1828). Milton Keynes CO/Hilary Davan Wetton.

Unicorn-Kanchana DKP 9091 35 12:00 CLASSIC JAZZ AND RAGTIME with John Buchanan 13:00 WORLD MUSIC: Whirled Wide with Gerry Myerson 14:00 HOMAGE TO JOHN FIELD Prepared by Chris Blower Barber, S. Nocturne, op 33, Homage to John Field (1959). Angela Brownridge, pf.

Helios CDH88016 4 Jancourt, L. Nocturne d’après John Field, op 124. Karen Geoghegan, bn; Philip Fisher, pf.

Chandos CHAN 10521 4 Arnold, M. Fantasy on a theme of John Field, op 116 (1975). Phillip Dyson, pf; Ulster O/Esa Heikkilä.

Naxos 8.570531 23 Harty, H. A John Field suite (1939).

Ulster O/Bryden Thomson.

Chandos CHAN 6583 20

15:00 SUNDAY SPECIAL Celebrating music of Ignaz Moscheles Prepared by Jennifer Foong

Moscheles, I. The troubadours’ farewell.

Ensemble Consortium Classicum.

LP Schwann VMS 1051 13 Concertante in F. Marc Grauwels, fl; Joris van den Hauwe, ob; Belgian RTSO/André Vandernoot.

Naxos 8.555977 13 Terror die angst, from Characteristic studies, op 95 (pub. 1836). Piers Lane, pf.

Helios CDH55387 4 German dance. Eduard Melkus Ensemble.

Archiv 439 964-2 8 Six variations concertante in D minor, op 21. Kazunori Seo, fl; Makoto Ueno, pf.

Naxos 8.573175 8 Septet in D, op 88 (1832). Walter Hermann, cl; Christoph Moinian, hn; Mayumi Shimizu, vn; Jaap Zeijl, va; Christoph Groth, vc; Volker Donandt, db; Caroline Weichert, pf.

Koch Schwann 3-1178-2 29 Piano concerto no 2 in E flat, op 56 (c1822). Tasmanian SO/Howard Shelley, pf & dir.

Hyperion CDA67276 31 17:00 HOSANNA Hymn: When all thy mercies, O my God. Choir of Winchester Cathedral; Phillip Scriven, org; David Hill, cond.

Herald HAVP257 4 Walmisley, T. Magnificat; Nunc dimittis in D minor. Choir of St Paul’s Cathedral; Simon Johnson, org; Andrew Carwood, cond.

Hyperion CDA68058 7 Wesley, S.S. The wilderness. Choir of Magdalen College, Oxford/John Harper.

Regis RRC 2030 14 Twist, J. Versa est in luctum. 5 Victoria, T. de Incipit lamentation Jeremiae. 6 Choir of St James’ Church, King Street/ Warren Trevelyen-Jones (2 above) St James’ recording Bach, J.S. O Jesu Christ, meins Lebens Licht, BWV118. Cambridge Singers; La Nuova Musica/John Rutter.

Collegium COLCD 134 5

Sunday 8 March Hymn: The duteous day now closeth.

Choir of Winchester Cathedral; Philip Scriven, org; David Hill, cond.

Herald HAVP257 4 Bach, J.S. Alla breve in D, BWV589.

Simon Preston, org.

DG 453 541-2 4 18:00 SMALL FORCES Prepared by Krystal Li Schumann, R. Adagio and allegro, op 70 (1849). Richard Runnels, hn; Brachi Tilles, pf.

Move MD 3172 9 Ibert, J. Trio (1937-42). Kees Hülsmann, vn; Marien van Staalen, vc; Ernestine Stoop, hp.

Olympia OCD 469 16 Rimsky-Korsakov, N. Wind quintet in B flat (1876). Les Vents Français.

Warner Classics 0825646231850 28 19:00 SUNDAY NIGHT CONCERT Prepared by Krystal Li Telemann, G. Suite: Don Quixote.

Northern CO/Nicholas Ward.

Naxos 8.554019 18 Hyde, M. Piano concerto no 1 in E flat minor (1933). Miriam Hyde, pf; West Australian SO/Geoffrey Simon.

ABC 446 285-2 30 Schubert, F. Symphony no 6 in C, D589, Little C major (1817-18). Royal Concertgebouw O/Nikolaus Harnoncourt.

Teldec 4509-91184-2 35 20:30 NEW HORIZONS Prepared by Paul Cooke Reid, J. Hallgrimskirkja (2018). Jenna Reid, fiddle; Iain Sandilands, perc; Mr McFall’s Chamber.

Lofoten LOFCD004 6 McGuire, E. Entangled fortunes (2002).

Red Note Ensemble.

Delphian DCD 34157 10 MacMillan, J. From Ayrshire (2005).

Nicola Benedetti, vn; Academy of St Martin in the Fields/James MacMillan.

DG 476 315-9 7 Davies, P. Maxwell Piccolo concerto.

Stewart McIlwham, picc; Royal PO/Peter Maxwell Davies.

Collins 15202 17 Beamish, S. Seavaigers (2012). Chris Stout, fiddle; Catriona McKay, hp; Scottish Emsemble/Jonathan Morton.

McKay Stout Music MSM002 20 Smith, T. Dreaming with open eyes, Sonata no 2 (1995). Tommy Smith, sax; Murray McLachlan, pf.

Linn AKD 103 19 22:00 JAZZ AFTER HOURS

Monday 9 March 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with James Hunter 9:00 DIVERSIONS IN FINE MUSIC A year in retrospect: 1900 Prepared by Frank Morrison Sibelius, J. Malinconia, op 20 (1900).

Torleif Thedéen, vc; Folke Gräsbeck, pf.

BIS CD-817 12 Dvorák, A. Song to the moon, from Rusalka, op 114 (1900). Lucia Popp, sop; Geoffrey Parsons, pf.

Orfeo C 363 941 B 6 Delius, F. Paris: the song of a great city (1900). BBC SO/Andrew Davis.

Teldec 4509-90845-2 22 Strauss, R. Winterweihe, op 48 no 4 (1900; orch. 1918). Felicity Lott, sop; Scottish NO/Neeme Järvi.

Chandos CHAN 8744 3 MacDowell, E. Piano sonata no 3, op 57, Norse (1900). James Barbagallo, pf.

Marco Polo 8.223632 17 Reger, M. String quartet in A, op 54 no 2 (1900). Reger Quartet.

Pantheon D 14090 19 10:30 CONCERT HALL Prepared by Derek Parker Mendelssohn, F. Overture: Die schöne Melusine, op 32 (1833). Vienna PO/Carl Schuricht.

Decca 482 4955 11 Vaughan Williams, R. Violin concerto in D minor, Concerto accademico (1925).

Bradly Creswick, vn; Northern Sinfonia of England/Richard Hickox.

EMI CDC 7 49745 2 17 Dvorák, A. Symphony no 7 in D minor, op 70 (1885). Sydney SO/Charles Mackerras.

Sydney Symphony SSO 200705 36 Vaughan Williams, R. Bass tuba concerto in F minor (1954). Peter Whish-Wilson, tuba; Adelaide SO/David Stanhope.

ABC 476 5251 13 12:00 SWING SESSIONS with John Buchanan 13:00 TRIBUTE TO PETER SCHREIER Prepared by Jennifer Foong Mozart, W. Ach Belmonte! Ach mein Leben! from The abduction from the Seraglio, K384 (1782). Yvonne Kenny, sop; Lillian Watson, sop; Wilfrid Gamlich,

ten; Zurich Opera House Mozart O/ Nikolaus Harnoncourt.

Teldec 0630-13811-9 11 Schubert, F. Des Tages Weihe, D763 (1822). Elly Ameling, sop; Janet Baker, mezz; Dietrich Fischer-Dieskau, bar; Gerald Moore, pf.

DG 435 596-2 5 Bach, J.S. Recitative and chorus, from St John Passion, BWV245 (1724). Andreas Schreiber, bar; Leipzig Radio Choir; Staatskapelle Dresden/Peter Schreier.

Decca 478 5564 4 Wolf, H. A blessing on the happy mother.

Felicity Lott, sop; Graham Johnson, pf.

Hyperion CDH55385 4 Schumann, R. Herbstlied, op 43 no 2 (1840). Dietrich Fischer-Dieskau, bar; Christoph Eschenbach, pf.

DG 457 915-2 2 Bach, J.S. Jesus, unser Trose und Leben, BWV475; Gott lebet noch, BWV461; Kommt wieder aus der finstren Gruft, BWV480; Der Tag ist hin, die Sonne gehet nieder, BWV447, from Schemellis Gesangbuch. Karl Richter, org.

LP Archiv 2533458 8 Peter Schreier, ten (6 above) Quantz, J. Flute concerto in G. Patrick Gallois, fl; Carl Phillip Emanuel Bach CO/ Peter Schreier.

DG 439 895-2 17 Schubert, F. Gute Nacht; Die Wetterfahne; Gefrorene Tränen; Erstarrung; Der Lindenbaum; Wasserflut; Auf dem Flusse; Rückblick, from Winterreise, D911 (1827). Peter Schreier, ten; András Schiff, pf.

Decca 436 122-2 27 14:30 INSPIRED BY PAINTINGS Prepared by Jacky Ternisien Respighi, O. Three Botticelli pictures (1927). City of London Sinfonia/Richard Hickox.

Collins 13492 20 Granados, E. La maja de Goya (1911).

John Williams, gui.

CBS MK 44794 4 Stravinsky, I. No word from Tom ... quietly night ..., from The rake’s progress (1951). Diana Damrau, sop; Munich RSO/Dan Ettinger.

Virgin 519 3132-2 9 Liszt, F. Symphonic poem no 11: Battle of the Huns (1857). New Zealand SO/ Michael Halász.

Naxos 8.557846 14 MARCH 2020

17

Monday 9 March Mussorgsky, M. Pictures at an exhibition (1874; arr. McIntyre). Canberra Wind Soloists.

Fine Music concert recording 29 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm 19:00 JAZZ PULSE with Chris Wetherall 20:00 STORMY MONDAY with Austin Harrison and Garth Sundberg 22:00 JAZZ AFTER HOURS

In the idyllic surroundings of Hillcrest Farm in Peterborough, New Hampshire, Edward MacDowell found his creativity flourishing as he and his wife spent their summer holidays there. At the time MacDowell was a noted teacher and Professor of Piano at Columbia University, New York. In this tranquil country environment MacDowell composed some of his best-known piano pieces: Woodland sketches (1896), Sea pieces (1898), Piano sonata no 3 (1900), Piano sonata no 4 (1901), Fireside tales (1902) and New England idylls (1902).

All of MacDowell’s piano sonatas are programmatic to a certain extent with Piano sonata no 3, known as The Norse, dedicated to Edvard Grieg. MacDowell’s inspiration came from old Norse legends and he inscribed some lines from early heroic poetry on the score: “Night had fallen on a day of deeds / The great rafters in the red-ribbed hall / Flashed crimson in the fitful flame / Of smoldering logs; / And from the stealthy shadows / That crept ‘round Harald’s throne / Rang out a Skald’s strong voice / With tales of battles won: / Of Gudrun’s love / And Sigurd, Siegmund’s son.” The sonata is dramatic with theatrical flair including descriptions of heroic battle scenes interspersed with reflective passages, many of them thought to be depicting Gudrun’s love. Some passages are reminiscent of the delicacy of Debussy’s piano works; others are florid and passionate. The ‘virtuosic clangour’ of the last movement subsides into the ominous bass rumblings of the sonata’s beginning.

(Please refer to Diversions in Fine Music on previous page.)

18

MARCH 2020

Tuesday 10 March 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Julie Simonds 9:00 DIVERSIONS IN FINE MUSIC Colours of the keyboard Prepared by James Nightingale Ravel, M. Rapsodie espagnole. Pascal Rogé, pf; Ami Rogé, pf.

Onyx 4117 16 Chaminade, C. Mélodies (1893-98).

Nicky Spence, ten; Malcolm Martineau, pf.

Chandos CHAN 10893 15 Bach, C.P.E. Rondo in A minor, Wq56 no 5 (1778). Geoffrey Lancaster, fp.

Fine Music concert recording 9 Bowen, Y. Phantasy in F, op 54 (1918).

Lawrence Power, va; Simon CrawfordPhillips, pf.

Hyperion CDA67651-52 14 Telemann, G. Fantasy no 1 in C minor, from 36 Fantasies (1732-33). Joseph Payne, hpd.

Centaur CRC 2530/2531 4 Mozart, W. Fantasia in C minor, K475 (1785). Mitsuko Uchida, pf.

Philips 422 115-2 21 10:30 CONCERT HALL Prepared by Jacky Ternisien Schubert, F. Overture to Die Zauberharfe, D644 (1820). L’Orfeo Baroque O/Michi Gaigg.

DHM G010003653330K 10 Albrechtsberger, J. Harp concerto in C. Jana Bousková, hp; South West German CO, Pforzheim/Vladislav Czarnecki.

Brilliant Classics 99512 19 Rosenmüller, J. Sinfonia seconda in D (pub. 1667). Hespérion XX/Jordi Savall.

Astrée E 8709 8 Bomtempo, J. Symphony no 2 in D. Algarve O/Álvaro Cassuto.

Naxos 8.557163 42 12:00 JAZZ RHYTHM with Jeannie McInnes 13:00 SYDNEY SYMPHONY 2020 Produced by Andrew Bukenya What’s on in concerts during the next month 14:00 DANIEL BARENBOIM PLAYS MOZART Mozart, W. Sonata in F, K533 (1783).

Daniel Barenboim, pf.

LP EMI EX 27 0324 3 27

14:30 BOHEMIAN RHAPSODY Smetana, B. Dance of the comedians, from The bartered bride (1866). London SO/Charles Mackerras.

Mercury 434 352-2 6 Mahler, G. Urlicht in D flat, from Des Knaben Wunderhorn (c1892). Jessye Norman, sop; Irwin Gage, pf.

Philips 426 642-2 5 Smetana, B. Vltava, from Má vlast (1874). Prague RSO/Vladimir Válek.

Supraphon SU 3916-2 12 Suk, J. Meditation, op 35a (1914). Suk Quartet.

CRD 3472 6 Dvorák, A. Symphony no 9 in E minor, op 95, From the New World (1893). London PO/Mstislav Rostropovich.

EMI 5 65705 2 49 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm 19:00 THE JAZZ BEAT with Lloyd Capps 20:00 RECENT RELEASES 22:00 CHAMBER SOIRÉE Prepared by Gerald Holder Beethoven, L. Trio in B flat for clarinet, cello and piano, op 11 (1797). James Campbell, cl; Yuli Turovsky, vc; Luba Edlina, pf.

Chandos CHAN 8655 24 Telemann, G. Quartet in E minor (pub.

1733). Akademie für Alte Musik.

Harmonia Mundi HMC901689 10 Janácek, L. String quartet no 1, Kreutzer sonata (1923). Lindsay String Quartet.

ASV DCA 749 17 Paganini, N. Guitar quartet no 10 in A (1818-20). Bruno Pignata, vn; Lorenzo Lugli, va; Paolo Mosca, vc; Pino Briasco, gui.

Dynamic CDS 17/1-2 24 Brahms, J. String sextet in B flat, op 18 (1860). Isaac Stern, vn; Cho-Liang Lin, vn; Jaime Laredo, va; Michael Tree, va; Yo-Yo Ma, vc; Sharon Robinson, vc.

Sony S2K 45 820 38

The first Portuguese symphonist, João Domingos de Bomtempo, was the son of an Italian-born oboist employed at the royal court in Lisbon.

This international influence was a defining feature of Bomtempo’s life and music. As a young adult he left for Paris where he was soon involved in musical society.

Wednesday 11 March 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 Inspired by literature Prepared by Melissa Evans Copland, A. Excerpts from Twelve poems of Emily Dickinson. Jane Sheldon, sop; Nicole Panizza, pf.

Phosphor Records PR0002 16 Mendelssohn, F. Overture to A midsummer night’s dream, op 21 (1826).

Tasmanian SO/Sebastian Lang-Lessing.

ABC 476 7736 12 Schumann, R. Overture to Scenes from Goethe’s Faust, Wo03 (1853; arr).

Eckerle Piano Duo. Naxos 8.572879 8 Rimsky-Korsakov, N. The sea and Sinbad’s ship, from Scheherazade, symphonic suite after 1001 Nights, op 35 (1888). Seattle SO/Gerard Schwarz.

Naxos 8.578269-70 11 Telemann, G. Suite: Don Quixote.

Northern CO/Nicholas Ward.

Naxos 8.554019 18 Liszt, F. Après une lecture du Dante, fantasia quasi sonata, from Years of pilgrimage, bk 2 (1837-49). Stephanie McCallum, pf.

ABC 476 1248 15 10:30 CONCERT HALL Prepared by Dan Bickel Mendelssohn, F. Overture: Calm sea and prosperous voyage, op 27 (1828).

Bamberg SO/Claus Peter Flor.

RCA Victor RD 87905 12 Schumann, R. Piano concerto in A minor, op 54 (1841-45). Israela Margalit, pf; London PO/Bryden Thomson.

Chandos CHAN 6621(2) 34 Charpentier, G. Impressions of Italy (1887-89). Opéra Comique National TO/ Pierre Dervaux.

EMI 5 65150 2 35 12:00 JAZZ SKETCHES with Robert Vale 13:00 IN CONVERSATION with Christopher Waterhouse 14:00 ROMANTIC GERMANY Prepared by Paul Hopwood Brahms, J. Clarinet quintet in B minor, op 115 (1891). Karl Leister, cl; Amadeus Quartet.

DG 419 875-2 36

Wagner, R. Siegfried idyll (1870). New York PO/Pierre Boulez.

Sony SMK 64 108 17 Mendelssohn, F. Violin sonata in F minor, op 4 (1825). Shlomo Mintz, vn; Paul Ostrovsky, pf.

DG 419 244-2 24 Bruch, M. Scottish fantasy in E flat, op 46 (1880). Midori, vn; Natalie Tal Glazer, hp; Israel PO/Zubin Mehta.

Sony SK 58967 31 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm 19:00 A TWIST OF JAZZ with Andrew Piper 20:00 AT THE OPERA Prepared by Camille Mercep Puccini, G. Manon Lescaut. Opera in four acts. Libretto by Domenico Oliva and Luigi Illica. First performed Turin, 1893.

MANON LESCAUT: Mirella Freni, sop LESCAUT: Renato Bruson, bar CHEVALIER des GRIEUX: Placido Domingo, ten GERONTE di RAVOIR: Kurt Rydl, bass Ch of Royal Opera House, Covent Garden; Philharmonia O/Giuseppe Sinopoli.

DG 413 893-2 2:03 Manon Lescaut is to be educated in a convent. Travelling by coach with her brother, they stop at an inn, where Chevalier des Grieux, a student, falls in love with her on sight. Discovering there is a plan for her to be abducted by a wealthy old official, he persuades her to elope with him to Paris. Their relationship becomes difficult when he runs out of money and Geronte, a wealthy elderly roué, makes Manon his mistress. When she discovers that Grieux is about to take holy orders, she reaffirms her love for him. Wanting money, she encourages Grieux to gamble. They are both charged with cheating. He is released, but she is sentenced to transportation as a dissolute woman. Grieux signs on as a crew member on the ship taking her to New Orleans. They both escape on arrival and go in search of an English colony. She dies in his arms from heat and exhaustion.

Prelude to Act I, from Edgar (1889). BBC PO/Gianandrea Noseda.

Chandos 10634 4 Chi il bel sogno di Doretta, from La rondine (1917). Renée Fleming, sop; English CO/Jeffrey Tate.

Decca 458 858-2 4

Te Deum, from Tosca (1900). Christopher Dawes, ten; John Shaw, bar; Opera Australia Ch; Elizabethan Sydney O/ Alberto Erede.

ABC 462 006-2 4 22:30 ECLECTIC AND VARIED Prepared by Jacky Ternisien Verdi, G. Triumphal march, from Aïda (1871). Queensland SO/Patrick Thomas.

ABC 476 4565 6 Yepes, N. Jeux interdits: Romance. Pepe Romero, gui.

Decca 478 5669 2 Tárrega, F. Estudio brillante, after Alard.

Fabio Zanon, gui.

Naxos 8.554431 3 Recuerdos de la Alhambra, op 29. John Williams, gui.

Sony 88697529852 4 Bolling, C. Suite for flute and jazz piano (1975). Emma Sholl, fl; Kees Boersma, db; Jane Rosenson, hp; Daryl Pratt, perc.

Sydney Conservatorium recording 17 Beethoven, L. Piano sonata no 25 in G, op 79 (1809). Gerard Willems, pf.

ABC 465 077-2 10 Saint-Saëns, C. The carnival of the animals (1886). Antony Pay, cl; Christopher van Kampen, vc; Robin McGee, db; Pascal Rogé, pf; Cristina Ortiz, pf; London Sinfonietta/Charles Dutoit.

Decca 478 5616 23 Widor, C-M. Allegro vivace; Toccata, from Symphony no 5 in F minor, op 42 no 1 (1879). Daniel Chorzempa, org.

Philips 410 054-2 16

Gustave Charpentier’s 96 years of life spanned the 19th and 20th centuries in equal measure. Early promise that he showed at the Paris Conservatoire did not translate into a glittering career being overshadowed by more progressive 20th century composers. At the Conservatoire he had a reputation for shocking his professors who including Massenet.

Despite this, in 1887, he won the Prix de Rome with his cantata Didon.

The result of his stay in Rome was the orchestral work, Impressions of Italy, and it was here that he began work on the libretto and music for his ‘biggest hit’, the opera Louise. In 1934, he conducted a recording of his Impressions of Italy with a Paris symphony orchestra.

MARCH 2020

19

Friday 13 March

Thursday 12 March 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Julie Simonds 9:00 DIVERSIONS IN FINE MUSIC The instruments: Brass Prepared by Chris Blower David, Ferdinand. Trombone concertino, op 4 (1837). Christian Lindberg, tb; Bamberg SO/Leif Segerstam.

BIS CD-378 17 Holmboe, V. Intermezzo concertante, op 171 (1976). Jens-Bjorn Larsen, tuba; Aalborg SO/Owain Arwel Hughes.

BIS CD-802 7 Puccini, G. Arias, from La bohème (1896; arr. Pearson). Crispian SteelePerkins, tpt; Leslie Pearson, org.

LDR 1006 10 Jacob, G. Fantasia. James Brice, euphonium; Jodie Lockyer, pf.

AEMS JB001 10 Vanhal, J. Double bass concerto in D (arr. Boldoczki). Gábor Boldoczki, flugelhorn; Prague PO/Emmanuel Villaume.

Sony 88985443362 16 Czerny, C. Brilliant fantasy no 3, op 339 (c1836). Andrew Clark, hn; Geoffrey Govier, fp.

Helios CDH 55074 18 10:30 CONCERT HALL Prepared by Di Cox Barber, S. Overture: The school for scandal, op 5 (1932). Detroit SO/Neeme Järvi.

Chandos CHAN 8958 9 Bartók, B. Violin concerto no 2 (193738). Itzhak Perlman, vn; London SO/ André Previn.

EMI 5 66060 2 38 Beethoven, L. Symphony no 4 in B flat, op 60 (1806). West-Eastern Divan O/ Daniel Barenboim.

Decca 478 3511 35 12:00 JAZZ, PURE AND SIMPLE with Maureen Meers 13:00 THE LATER ROMANTICS Prepared by Albert Gormley d’Indy, V. Symphony on a French mountain air, op 25 (1886). Duncan Gifford, pf; Tasmanian SO/Sebastian Lang-Lessing.

ABC 476 1928 27 Dukas, P. The sorcerer’s apprentice 20

MARCH 2020

(1896-97). Melbourne SO/Christopher Seaman.

ABC 476 4621 12 Stanford, C. Villiers Irish rhapsody no 2 in F minor, op 84, Lament for the son of Ossian (1903). Ulster O/Vernon Handley.

Chandos CHAN 7002 16 Bruch, M. Violin concerto no 1 in G minor, op 26 (1868). Niki Vasilakis, vn; Tasmanian SO/Sebastian Lang-Lessing.

ABC 476 9237 27 14:30 ENGLISH COMPOSERS IN FOCUS Walton, W. Overture: Portsmouth Point (1925). London PO/Bryden Thomson.

Chandos CHAN 8968 6 Britten, B. Four sea interludes, from Peter Grimes, op 33a (1944-45). Ulster O/Vernon Handley.

Chandos CHAN 8473 16 Bridge, F. Three idylls (1906). Coull Quartet.

Hyperion CDA66718 15 Delius, F. In a summer garden (1908).

London SO/Anthony Collins.

Belart 461 3582 10 14 Elgar, E. Cello concerto in E minor, op 85 (1918-19). Jacqueline du Pré, vc; London SO/John Barbirolli.

EMI CZS 5 68132 2 30 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm 19:00 THE NEW JAZZ STANDARD with Frank Presley 20:00 THE WORLD OF A SYMPHONY Prepared by Dan Bickel Aulin, T. Four watercolours (c1900).

Semmy Stahlhammer, vn; Love Derwinger, pf. nosag 4049 14 Stenhammar, W. Suite from incidental music to Chitra, op 43 (1921).

Gothenburg SO/Neeme Jarvi.

BIS CD-476 22 Berwald, F. Piano concerto in D (1855).

Marian Migdal, pf; Royal PO/Ulf Björlin.

EMI CDM 5 65073 2 21 Nielsen, C. Suite from Aladdin, op 34 (1918-19). South Jutland SO/Niklás Willén.

Naxos 8.557164 25 Berwald, F. Symphony no 3 in C (1845).

Helsingborg SO/Okko Kamu.

Naxos 8.553052 29 22:00 NOCTURNES Prepared by Jacky Ternisien Tchaikovsky, P. Nocturne, op 19

no 4 (1873). Vyautas Sondeckis, vc; Lithuanian CO/David Geringas.

Naxos 8.554381 4 Bax, A. Nocturne: May night in the Ukraine (1912). Eric Parkin, pf.

Chandos CHAN 8732 8 Reinecke, C. Nocturne for horn and piano, op 112. James Sommerville, hn; Rene Sharon, pf.

Marquis ERAD 157 6 Fauré, G. Nocturne in B, op 33 no 2 (1880). Kathryn Stott, pf.

Hyperion CDA66911/4 5 22:30 ULTIMA THULE with George Cruickshank

Little appreciated in Sweden during his lifetime, the worth of Franz Berwald’s compositions was later recognised in his homeland.

Newspaper critics in Sweden, Germany and Austria had been harsh but, in 1847, the Mozarteum Salzburg made him an honorary member and, in 1866, he was awarded the Swedish Order of the Polar Star.

In the following year, Berwald was appointed Professor of Composition at the Stockholm Conservatory by the Royal Music Academy, a decision rescinded by the Board of the Conservatory and then reinstated after royal family intervention.

In 1911, 43 years after Berwald’s death, Carl Nielsen wrote of Berwald: “Neither the media, money nor power can damage or benefit good Art. It will always find some simple, decent artists who forge ahead and produce and stand up for their works. In Sweden, you have the finest example of this: Berwald.”

Perhaps some in the musical establishment regarded Berwald as an amateur because he earned his living as an orthopaedic surgeon (inventing many devices in use today) and later as manager of a saw mill and of a glass factory. Although he was descended from four generations of musicians, his family fell on hard times after his father died and it was difficult to pay for music lessons. A scholarship enabled him to study in Berlin but did not pay living expenses.

Nevertheless, Berwald persisted with composition and left a large body of work behind him including four symphonies.

0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Annabelle Drumm 9:00 DIVERSIONS IN FINE MUSIC Al fresco Prepared by Paul Cooke Carwithen, D. Overture: Bishop Rock (1952). London SO/Richard Hickox.

Chandos CHAN 9524 8 Bishop, H. Spirits advance, from A midsummer night’s dream (1816-21).

Rachel Elliott, sop; Joanne Lunn, sop; Mark Tucker, ten; Musicians of the Globe/ Philip Pickett.

Decca 470 381-2 6 Daetwyler, J. Dialogue avec la nature.

Mirolslav Kral, picc; Jozsef Molnár, alphorn; Slovak PO/Urs Schneider.

Naxos 8.555978 19 Dibdin, C. Soldiers adieu; The lamplighter.

Windsor Box and Fir Company.

Isis 025 6 Rigney, S. The garden of forking paths (2001). Slava Grigoryan, gui; Flinders Quartet.

ABC 476 2271 14 Arne, T. Keyboard concerto no 2 in G (pub. 1793). Parley of Instruments Baroque O/Paul Nicholson, org & dir.

Helios CDH55251 12 Roth, A. Chinese gardens (1998). Mark Padmore, ten, Morgan Szymanski, gui.

Signum SIGCD124 12 10:30 CONCERT HALL Prepared by Dan Bickel Janácek, L. Taras Bulba, rhapsody after Gogol (1915-18). Czech PO/Jirí Belohlávek.

Chandos CHAN 9080 23 Enescu, G. Sinfonia concertante in B minor, op 8 (1901). Valentin Arcu, vc; Rumanian RTO/Josif Conta.

Marco Polo 8.223141 24 Rachmaninov, S. Symphonic dances, op 45 (1940). Sydney SO/Vladimir Ashkenazy.

Exton EXCL-00018 34 12:00 A JAZZ HOUR with Barry O’Sullivan 13:00 MOZART IN THE COLOUR OF C Mozart, W. Masonic funeral music in C minor, K477 (1785). London Mozart Players/Jane Glover.

ASV DCA 757 6

Exsultate, jubilate, from Exsultate, jubilate, K165 (1773); Laudate Dominum, from Vesperae solennes de confessore, K339 (1780); Ah! fuggi il traditor, from Don Giovanni, K527 (1787). Danielle de Niese, sop; Apollo Voices; O of the Age of Enlightenment/Charles Mackerras.

Decca 478 1511 10 Piano sonata no 7 in C, K309 (1777).

Glenn Gould, pf.

CBS M2YK 45612 16 Mass no 18 in C minor, K427, Great (1782-83). Bernadette Fisher, sop; Renae Martin, mezz; Robert Boyd, ten; Timothy Collins, bar; Stephen Schweinsberg, cantor; Sydney University Graduate Choir & O/Christopher Bowen.

SUGC recording 50 14:30 THE BRAHMS CONCERTOS Piano concerto 2 Prepared by Ron Walledge Brahms, J. Symphony no 3 in F, op 90 (1883). Gewandhaus O/Riccardo Chailly.

Decca 478 5344 34 Piano concerto no 2 in B flat, op 83 (1878-81). Alfred Brendel, pf; Berlin PO/ Claudio Abbado.

Philips 432 975-2 49 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm 19:00 FRIDAY JAZZ SESSION with Christopher Waterhouse 20:00 EVENINGS WITH THE ORCHESTRA Prepared by Rex Burgess Glinka, M. Spanish overture no 2: Memory of a summer night in Madrid (1851). Armenian PO/Loris Tjeknavorian.

ASV DCA 1075 10 Respighi, O. Roman festivals (1928).

Royal PO/Enrique Bátiz.

Naxos 8.550539 25 Delius, F. Paris: The song of a great city (1899). Royal Liverpool PO/Charles Mackerras.

EMI 5 73113 2 22 Vaughan Williams, R. Symphony no 2, A London Symphony (1913/20-23).

Philharmonia O/Owain Arwel Hughes.

ASV QS 6162 52 22:00 BAROQUE AND BEFORE Prepared by Andrew Dziedzic Schelle, J. Psalm 103: Praise the Lord, my soul. King’s Consort/Robert King.

Hyperion CDA67260 11

Bach, J.S. Cantata, BWV69: Lobe den Herrn, meine Seele (c1730). Bach Collegium Japan/Masaaki Suzuki.

BIS BIS-9052 19 Motet: Komm, Jesu, komm, BWV229 (1730). Bach Collegium Japan/Masaaki Suzuki.

BIS SACD-1841 8 Schelle, J. Come, Jesus, come; Lord, send thy light. King’s Consort/Robert King.

Hyperion CDA67260 17 Kuhnau, J. Magnificat (c1710). Opella Musica; Camerata Lipsiensis/Gregor Meyer. cpo 555 021-2 25 Bach, J.S. Magnificat in D, BWV243 (1732-35). Emma Kirkby, sop; Tessa Bonner, sop; Michael Chance, ct; John Mark Ainsley, ten; Stephen Varcoe, bar; Collegium Musicum 90/Richard Hickox.

Chandos CHAN 0518 27 During the summer of 1911 fellow composer George Butterworth suggested to Vaughan Williams that he should write a symphony. This idea had never crossed Vaughan Williams’ mind before that day.

“We were talking together one day when he said in his gruff, abrupt manner, ‘You know, you ought to write a symphony’. I answered that I’d never written a symphony and never intended to … I suppose Butterworth’s words stung me and, anyhow, I looked out some sketches that I had made for a symphonic poem about London and decided to put it into symphonic form.” So began the first of nine symphonies that marked the composer as the greatest British symphonist.

Vaughan Williams decided the symphony should not try to tell the story of London but should capture the spirit of the city in its many moods that would be evocative and satisfying. These range from the noise and bustle of activity in the city to a slow movement meant to be a picture of people relaxing and enjoying a lazy afternoon in a city square. Also depicted is the atmosphere of standing on Westminster Embankment at night with distant sounds coming from The Strand. The Finale is a subdued reiteration of the symphony’s opening.

MARCH 2020

21

Saturday 14 March 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SATURDAY MORNING MUSIC with Stephen Wilson 9:00 WHAT’S ON IN MUSIC Our weekly guide to musical events in and around Sydney 9:05 THE PIANO ALONE Prepared by Katy Rogers-Davies Bach, J.S. Fantasia and fugue in A minor, BWV904 (c1725). Jayson Gillham, pf.

ABC 481 7686 8 Busoni, F. Fantasie after J.S. Bach (1909). Geoffrey Tozer, pf.

Chandos CHAN 9394 10 Schubert, F. Fantasie in F minor, D940 (1828). Jenö Jandó, Zsuzsa Kollár, pf.

Naxos 8.554513 17 Chopin, F. Fantasy in F minor, op 49 (1841). Yevgeny Kissin, pf.

Sony 88697301102 14 10:00 MUSIC OF THE DANCE Prepared by Katy Rogers-Davies Piazzolla, A. Histoire du tango (1986; arr. E. Grigoryan). Edward Grigoryan, vn; Slava Grigoryan, gui.

Sony SK63011 19 Albéniz, I. Tango, op 165 no 2. Kathryn Stott, pf.

Chandos CHAN 10493 2 Stravinsky, I. Tango (1940). London SO/ Antal Dorati.

Mercury 470 643-2 4 Serebrier, J. Flute concerto with tango (2008). Sharon Bezaly, fl; Australian CO/ Richard Tognetti.

BIS CD-1789 22 Nyman, M. Wedding tango (1988).

Michael Nyman Band/Michael Nyman.

MN Records MNRCD 113 5 Hersch, F. Tango bittersweet (1990/2006). Dorothy Lawson, vc; Fred Hersch, pf.

Naxos 8.559366 7 Kats-Chernin, E. Moody tango (2010).

Acacia Quartet.

Vexations 840 840-1202 3 Piazzolla, A. Three tangos (arr. Crabb).

James Crabb, accordion; Benjamin Martin, pf; Australian CO/Richard Tognetti.

Chandos CHAN 10163 19 11:30 ON PARADE Prepared by Robert Small Farrell, W. The Sundowners. 4 Hurst, M. Swagman’s promenade. 6 22

MARCH 2020

Wood, Haydn. The seafarer. 9 Smith, C. Eternal Father, strong to save. 6 Royal Australian Navy Band/Philip Anderson (all above) Royal Australian Navy recordings 12:00 URBAN JAZZ LOUNGE with Leita Hutchings 13:00 IN A SENTIMENTAL MOOD with Maureen Meers Nostalgic music and artists from the 30s, 40s and 50s and occasionally beyond, in a trip down many memory lanes 14:00 STAGING MUSIC Prepared by Angela Cockburn Guns 14:30 SATURDAY MATINEE Operetta in the afternoon Prepared by Elaine Siversen

Straus, O. The chocolate soldier.

Operetta in three acts. Libretto by Rudolf Bernauer and Leopold Jacobson. First performed Vienna, 1908.

NADINA POPOFF: Caroline Stein, sop COLONEL POPOFF: Helmut Berger, bass ALEXIUS SPIRIDOFF: John Dickie, ten BUMERLI: Johannes Martin Kränzle, bar AURELIA POPOFF: Gertraud Wagner, sop MASCHA: Martina Borst, mezz Handel Collegium Cologne; Cologne WDR RO/Siegfried Köhler.

Capriccio C5089 1:28 In 1885, Serbia and Bulgaria are at war.

Nadina Popoff, daughter of the Bulgarian Colonel Popoff, is engaged to Major Alexius Spiridoff. Bumerli, a soldier, who has escaped the battle, climbs in through her bedroom window. He is in a Serbian uniform but tells Nadina that he is a Swiss mercenary. She threatens to call for help but he points his revolver at her.

When he puts it down, she grabs it and threatens him but he shows her that he has only chocolates in his ammunition pouch. Amused, Nadina calls him ‘little chocolate soldier’. Some Bulgarian soldiers arrive in pursuit of Bumerli who has hidden and Nadina assures them that she has not seen the intruder.

Nadina’s mother, Aurelia, and her young cousin, Mascha, find civilan clothes for Bumerli so that he can escape and each, unknown to the others, slips a photo of

Saturday 14 March herself into his jacket pocket.

The heroes are being welcomed home after the war is over. Nadina finds that Alexius is not the hero she imagined but is boastful and self-centred. The ladies are embarrassed when Popoff tells them of a Swiss soldier in the Serbian army who told them a very funny story of escaping from a battle by hiding in a house where he was sheltered by three ladies who all fell in love with him.

Bumerli returns and secretly returns the borrowed clothes to the ladies. Alone with Nadina, Bumerli confesses that he was drawn back by his love for her but he will now leave as she is to be married. Nadina asks for the return of her photograph but Bumerli had not looked in the pocket. When the ladies retrieve the photos, Nadina has Mascha’s instead and flies into a jealous fury when she finds a compromising message on the back. She declares that she no longer loves Alexius and the wedding is cancelled. Alexius challenges Bumerli to a duel thinking that he will not accept but when Bumerli accepts, Alexius, terrified, thinks he might be happier with Mascha instead. It is soon revealed that Bumerli is the son of a wealthy Swiss businessman and therefore a suitable husband for Nadina.

Heaven in a song; You must have music, from Land without music (1935). 5 Stoltz, R. Goodbye, from The White Horse Inn (1930).

Conifer TQ 122 3 Richard Tauber, ten (2 above) Conifer TQ122 Adieu, mein Gardeoffizier, from The song is ended (1930). Richard Tauber, ten; Odeon Künstler O/Paul Dessau.

Parnass 32 203 2 3 Don’t ask me why, from The song is ended. Richard Tauber, ten.

LP Parlophone PMEO.9861(mono) 3 Fall, L. Excerpts from Die Dollarprinzessin (1907). Tatjana Iwanow, Horst Niendor, Gabriele Jacoby, Regina Lemnitz, Ingrid van Bergen, Gerhart Lippert, Stefan Behrens, voices; Grunke SO/Bert Grund.

Philips 420 665-2 30 17:00 SOCIETY SPOT Organ Music Society of Sydney 18:00 MUSIC OF THE SCREEN Music of all kinds featured on the screen, small and large

19:00 JAZZ 20:00 THE LIFE OF A COMPOSER Carl Reinecke Prepared by Jacky Ternisien Reinecke, C. Overture to King Manfred, op 93 (1866). Rhenish PO/Alfred Walter.

Naxos 8.555397 11 Fantasy pieces for viola and piano, op 43. Zaslav Duo. Music & Arts 1087(2) 13 Mendelssohn, F. Allegro brilliant in A, op 92 (1841). Cologne Piano Duo. Koch 350 033 9 Schumann, R. Three duets, op 43 (1840). Carolyn Sampson, sop; Iestyn Davies, ct; Joseph Middleton, pf.

BIS BIS-2279 6 Reinecke, C. Symphony no 1 in A, op 79 (1858). Rhenish PO/Alfred Walter.

Naxos 8.555397 28 Fantasy pieces, op 22 (c1870). Trio Slaskie.

Dux 1219 15 Harp concerto in E minor, op 182 (1884).

Fabrice Pierre, hp; Swedish CO/Patrick Gallois.

Naxos 8.557404 24 22:00 SATURDAY NIGHT AT HOME Prepared by Elaine Siversen Grieg, E. Symphonic dances, op 64 (1898). Academy of St Martin in the Fields/Neville Marriner. hänssler 98.128 31 Mozart, W. Trio in E flat, K498, Kegelstatt (1786). Gabor Reeves, cl; Alexandru Todicescu, va; Rachel Valler, pf.

Fine Music tape archive 20 Rubinstein, A. Don Quixote, humoresque for orchestra, op 87 (1870).

Slovak PO/Michael Halász.

Marco Polo 8.220359 21 Brahms, J. String sextet in G, op 36 (1865). Dene Olding, vn; Dimity Hall, vn; Irina Morozova, va; Yvette Goodchild, va; Julian Smiles, vc; Timo-Veikko Valve, vc.

Fine Music concert recording 42

Pianist, composer, conductor and teacher of piano and composition at the Leipzig Conservatory from 1860 to 1895, Carl Reinecke sought to preserve the Classical tradition in the late 19th century. His students included Edvard Grieg, Johan Svendsen, Christian Sinding and Felix Weingartner. Reinecke was also the Music Director of the Leipzig Gewandhaus.

Sunday 15 March 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SUNDAY MORNING MUSIC with Robert Small 9:00 MUSICA SACRA Prepared by Jacky Ternisien Charpentier, M-A. Le reniement de Saint-Pierre. Les Arts Florissants.

Harmonia Mundi HMA 1901316/18 13 Bach, J.S. Before Thy throne I now appear, BWV668a, from Eighteen chorale preludes (c1744-47). Anton Heiller, org.

Vanguard 08 9078 72 6 Saint-Saëns, C. Messe de Requiem, op 54 (1878). Elke Hooke, sop; Barbara Jin, cont; Andrew Goodwin, ten; Simon Lobelson, bass; Sydney University Graduate Choir & O/Christopher Bowen.

SUGC recording 35 10:00 THE CLASSICAL ERA Prepared by Di Cox Bach, J. Christian Sinfonia in D for double orchestra, op 18 no 3 (c1781).

Failoni O/Hanspeter Gmür.

Naxos 8.553367 11 Cannabich, C. Flute quintet in D, op 7 no 5 (1768-69). Camerata Cologne. cpo 999 544-2 17 Fasch, J. Guitar concerto in D minor (arr.

Chiesa). Slava Grigoryan, gui; Tasmanian SO/Benjamin Northey.

ABC 480 6461 12 Beck, F. Sinfonia in D, op 4 no 1 (1766).

Czech Chamber PO Pardubice/Marek Stilec.

Naxos 8.573248 20 Haydn, J. Keyboard sonata no 58 in C, Hob.XVI:48 (1794-95). Alfred Brendel, pf.

Philips 411 045-2 12 Beethoven, L. String quartet no 1 in F, op 18 no 1 (1798-1800). Smithson String Quartet.

Harmonia Mundi RD 77029 28 Bach, C.P.E. Six sonatas. Melbourne Windpower/Richard Runnels.

Move MD 3082 10 12:00 CLASSIC JAZZ AND RAGTIME with Jeannie McInnes 13:00 WORLD MUSIC: Whirled Wide with Anna Tranter 14:00 HOMAGE TO CHOPIN Prepared by Chris Blower Villa-Lobos, H. Hommage à Chopin.

Sonia Rubinsky, pf.

Naxos 8.554489 8

Panufnik, A. Homage to Chopin: Five pieces for flute and string orchestra (1966). Hanna Turonek, fl; Polish CO/ Mariusz Smolij.

Naxos 8.570032 13 Bottesini, G. Tutto il mondo serra, after Chopin, op 25 no 7. Jacquelyn Fugelle, sop; Thomas Martin, db; Anthony Halstead, pf.

ASV DCA 1052 5 Arnalds, O. Reminiscence, after Chopin’s Nocturne no 20 in C sharp minor, op. posth.

Alice Sara Ott, pf; Viktor Orri Árnason, vn; Björk Óskarsdóttir, vn; Thórarinn Baldersson, va; Unnur Jónsdóttir, vc; Hallgrímur Jónas Jensson, vc.

Mercury LC 00171 5 Glazunov, A. Ballet: Chopiniana, op 46 (1893). German SO/Vladimir Ashkenazy.

Decca 460 019-2 21 15:00 SUNDAY SPECIAL Les Djinns Prepared by Chris Blower Franck, C. Les Djinns (1884). FrançoisJoël Thiollier, pf; Arnhem PO/Roberto Benzi.

Naxos 8.553472 12 Reicha, A. Clarinet quintet in B flat, op 89 (c1809). Ensemble Carl Stamitz.

Pierre Verany PV 789101 23 Duparc, H. Flight (1871); Lament (1883); Elegy (1874). Sarah Walker, mezz; Thomas Allen, bar; Roger Vignoles, pf.

Hyperion CDA66323 10 d’Indy, V. Saugefleurie, op 21 (1884).

Strasbourg PO/Theodor Guschlbauer.

Auvidis V4686 17 Vierne, L. Westminster carillion, op 54 no 6 (1927). Marie-Claire Alain, org.

Erato 2292-45976-2 6 Franck, C. Symphony in D minor (188788). Philharmonia O/Carlo Maria Giulini.

EMI CZS 7 67723 2 40 17:00 HOSANNA Prepared by Richard Munge Hymn: Lord Jesus think on me. Choir of Wells Cathedral; Rupert Gough, org; Malcolm Archer, cond.

Hyperion CDP 12103 2 Blair, H. Magnificat; Nunc dimittis in B minor. Choir of St Paul’s Cathedral; Christopher Dearnley, org; John Scott, cond.

Helios CDH 55401 11 Blow, J. Anthem: O give thanks unto the Lord, for He is gracious. Choir of Winchester Cathedral; Parley of MARCH 2020

23

Sunday 15 March Instruments/David Hill.

Hyperion CDD 22055 14 Martin, F. Agnus Dei. Choir of Westminster Cathedral/James O’Donnell.

Hyperion WCC 100 4 Byrd, W. Ave verum corpus. Choir of Westminster Cathedral/James O’Donnell.

Hyperion WCC 100 4 Hymns: I bind unto myself today, dear Lord; Father of mankind. Julian Empett, bass; Choir of Westminster Abbey; Robert Quinney, org; James O’Donnell, cond.

Hyperion CDA 68013 9 Howells, H. Rhapsody, op 17 no 3. John Challenger, org.

Priory PRCD 1118 8 18:00 SMALL FORCES Prepared by Anne Irish Grainger, P. Scandinavian suite (1902).

Andreas Brantelid, vc; Christian Ihle Hadland, pf.

BIS BIS-2120 16 Gade, N. Octet, op 17 (pub. 1849). Berlin Philharmonic String Octet.

MDG 308 1102-2 31 Beethoven, L. Piano trio in B flat, WoO39 (1812). Isaac Stern, vn; Leonard Rose, vc; Eugene Istomin, pf.

Sony SM2K 64513 6 19:00 SUNDAY NIGHT CONCERT Prepared by Chris Blower Moroi, S. Sinfonietta in B flat, op 24, For children (1943). NSO of Ireland/Takuo Yuasa.

Naxos 8.557162 16 Vieuxtemps, H. Cello concerto no 1 in A minor, op 46 (1877). Alban Gerhardt, vc; Royal Flemish PO/Josep CaballéDomenech.

Hyperion CDA67790 25 Catoire, G. Symphony in C minor, op 7 (c1889-91; orch. 1895-98). Royal Scottish NO/Martin Yates.

Dutton Epoch CDLX 7298 42 20:30 NEW HORIZONS Prepared by Nev Dorrington Pavek, J. Illume (2015). Jacob Pavek, pf.

Unperceived records UR 005 40 Melnyk, L. Solitude 1; Illirion (2016).

Lubomyr Melnyk, pf.

Sony Classical 8898 531 55828 21 Evertina; Awaiting; Butterfly (2018).

Lubomyr Melnyk, pf.

Erased Tapes ERATP 064 23 22:00 JAZZ AFTER HOURS 24

MARCH 2020

Monday 16 March 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Robert Small 9:00 DIVERSIONS IN FINE MUSIC A year in retrospect: 1750 Prepared by Jacky Ternisien Stamitz, J. Sinfonia à quattro in D (bef.

1750). New Dutch Academy CO/Simon Murphy.

PentaTone PTC 5186 028 15 Casciolini, C. Stabat Mater (c1750). The Sixteen/Harry Christophers.

Coro COR16127 10 Mozart, L. Sinfonia in F (1750). New Zealand CO/Donald Armstrong.

Naxos 8.553347 12 Handel, G. Angels, ever bright and fair, from Theodora, HWV68 (1750). Sarah Macliver, sop; O of the Antipodes/Antony Walker.

ABC 476 4362 4 Bach, C.P.E. Cello concerto in A minor, Wq170 (1750). Daniel Yeadon, vc; Australian Haydn Ensemble/Erin Helyard.

Fine Music concert recording 27 Ruge, F. Sonata in G (1750). Ensemble Flatus/Enrico Casularo.

Brilliant Classics 95495 9 Wagenseil, G. Overture to Vincislao (1750). L’Orfeo Baroque O/Michi Gaigg. cpo 999 450-2 5 10:30 CONCERT HALL Prepared by Jacky Ternisien Berlioz, H. Overture: King Lear, op 4 (1831). Polish State PO/Kenneth Jean.

Naxos 8.550231 15 Ravel, M. Piano concerto in G (192931). Louis Lortie, pf; London SO/Rafael Frühbeck de Burgos.

Chandos CHAN 8773 24 Rameau, J-P. Suites nos 1 and 2, from Le temple de la gloire (1745). English CO/Raymond Leppard.

Decca 433 733-2 40 12:00 SWING SESSIONS with John Buchanan 13:00 CONTEMPORARIES OF MOZART Mozart, L. Sinfonia in F (1750). New Zealand CO/Donald Armstrong.

Naxos 8.553347 12 Salieri, A. Double concerto in C. Richard Adeney, fl; James Brown, ob; English CO/Richard Bonynge.

ABC 475 070-2 18

Krumpholtz, J-B. L’amante abandonée.

Isabelle Poulenard, sop; Stephanie Paulet, vn; Sandrine Chatron, hp.

Ambroisie AM 179 4 Pleyel, I. Serenade no 1 in F (1790).

Strasbourg PO Wind Octet.

LP Erato STU 71278 18 14:00 CHAMBER SELECTION Prepared by James Nightingale Reinecke, C. Sonata, op 167, Undine (1882). Sharon Bezaly, fl; Ronald Brautigam, pf.

BIS SACD-1729 18 Bach, C.P.E. Trio sonata in B flat, Wq161 no 2 (1748). Ensemble of the Classic Era. ABC 456 365-2 20 Beethoven, L. Quartet in G, op 18 no 2 (1800). Goldner String Quartet.

ABC 476 3542 24 Villa-Lobos, H. Quinteto em forma de chôros (1928). Reykjavik Wind Quintet.

Chandos CHAN 9174 10 Enescu, G. String octet in C, op 7 (1900).

Academy of St Martin in the Fields Chamber Ensemble.

Chandos CHAN 9131 39 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm 19:00 JAZZ PULSE with Chris Wetherall 20:00 STORMY MONDAY with Austin Harrison and Garth Sundberg 22:00 JAZZ AFTER HOURS

What a glorious production it was on 27 November 1745 when Jean-Philippe Rameau’s opera-ballet, Le temple de la gloire, was performed at Versailles!

This five-act spectacular, with a libretto by Voltaire, was performed to celebrate the French victory at the Battle of Fontenoy. Some of the principal singers sang several roles and the chorus and dancers appeared in different guises during the five acts. It must have been extremely busy on stage with gods, demons, Muses, heroes, shepherds, shepherdesses, captive kings, priestesses of Glory, bacchantes, aegypans, satyrs, priests of Mars, priestesses of Venus, followers of Glory, Roman men and women of different estates; all this to stage a mythical war on the temple of Glory which eventually is thwarted by Apollo.

Tuesday 17 March 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Julie Simonds 9:00 DIVERSIONS IN FINE MUSIC Colours of the keyboard Prepared by Frank Morrison Bach, C.P.E. Rondo III, Wq56 (1778).

Inger Grundin-Brandt, hpd.

BIS CD-142 8 Schubert, F. Piano sonata no 12 in F minor, D625 (1818). Sviatoslav Richter, pf.

Olympia OCD 286 21 Muffat, G. Toccata no 4, from Apparatus musico-organisticus (1690). Martin Haselböck, org.

Naxos 8.553917 7 Brahms, J. Sonata in F minor, op 120 no 1 (1894). Gervase de Peyer, cl; Gwenneth Pryor, pf.

Chandos CHAN 8563 22 Turina, J. Piano trio no 1, op 35 (1927).

Beaux Arts Trio.

Philips 446 684-2 22 10:30 CONCERT HALL Prepared by Jennifer Foong Rimsky-Korsakov, N. Suite from The snow maiden (1898). USSR Bolshoi TO/ Yevgeny Svetlanov.

Gramzapis GCD 00185 13 Haydn, J. Cello concerto no 2 in D, Hob.VIIIb:2 (1783). Christoph Croisé, vc; Eurasian Soloists CO/Sherniyaz Mussakhan.

Avie AV2402 25 Saint-Saëns, C. Sarabande and rigaudon, op 93 (1892). Lille NO/Jun Märkl.

Naxos 8.573745 9 Bantock, G. A Hebridean symphony (1915). Royal PO/Vernon Handley.

Hyperion CDA66450 35 12:00 JAZZ RHYTHM with Jeannie McInnes 13:00 ‘POP’ INTO CLASSIC Prepared by Jacky Ternisien Brouwer, L. Three songs after the Beatles: She’s leaving home; Yesterday; Penny Lane. Flavio Cucchi, gui; Tessarini CO/Enrique Ugarte.

ARC EU 1442 9 McCartney, P. Mull of Kintyre (1978; arr.).

Heavenly Choir; Sally Maer, vc.

ABC 481 2628 4

Homeless; Diamonds on the soles of her shoes; Graceland; You can call me Al. Dolly Setiloane, Phil Meintjies, voice; Kelly Petlane, fl, penny whistle; Victor Masondo, gui; Alistair Coakley, gui; Ian Herman, drums; Veli Shabangu, perc; Johan Laas, keyboards; Soweto String Quartet.

BMG Records BSP 2031 5 Simon, P. The sound of silence (1964).

Amy Dickson, sax; London Session O/ Chris Walden.

Sony 88843040412 4 Mercury, F. Bohemian rhapsody (1975; arr. Buc). Benaud Trio.

Melba MR301142 5 Rutter, J. Beatles concerto (1979). Peter Rostal, pf; Paul Schaefer, pf; Royal PO/ John Rutter. ucj 476 124-2 24 14:00 MUSICAL FAMILIES Father and daughter Prepared by Jennifer Foong Paganini, N. Caprice in A minor, op 1 no 24 (1801-07). Itzhak Perlman, vn.

EMI CDB 7 62988 2 4 Mendelssohn, F. Variations sérieuses in D minor, op 54 (1841). Navah Perlman, pf.

EMI 5 74019 2 6 Chopin, F. Nocturne in D flat, op 27 no 2 (1835). Navah Perlman, pf.

EMI 5 74019 2 6 Strauss, R. Violin sonata in E flat, op 18 (1887-88). Itzhak Perlman, vn; Emanuel Ax, pf.

DG 481 1774 27 Prokofiev, S. Excerpts from Romeo and Juliet: Suite for piano, op 75. Navah Perlman, pf.

EMI 5 74019 2 18 Brahms, J. Piano trio no 3 in C minor, op 101 (1886). Itzhak Perlman, vn; Lynn Harrell, vc; Vladimir Ashkenazy, pf.

EMI 7 54725 2 21 Glazunov, A. Violin concerto in A minor, op 82 (1904-05). Itzhak Perlman, vn; Israel PO/Zubin Mehta.

EMI CDC 7 49814 2 20 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm 19:00 THE JAZZ BEAT with Lloyd Capps 20:00 RECENT RELEASES

22:00 CHAMBER SOIRÉE Prepared by Rex Burgess Haydn, J. String quartet in D, Hob.III:34 (1772). Esterházy Quartet.

RCA GD 71959 24 Brahms, J. Piano trio in C minor, op 101 (1886). Florestan Trio.

Hyperion CDA67251/2 20 Cartellieri, A. Parthia no 2 in E flat, sextet for winds (c1813-14). Consortium Classicum.

MDG 301 1483-2 32 Lekeu, G. Violin sonata in G (1891). Alina Ibragimova, vn; Cédric Tiberghien, pf.

Hyperion CDA67820 34

“Of all Bantock’s Hebrides-inspired works, the Hebridean Symphony is undoubtedly the finest and most powerful”, wrote Michael Hurd in 1991 for Hyperion’s recording by the Royal Philharmonic Orchestra under the baton of Vernon Handley.

A Gramophone review stated: “Magnificently recorded and performed. When audiences are crying out for ‘melodious music’ how can such music as this have been ignored for so long?” More praise for the symphony came from International Record Review: “A towering classic, as important as a landmark in the rediscovery of British music as it is a monument to the technique of orchestral recording.”

Granville Bantock was a prolific composer of works on the largest scale, many of them heroic or exotic in theme and substance. He was highly educated and cultured, reading literature in French, German, Persian and Arabic, and sometimes corresponding in Latin.

With a particular interest in all things Oriental, he composed a number of works inspired by literature from, or about, the Orient. His Scottish Highland ancestry was a passion and the main impetus for his series of works on Celtic themes. These works culminated in the Hebridean symphony and the opera The seal woman. The Symphony makes use of Hebridean folk song and is scored for a string orchestra as well as six harps, this sometimes causing difficulty in having the work performed.

MARCH 2020

25

Wednesday 18 March 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 Inspired by literature Prepared by Paul Cooke Raff, J. Overture to King Alfred, WoO 14 (1848-49). Suisse Romande O/Neeme Järvi.

Chandos CHSA 5135 14 Dreyfus, G. There is something of Don Quixote in all of us (1990). Jochen Schubert, gui.

Move MD 3129 8 Harris, C. Paradise lost, symphonic poem after John Milton (1892-95).

Thuringian SO, Saalfeld-Rudolstadt/ Konrad Bach.

Marco Polo 8.003660 16 Szymanowski, K. Schéhérazade, from Masques, op 34 (1916). Piotr Anderszewski, pf.

Virgin 5 45730 2 12 Bax, A. Walsinghame (1926). Lynore McWhirter, sop; Martyn Hill, ten; Brighton Festival Ch; Royal PO/Vernon Handley.

Chandos CHAN 8625 17 Schmitt, F. Suite: Habeyssé, op 110 (1947). Beata Halska, vn; Claudio Chaiquin, pf.

Naxos 8.573169 12 10:30 CONCERT HALL Prepared by Michael Field Dyson, G. Children’s suite after Walter de la Mare (1924). City of London Sinfonia/Richard Hickox.

Chandos CHAN 9369 19 Medtner, N. Piano concerto no 1 in C minor, op 33 (1918). Geoffrey Tozer, pf; London PO/Neeme Järvi.

Chandos CHAN 9039 33 Haydn, J. Symphony in G, Hob.I:92, Oxford (1789). Freiburg Baroque O/René Jacobs.

Harmonia Mundi HMX 2908601.30 30 12:00 JAZZ SKETCHES with Robert Vale 13:00 IN CONVERSATION with Christopher Waterhouse 14:00 MENDELSSOHN’S YEARS IN LEIPZIG Prepared by Chris Blower Mendelssohn, F. Overture: Ruy Blas, op 95 (1839). Slovak PO/Oliver Dohnányi.

Naxos 8.554433 8 26

MARCH 2020

Psalm 42: Wie der Hirsch schreit nach frischem Wasser, op 42 (1837).

Eiddwen Harrhy, sop; Hervé Lamy, ten; Peter Kooy, bar; La Chappelle Royale; Collegium Vocale; Paris Orchestral Ensemble; Leo van Doeselaar, org; Philippe Herreweghe, cond.

Harmonia Mundi 901272 25 Songs without words, bk 4, op 53 (1841).

Daniel Barenboim, pf.

DG 453 061-2 16 Schubert, F. Symphony no 9 in C, D944, Great C Major (c1825-28). Gewandhaus O/Kurt Masur.

Philips 426 269-2 1:00 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm 19:00 A TWIST OF JAZZ with Andrew Piper 20:00 AT THE OPERA Prepared by Elaine Siversen

Gomes, C. Il Guarany. Opera in four acts. Libretto by Antonio Scalvini and Carlo d’Ormeville. First performed Milan, 19 March 1870.

DON ANTONIO DE MARIZ: Hao Jiang Tian, bass CECILIA: Veronica Villaroel, sop PERY: Plácido Domingo, ten Bonn Opera Ch; Beethovenhalle O/John Neschling.

Sony S2K 66273 2:27 In the days of the first settlers in Brazil, Don Antonio is at war with the tribes of Aimorès. Pery has met and fallen in love with Cecilia and she loves him in return.

The rivalry between this friendly chief and the Spaniard who is also in love with Cecilia, forms the basis of the story. In the end Don Antonio finds the Aimorès too strong for him, but rather than surrender his castle he blows it up and perishes with the faithful soldiers. Pery has, in the meantime, taken Cecilia away to safety. From a distant mountain they witness the destruction of the castle.

Intenditi con Dio, from Fosca (1871).

José Carreras, ten; London SO/Jésus López Cobos.

Philips 426 643-2 5 Alla infelice suora, from Salvator Rosa (1874). Elizabeth Whitehouse, sop; O Victoria/Richard Bonynge.

Melba MR 301 104 4

Thursday 19 March 23:00 THREE FOR NINE Prepared by Derek Parker Clementi, M. Nonet in E flat for winds and strings. Persius Ensemble.

Genuin GEN 87087 8 Bax, A. Nonet (1928-30). Nash Ensemble/Ian Brown.

Hyperion CDA66807 18 Stanford, C. Villiers Serenade in F, nonet for winds and strings, op 95 (1905).

Capricorn.

Hyperion CDA66291 29

Although Nikolai Medtner wrote three piano concertos, it is the first that is the most outstanding and deemed to be his finest composition, ‘endlessly inventive and splendidly original’.

Indeed, it has been called ‘one of the finest late-Romantic concertos ever composed’. Dmitri Alexeev writes about its ‘inspirational inner content, the beauty of its melodies and the grand scale of its structure’.

Medtner, a younger contemporary of Rachmaninov and Skryabin, was 34 when he began composing the work in 1914 and continued with its composition throughout the years of the First World War. He premiered the work as soloist in May 1918 with Serge Koussevitsky conducting the performance. Much of Medtner’s inner turmoil about the horrible events of the war is reflected in the concerto.

It was a personal tragedy for him that Russia and Germany were at war because the culture of both countries was dear to him.

The work in one-movement begins with heroic but tragic pathos that erupts into fireworks from the piano against a surging orchestral statement leading through to an unusual development of a theme with a cycle of variations in which he used great polyphonic skill. Alexeev describes an unexpected bittersweet ending: “The short recapitulation is extremely dynamic, and the coda presents the last climax of the Concerto. Medtner somewhat delays the outcome by leading the themes through a number of odd modulations and unusual harmonies: only at the very end do we hear a triumphant hymn in C major, followed by three final bell-like ringing strokes on the piano.”

0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Nicky Gluch 9:00 DIVERSIONS IN FINE MUSIC The instruments: Brass Prepared by Chris Blower Speer, D. Seven brass pieces, from Neugebachene Taffel-Schnitz. Haarlem Trumpet Consort.

Teldec 8.42977 ZK 14 Beethoven, L. Horn sonata in F, op 17 (1800). Darryl Poulsen, hn; Neal Peres da Costa, fp.

Tubicium Records TR761901 15 Telemann, G. Concerto-sonata in D. Maurice André, tpt; Mauritz Sillem, hpd; English CO/Charles Mackerras.

Decca 478 4664 10 Haydn, M. Concertino in D (1767).

Johannes Hinterholzer, hn; Norbert Salvenmoser, tb; Salzburg Hofmusik/ Wolfgang Brunner. cpo 777 538-2 13 Handel, G. The trumpet shall sound, from Messiah (1742). Teddy Tahu Rhodes, bass-bar; Leanne Sullivan, baroque tpt; O of the Antipodes/Antony Walker.

ABC 476 3335 4 Let the bright seraphim, from Samson (1741-42). Yvonne Kenny, sop; Geoffrey Payne, tpt; Melbourne SO/Vladimir Kamirski.

ABC 476 3335 5 Weber, B. Horn sextet no 4 in F. Horns of Czech PO. Supraphon 11 0780-2 16 10:30 CONCERT HALL Prepared by Peter Poole Glazunov, A. The Kremlin, symphonic picture, op 30 (1890). USSR SO/Yevgeny Svetlanov.

Melodiya SUCD 10-00022 29 Albéniz, I. Piano concerto no 1 in A minor, op 78, Concierto fantastico (c1887). Melani Mestre, pf; BBC Scottish SO/Martyn Brabbins.

Hyperion CDA67918 28 Mozart, W. Symphony no 40 in G minor, K550 (1788). Vienna PO/Herbert von Karajan.

Decca 478 5630 25 12:00 JAZZ, PURE AND SIMPLE with Maureen Meers

13:00 A VIRTUOSO COMPOSER Spohr, L. Variations in B flat on a theme from Alruna (1809). Thea King, cl; English CO/James Judd.

Hyperion D 22017 8 The night’s voice, op 37 no 3 (1815-16).

Marjorie Patterson, sop; Daniel Sarge, pf.

Marco Polo 8.223869 4 Fantasy in B minor on themes of Danzi and Vogler, op 118 (1814). Sophie Langdon, vn; Hugh Webb, hp.

Naxos 8.555365 12 Potpourri, op 22 (1807). Attila Falvay, vn; New Haydn Quartet.

Naxos 8.555968 13 Violin concerto no 13 in E, op 92 (1835).

Ulf Hoelscher, vn; Berlin RSO/Christian Fröhlich. cpo 999 187-2 14

Stravinsky, I. Septet (1952-53).

Columbia Chamber Ensemble/Igor Stravinsky.

Sony SM3K 46 291-302 12 Walton, W. Coronation Te Deum (1952-3). Choir of St John’s College, Cambridge; Christopher Whitton, org; Christopher Robinson, cond.

Naxos 8.555793 10 Glanville-Hicks, P. Sonata (1952).

Susanne Powell, pf; CSM Percussion Ensemble/Michael Askill.

Canberra School of Music CSM:24 11 Britten, B. Choral dances, from Gloriana (1952-53). Finzi Singers/Paul Spicer.

Chandos CHAN 9511 10 Scott, C. Symphony no 4 (1951-52). BBC PO/Martyn Brabbins.

Chandos CHAN 10376 28

14:00 CHAMBER SELECTION Prepared by James Nightingale Roussel, A. Divertissement for piano and wind quintet (1906). Les Vents Français.

Warner Classics 0825646231850 7 Bach, J.S. Sonata in A, BWV1032 (173637). Pauliina Fred, fl: Aapo Häkkinen, hpd.

Naxos 8.573376 12 Mozart, W. Sonata no 32 in B flat, K454 (1784). Dene Olding, vn; Kathryn Selby, pf.

Fine Music concert recording 22 Schubert, F. Introduction and variations on Trockne Blumen, D802 (1824). Susan Milan, fl; Ian Brown, pf.

Chandos CHAN 8823 22 Kozeluch, L. Wind sextet no 3 in E flat.

Consortium Classicum.

Orfeo 442 981 12 Chausson, E. Piano quartet, op 30 (1897). Les Musiciens.

Harmonia Mundi HMX 2908250.79 38

22:00 NOCTURNES Prepared by Jacky Ternisien Anon. Nocturne. Mary Anderson, hp.

Tara Hall TH 1995 3 Respighi, O. Nocturne, from La boutique fantasque, op 40 (1919). Scottish NO/ Alexander Gibson.

Chandos CHAN 6503 5 Alkan, C-V. Très vif, from Deux nocturnes, op 57 (1859). Stephanie McCallum, pf.

Toccata TOCC 0158 3 Beethoven, L. Nocturne, op 42 (179697; transcr. Primrose). Roberto Diaz, va; Robert Koenig, pf.

Naxos 8.557391 13

16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm 19:00 THE NEW JAZZ STANDARD with Frank Presley 20:00 THE WORLD OF A SYMPHONY Prepared by James Nightingale Scott, C. Sonata melodica (1950). Clare Howick, vn; Sophia Rahman, pf.

Naxos 8.572290 22 Grainger, P. Three Scotch folksongs (1954). Leslie Howard, pf.

ABC 464 191-2 4 Quilter, R. To Julia, op 8 (1905/36).

Anthony Rolfe Johnson, ten; Duke Quartet.

Collins 15122 12

22:30 ULTIMA THULE with Jackson Day

The Kremlin is the oldest inhabited site in Moscow. The vast fortifications of the medieval fortress that was built here can still be seen and are the distinguishing feature of the complex which is protected by 20 towers and an enormous wall. Now the seat of the Soviet government, it was the residence of the Russian Tsars until the capital was moved to St Petersburg at the beginning of the 18th century. The opulent era of the Tsars is represented in Glazunov’s elaborate and nationalistic work, The Kremlin, symphonic picture. In three sections, he depicts scenes of feasting, a church festival with Greek Orthodox material included, and of greeting and homage to a prince.

MARCH 2020

27

Friday 20 March 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Annabelle Drumm 9:00 DIVERSIONS IN FINE MUSIC Al fresco Prepared by Dan Bickel Respighi, O. Suite: The birds (1927).

London SO/Antal Dorati.

Mercury 478 5092 19 Davies, P. Maxwell Time and the raven (1995). Royal PO/Peter Maxwell Davies.

Collins 14822 14 Ravenscroft, T. There were three ravens. Consort of Musicke/Anthony Rooley.

Virgin VC 7 91217-2 7 Holbrooke, J. The raven, poem for orchestra no 1, op 25 (1900). CzechoSlovak RSO/Adrian Leaper.

Marco Polo 8.223446 19 Schubert, F. The crow, from Winterreise, D911 no 15 (1827). Matthias Goerne, bar; Alfred Brendel, pf.

Decca 467 092-2 2 Halvorsen, J. Wedding of ravens in the grove of the crows. Bergen PO/Neeme Jarvi.

Chandos CHAN 10664 4 Wagner, R. Siegfried’s death and funeral march, from Götterdämmerung (1876).

Hans-Peter König, bass; Iaian Paterson, bar; Jay Hunter Morris, ten; Metropolitan Opera Ch & O/Fabio Luisi.

DG 479 0638 13 10:30 CONCERT HALL Prepared by Jacky Ternisien Moniuszko, S. Overture: Bajka, The fairy tale (1848). Warsaw PO/Antoni Wit. Naxos 8.572716 13 Stanford, C. Villiers Irish rhapsody no 4, op 141, The fisherman of Lough Neagh and what he saw (1913). Ulster O/Vernon Handley.

Chandos CHAN 7002 18 Porpora, N. Cello concerto in G. Giovanni Sollima, vc; European Community CO/Eivind Aadland.

Helios CDH88025 17 Fesca, F. Symphony no 1 in E flat, op 6 (1810-12). North German Radio PO/ Frank Beermann. cpo 999 889-2 32 12:00 A JAZZ HOUR with Barry O’Sullivan 28

MARCH 2020

13:00 FROM BOTH SIDES OF THE ATLANTIC Prepared by Anabela Pina Tisky - Rocha. Lisbon by the end of the day (c1950). Conjunto de Guitarras de Raúl Nery.

SevenMuses Musicbooks SM013 3 Freitas Branco, L. Suite Alentejana no 1 (1917). RTE NSO/Álvaro Cassuto.

Naxos 8.570765 21 Villa-Lobos, H. Chôros no 1; Prelude no 1. Craig Ogden, gui.

Chandos CHAN 9780 9 Bachianas brasileiras no 5. Camerata Brazil/Henrique Cazes.

EMI 5 56967 2 6 Suíte floral (1917-18). Sonia Rubinsky, pf.

Naxos 8.555286 8 Pixinguinha. Um a zero. Camerata Brazil/Henrique Cazes.

EMI 5 56967 2 3 14:00 FOUR CENTURIES OF ITALIAN MUSIC Prepared by Frank Morrison Vivaldi, A. Cello concerto in B minor, RV424. Raphael Wallfisch, vc; City of London Sinfonia/Nicholas Kraemer.

Naxos 8.550909 11 Tartini, G. Sonata in D (c1745-60).

Locatelli Trio.

Hyperion CDA66485 20 Pergolesi, G. Salve Regina (1736). June Anderson, sop; Cecilia Bartoli, mezz; Montreal Sinfonietta/Charles Dutoit.

Decca 436 209-2 15 Nardini, P. String quartet no 5 in G (pub.

1782). Quartetto Eleusi.

Brilliant Classics 94438 11 Rossini, G. String sonata no 3 in C (1804). Elizabeth Wallfisch, vn; Marshall Marcus, vn; Richard Tunnicliffe, vc; Chichi Nwanoku, db.

Hyperion CDA66595 11 La calunnia, from The barber of Seville (1816). Matti Salminen, bass; Lahti SO/ Eri Klas.

BIS CD-520 5 Verdi, G. Ah, perché qui! fuggite, from A masked ball (1859). Montserrat Caballé, sop; Sona Ghazarian, sop; José Carreras, ten; Ingvar Wixell, bar; Robert Lloyd, bass; Gwynne Howell, bass; Royal Opera House Ch & O/Colin Davis.

Philips 434 986-2 11 Puccini, G. Che gelida manina, from La bohème (1896). Luciano Pavarotti, ten; Royal PO/Maurizio Benini.

Decca 443 260-2 5

Friday 20 March Respighi, O. Fountains of Rome (1917).

Philharmonia O/Yan Pascal Tortelier.

Chandos CHAN 8989 17 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm 19:00 FRIDAY JAZZ SESSION with Christopher Waterhouse 20:00 EVENINGS WITH THE ORCHESTRA The great conductors Prepared by David Brett Strauss, R. Marie Theres’! ... Ist ein Traum, from Der Rosenkavalier, op 59 (1911). Sena Jurinac, sop; Elisabeth Schwarzkopf, sop; Hanny Steffek, sop; Ronald Lewis, bar; Royal Opera House O/Georg Solti.

Decca 478 4884 14 Wagner, R. Siegfried’s Rhine journey, from Götterdämmerung (1869-74). Birgit Nilsson, sop; Wolfgang Windgassen, ten; Vienna PO/Georg Solti.

Decca 476 2457 21 Bartók, B. Dance suite (1923). Chicago SO/Georg Solti.

Decca 478 3706 16 Mozart, W. Double concerto no 10 in E flat, K365 (1779). Murray Perahia, pf; Chicago SO/Georg Solti, pf & dir.

Decca 478 4884 25 Schumann, R. Symphony no 3 in E flat, op 97, Rhenish (1850). Vienna PO/Georg Solti.

Decca 417 799-2 33 22:00 BAROQUE AND BEFORE Sacred and profane Prepared by Elaine Siversen Hildegard of Bingen. Columba aspexit.

Emma Kirkby, sop; Gothic Voices; Doreen Muskett, symphony. 5 O ignis spiritus. Andrew Parrot, ten; Kevin Breen, ten; Howard Milner, ten. 5 Christopher Page, dir (2 above) Hyperion CDS44251 Gace Brulé. Quant je voi la noif remise; Quant voi le tens bel et cler; Quant flours et glais. Stevie Wishart, fiddle; Jim Denley, bendir.

Hyperion CDA66367 9 Hildegard of Bingen. O Ierusalem aurea civitas. Heather Lee, sop; Mina Kanaridis, sop; Paul Jarman, taragotto; Kim Cunio, reed org & dir.

ABC 476 5705 23 Anon. Estampie royal: nos 3, 6, 4; Danse royale no 2. Andrew Lawrence-King, hp;

Sinfonye/Stevie Wishart, fiddle & dir.

Hyperion CDA66283 11 Guillaume d’Amiens. C’est la fins.

Renaissance Players/Winsome Evans.

Walsingham WAL 8006-2 7 Mainerio, G. Five dances. Early Music Consort of London/David Munrow.

Virgin 5 61288 2 11 Cornysh, W. Salve Regina. The Sixteen/ Harry Christophers.

Collins 13142 15 Purcell, H. Ayres and dances, from Dido and Aeneas (1689). Tasmanian Symphony Chamber Players/Geoffrey Lancaster.

ABC 456 667-2 17 In Baroque and Before tonight, music from the Middle Ages to the early Baroque is included in a program contrasting the sacred and the profane (or secular). It comes from the pens of religious figures and troubadours and concludes with theatre music of the sublime Henry Purcell.

Abbess Hildegard von Bingen was one of the most important composers of the Medieval Period with her works expanding the limits of medieval music and inspiring others both musically and poetically. Among her other qualities she was also known for her poetry which she set to music to worship God. While the 16th century Italian Giorgio Mainerio also worshipped through his music as a Maestro di Capella in Aquilegia, publishing several volumes of sacred music, his collection of songs and dances was very popular.

13th century trouvère music comes from Gace Brulé and Guillaume d’Amiens. Gace was a prolific composer of chansons and other pieces, his popularity achieved by his ability to please the people by adhering to convention and not being innovative. The music of Guillaume d’Amiens is mainly dancelike and lively.

The contribution of William Cornysh to sacred music before the Reformation was most important in 16th century England. He was one of the main composers represented in the 1500 Eton Choirbook, one of the few publications to survive the excesses of the English Reformation.

Saturday 21 March 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SATURDAY MORNING MUSIC with David Garrett 9:00 WHAT’S ON IN MUSIC Our weekly guide to musical events in and around Sydney 9:05 THE PIANO ALONE Prepared by Frank Morrison Bach, J.S. Concerto in F, BWV971, Italian (1735). Arturo Benedetti Michelangeli, pf.

Teldec 0630-13303-2 12 Debussy, C. Étude no 3 pour les quartes, from 12 Études (1915). Mitsuko Uchida, pf.

Philips 456 982-2 6 Rubinstein, A. Piano sonata no 3 in E minor, op 41 (1854). Leslie Howard, pf.

Hyperion CDA66017 31 10:00 MUSIC OF THE DANCE Prepared by Paul Cooke Howells, H. Three dances (1914). Lydia Mordkovitch, vn; London SO/Richard Hickox.

Chandos CHAN 9557 15 Granados, E. Spanish dances, op 37 nos 11, 4 and 6 (1892-1900; arr. for guitars).

Saffire.

ABC 476 7012 17 Biber, H. Balletti lamentabili (1670). La Follia Salzburg.

Lyrichord LEMS8017 10 Scott, C. Trois danses tristes, op 74 (1910). Dennis Hennig, pf.

Etcetera KTC 1132 12 Françaix, J. Ballet: Le roi nu (1935).

Ulster O/Thierry Fischer.

Hyperion CDA67489 26 11:30 ON PARADE Music that’s band Prepared by Owen Fisher Anderson, L. The typewriter. Band of Yorkshire Imperial Metals/Trevor Walmsley.

LP Astor GGS 1508 2 Sousa, J.P. Mars and Venus, from Looking upwards. Allentown Band/Ronald Demkee.

AMP 21188 7 Hughes, E. Carabina, Spanish dance.

Cory Band/Arthur Kenny.

LP Decca SB 319 3 Dupré, M. Heroic poem. Dallas Wind Symphony/Frederick Fennell.

Reference RR-58 9

Scott - Marlow. A taste of honey. Living Brass/Ray Martin.

LP RCA CAS-989 3 12:00 URBAN JAZZ LOUNGE with Leita Hutchings 13:00 COME TO THE OPERA Prepared by Derek Parker Are you an opera fan? If not, why not?

Together the story and the song make for great entertainment as well as great art. Derek Parker tells the story of Verdi’s Rigoletto, and plays some of the music that makes it a great opera.

14:30 SATURDAY MATINEE La bohème Puccini, G. Ballet: La bohème (arr.

Hocking). West Australian SO/Dobbs Franks.

ABC 476 1999 1:57 Tchaikovsky, P. Dance of the Bohemians, from The maid of Orleans (1881). Royal Opera House O/Colin Davis.

Philips 442 893-3 7 Rachmaninov, S. Bohemian caprice, op 12 (1892/94). Sydney SO/Vladimir Ashkenazy.

Exton EXCL-00018 17 17:00 SOCIETY SPOT Classical Guitar Society Prepared by Sue McCreadie 18:00 MUSIC OF THE SCREEN Music of all kinds featured on the screen, small and large 19:00 JAZZ 20:00 THE LIFE OF A COMPOSER Charles Koechlin Prepared by Rex Burgess Chabrier, E. Bourée fantasque (1891; orch. Koechlin 1924). South West German RSO/Heinz Holliger.

SWR Music 19046 7 Koechlin, C. Seven rondels of Theodore de Bonville, from op 1 and op 8 (189095). Claudette Leblanc, sop; Boaz Sharon, pf.

Hyperion CDH55163 12 Horn sonata, op 70 (1918-25). Barry Tuckwell, hn; Daniel Blumenthal, pf.

ASV DCA 716 14 Dervishes at night, from Les heures persanes op 65 (1923-24). Michael Korstick, pf.

SWR Music SWR19047 7 Symphonic poem: Les bandar-log, op 176 (1939). Berlin RSO/David Zinman.

MARCH 2020

29

Saturday 21 March BMG Records 09026 61955 2 17 Seven songs for Gladys, op 151 (1935).

Claudette Leblanc, sop; Boaz Sharon, pf.

Hyperion CDH55163 10 Excerpts from The confidences of a clarinet player, op 141 (1934). Dirk Altmann, cl; Sibylle Mahn Haas, hn; Gunther Tueffel, va.

SWR Music SWR19047 10 Debussy, C. Khamma, dance legend (1912; orch. Koechlin 1913). South West German RSO/Heinz Holliger.

SWR Music SWR19046 22 22:00 SATURDAY NIGHT AT HOME Prepared by Melissa Evans Handel, G. Water music suite in F, HWV348 (1717). English Concert/Trevor Pinnock.

Archiv 479 1932 31 Beethoven, L. Piano sonata no 16 in G, op 31 no 1 (1802). Emil Gilels, pf.

Brilliant Classics 94291 25 Pärt, A. Spiegel im Spiegel (1978).

Tasmin Little, vn; Martin Roscoe, pf.

EMI 5 73117 2 8 Debussy, C. Nocturnes (1897-99). Paris Ch & O/Daniel Barenboim.

DG 435 069-2 26 Schumann, R. Scenes from childhood, op 15 (1838). Marc-André Hamelin, pf.

Hyperion CDA68030 20

Debussy wrote about the first part of his Nocturnes: “Nuages renders the immutable aspect of the sky and the slow, solemn motion of the clouds, fading away in grey tones lightly tinged with white.” He told a friend as they crossed over the Seine in stormy weather that he had the idea for a work in which a boat was sounding its horn while thunderclouds swept along overhead.

The second piece, Fêtes, in a vibrating, dancing rhythm, includes a dazzling procession passing through a festive scene. Debussy recalls merry-making in the Bois de Boulogne with noisy crowds and a marching band.

Debussy also wrote: “Sirènes depicts the sea and its countless rhythms and presently, amongst the waves silvered by the moonlight, is heard the mysterious song of the Sirens as they laugh and pass on.”

30

MARCH 2020

Sunday 22 March 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SUNDAY MORNING MUSIC with Terry McMullen 9:00 MUSICA SACRA Mozart, W. Mass no 5 in G, K140, Pastoral (c1773). Leipzig Radio Choir; Michael-Christfried Winkler, org; Leipzig RSO/Herbert Kegel.

Philips 422 264-2 18 Ramirez, A. Navidad nuestra (1964).

José Carreras, ten; Salvé de Laredo Choir; Bilbao Choral Society; Arsenio Zambrano, charango; Lalo Gutierez, gui; Raúl Barboza, accordeon; Ariel Ramirez, pf; Domingo Gura, perc; Jorge Padin, perc; Grupo Huancara/Damian Sanchez.

Philips 420 955-2 18 Stravinsky, I. Mass (1944-48). Gregg Smith Singers; Columbia Symphony Winds and Brass/Igor Stravinsky.

Sony SM3K 46 291-302 17 10:00 THE CLASSICAL ERA Prepared by Stephen Wilson Arriaga, J. Overture to The happy slaves (c1820). Le Concert des Nations; Chapel Royal of Catalonia/Jordi Savall.

Astrée E 8532 8 Fossa, F. de Guitar trio no 3 in F, op 18 (1808). Martin Beaver, vn; Bryan Epperson, vc; Simon Wynberg, gui.

Naxos 8.550760 27 Soler, A. Keyboard sonata no 96 in E flat, op 4 no 6 (1779). Gilbert Rowland, hpd.

Naxos 8.554565 26 Arriaga, J. Erminia. Rosamund Illing, sop; Melbourne SO/Heribert Esser.

ABC 434 898-2 14 Sor, F. Les deux amis, op 41 (1830).

Robert Kubica, gui; Wilma van Berkel, gui.

Naxos 8.553302 17 Baguer, C. Symphony no 18 in B flat (c1790s). London Mozart Players/ Matthias Bamert.

Chandos CHAN 9456 16 12:00 CLASSIC JAZZ AND RAGTIME with John Buchanan 13:00 WORLD MUSIC: Whirled Wide with Linda Marr 14:00 HOMAGE TO SCHUBERT Prepared by Chris Blower Czerny, C. Fantasy no 3, from Three brilliant fantasies after Schubert, op 339 (1836). Barry Tuckwell, hn; Daniel Blumenthal, pf.

Etcetera KTC1121 19

Akhunov, S. In Schubert’s company (pub. 2017). Riga Sinfonietta/Maxim Rysanov, va & dir.

Onyx ONYX 4183 7 Ernst, H. Erlkönig, after Schubert, op 26 (1854). Ilya Gringolts, vn.

Hyperion CDA67619 4 Ponce, M. Sonata romántica: Hommage à Franz Schubert (1928). Norbert Kraft, gui.

Chandos CHAN 9033 22 15:00 SUNDAY SPECIAL Geoffrey Bush centenary Prepared by Elaine Siversen

Bush, G. Farewell, earth’s bliss (1950).

Stephen Varcoe, bar; City of London Sinfonia/Richard Hickox.

Chandos CHAN 8864 18 Concert suite for cello and orchestra, op 37 (1952). Raphael Wallfish, vc; BBC Concert O/Martin Yates.

Epoch CDXL 7263 37 Songs of wonder (1959). Ian Partridge, ten; Geoffrey Bush, pf.

Chandos CHAN 8830 10 Wind quintet (1963-64). English CO Wind Ensemble.

Chandos CHAN 8819 18 Symphony no 2, The Guildford (1957).

Royal PO/Barry Wordsworth.

Lyrita SRCD 252 27 17:00 HOSANNA Hymn: It is a thing most wonderful. Choir of Trinity College, Cambridge/Richard Marlow.

Conifer CON51249 3 Gibbons, O. Magnificat; Nunc dimittis.

Oxford Camerata/Jeremy Summerly.

Naxos 8.553130 6 Greene, M. Lord, let me know mine end.

Choir of Magdalen College, Oxford/John Harper.

Regis RRC 2030 6 Lotti, A. Crucifixus. Cantillation/Antony Walker.

ABC 476 5055 4 Monteverdi, C. Christe, adoramus te.

Cambridge Singers; La Nuova Musica/ John Rutter.

Collegium COLCD 3 Anerio, F. Christus factus est. Cambridge Singers; La Nuova Musica/John Rutter.

Collegium COLCD 134 2

Sunday 22 March Leighton, K. Chorale prelude on Rockingham. Christopher Whitton, org.

Naxos 8.555795 3 Blow, J. Salvator mundi. Choir of Westminster Abbey/James O’Donnell.

Hyperion CDA67792 4 Poulenc, F. Litanies à la Vierge noire.

The Sixteen; Robert Quinney, org; Harry Christophers, cond.

Coro COR16149 9 Bruckner, A. Christus factus est.

Corydon Singers/Matthew Best.

Hyperion CDA66062 5 Stopford, P. God so loved the world.

Ecclesium Choir/Philip Stopford.

Priory PRCD 832 2 Hymn: God that madest earth and heaven. Choir of Trinity College, Cambridge/Richard Marlow.

Conifer CON 51249 2 18:00 SMALL FORCES Prepared by Frank Morrison Haydn, J. Piano trio in G minor, Hob. XV:19 (1794). Erich Höbarth, vn; Christophe Coin, vc; Patrick Cohen, fp.

Harmonia Mundi HMC 901314 17 Berwald, F. String quartet in A minor (1849). Frydén String Quartet.

Caprice CAP 21334 20 Debussy, C. Sonata for flute, viola and harp (1915). Members of Nash Ensemble.

Virgin VC 7 91148-2 17 19:00 SUNDAY NIGHT CONCERT Prepared by Rex Burgess Wagner, R. Overture to Rienzi (1840).

Royal Concertgebouw O/Mariss Jansons.

Radio Nederland RCO11004 12 Myaskovsky, N. Cello concerto in C minor, op 66 (1944). Mstislav Rostropovich, vc; Moscow PO/Kyrill Kondrashin.

Brilliant Classics 9240 27 Schoenberg, A. Symphonic poem: Pelleas and Melisande, op 5 (1902-03).

Sydney SO/Edo de Waart.

ABC 454 514-2 42 20:30 NEW HORIZONS Prepared by James Nightingale Tarrodi, A. Lume (2007). Allmänna Singen/Maria Goundorina.

BIS BIS-2224 6 Duncan, E. Dragonfly; Butterfly; Mosquito (2007). Speak Percussion/ Eugene Ughetti.

Move MD 3320 10

Wave to the depths I (2003). Michael Kieran Harvey, pf.

Move MD 3320 6 Four blackboard pieces (2007). Danae Killian, pf; Silo String Quartet.

Move MD 3362 14 Abrahamsen, H. String quartet no 4 (2012). Arditti String Quartet.

Winter & Winter 910 242-2 20 Rands, B. Chains like the sea (2008).

BBC PO/Clark Rundell.

NMC D253 25 22:00 JAZZ AFTER HOURS

The two-movement Cello Concerto of Nikolai Myaskovsky, which includes folk songs among its melodies, is one of his late works composed at the end of 1944. Chris Morrison notes that it is ‘one of his most gentle and lovely works’ and goes on to write: “If Myaskovsky is reflecting any of his own feelings about World War II in the cello concerto, they are feelings of sadness and eventual consolation, rather than of anger.” The work has been described by others as lyrical, nostalgic, regretful and elegiac.

Quoting Morrison again: “Rather than stressing virtuosity, this opening movement employs the cello primarily as a melodic voice. What little display the soloist is allowed comes in the short cadenza toward the end of the movement.” The mournful tone of the opening movement gives way to more lively passages after which the mournful tone of the opening returns.

The work is resolved gently and peacefully.

The Concerto won the Stalin Prize despite one writer saying that the composer was ‘not a compliant man of Soviet music’. Indeed, he had been censured along with Shostakovich, Khachaturian, Prokofiev, and others, for their ‘formalism’ and ‘cosmopolitanism’ over the previous decade and earlier. This concerto probably appealed to the judges because of the inclusion of the Russian folk melodies. The Cello Concerto was written for Sviatoslav Knushevitsky who premiered it in Moscow on 17 March 1945 but the first recording was made by Mstislav Rostropovich in 1956.

Monday 23 March 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with James Hunter 9:00 DIVERSIONS IN FINE MUSIC A year in retrospect: 1853 Prepared by Derek Parker Wagner, R. Abendlich strahlt des Sonne Auge, from Das Rheingold (1853-54).

Bavarian RSO/Bernard Haitink.

EMI 9 73399 2 5 Raff, J. Duo on themes from Wagner’s Lohengrin, op 63 no 3 (1853). Livia Sohn, vn; Benjamin Loeb, pf.

Naxos 8.570202 9 Verdi, G. Ah fors’e lui, from La traviata (1853). Maria Callas, sop; Turin Italian RSO/Gabriele Santini.

Rajon CDR1004A-C 3 Brahms, J. Scherzo in C minor from F-A-E sonata, WoO2 (1853). Daniel Hope, vn; Sebastian Knauer, pf.

DG 477 9301 6 Schumann, R. Songs of dawn, op 133 (1853). Maurizio Pollini, pf.

DG 479 0908 10 Fantasia in C, op 131 (1853). Sebastian Bohren, vn; CHAARTS CO. Sony 88985317172 14 Liszt, F. Sonata in B minor (1852-53).

Paul Lewis, pf.

Harmonia Mundi HMX 2908456.57 30 Gounod, C. Ave Maria, meditation on the first piano prelude of J.S. Bach (1853).

Yvonne Kenny, sop; Melbourne SO/ Vladimir Kamirski.

ABC 476 5950 3 10:30 CONCERT HALL Prepared by Derek Parker Copland, A. Music for a great city (196364). London SO/Aaron Copland.

Sony SM2K 47236 25 Moscheles, I. Piano concerto no 4 in E, op 64 (1823). Tasmanian SO/Howard Shelley, pf & dir.

Hyperion CDA67430 26 Loewe, C. Symphony in D minor (bef.

1831). Ewa Kupiec, pf; Lorraine PO/ Jacques Houtmann.

Koch 3-1539-2 30 12:00 SWING SESSIONS with John Buchanan MARCH 2020

31

Monday 23 March 13:00 FRENCH CONCERT HALL Prepared by Jacky Ternisien Magnard, A. Hymne à la justice, op 14 (1903). Toulouse Capitole O/Michel Plasson.

EMI 5 72364 2 15 Godard, B. Piano concerto no 1 in A minor, op 31 (1875). Victor Sangiorgio, pf; Royal Scottish NO/Martin Yates.

Dutton CDLX 7274 29 Milhaud, D. Ballet: The ox on the roof, op 58 (1919). Lyon Opera O/Kent Nagano.

Erato 2292-45820-2 20 Pleyel, I. Symphonie périodique no 6 in F (c1800). Hansjürgen Möhring, fl; Gunther Passin, ob; Jürgen Gode, bn; Walter Lexutt, hn; Cologne CO/Helmut MüllerBrühl.

Koch Schwann 316 038 F1 20 14:30 RUSSIAN CONCERT Prepared by Di Cox Mussorgsky, M. St John’s night on Bald Mountain (1869-72; orch. Stokowski 1922). BBC PO/Matthias Bamert.

Chandos CHAN 9445 10 Prokofiev, S. Symphony-concerto in E minor for cello and orchestra, op 125 (1952). Alexander Rudin, vc; NSO of Ukraine/Theodore Kuchar.

Naxos 8.553624 39 Glazunov, A. Scènes de ballet, op 52 (1894). Moscow SO/Alexander Anissimov.

Naxos 8.553915 30 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm 19:00 JAZZ PULSE with Chris Wetherall 20:00 STORMY MONDAY with Austin Harrison and Garth Sundberg 22:00 JAZZ AFTER HOURS

In 1795 Ignaz Pleyel bought a house in Paris after returning there from England where he had gone to escape the Revolution. He also established a piano factory and a music publishing house and published works by composers such as Beethoven, Haydn, Boccherini, Clementi, Méhul and Rossini.

He continued to compose and Symphonie périodique no 6 in F is thought to have been written a few years after he settled into his newlyacquired house.

32

MARCH 2020

Tuesday 24 March 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Julie Simonds 9:00 DIVERSIONS IN FINE MUSIC Colours of the keyboard Prepared by Elaine Siversen Sweelinck, J. Echo fantasia in D. Klaas Stok, org.

LBCD 75/76 10 Handel, G. Fugue in C minor, HWV607.

Gisela Gumz, clvd.

Hungaroton HCD 31185 4 Mozart, W. Trio in E flat for oboe, horn, and piano, K407 (1782; arr. from Horn quintet). Jeremy Polmear, ob; Stephen Stirling, hn; Richard Saxel, pf.

Oboe Classics CC2022 16 Bach, C.P.E. Double concerto in E flat, Wq47 (1788). Neal Peres da Costa, fp; Australian Haydn Ensemble/Erin Helyard, hpd & dir.

Fine Music concert recording 19 Jolivet, A. Petite suite (1947). Antonio Sciancalepore, db; Laura Mancini, perc; Filippo Farinelli, pf; Henao String Quartet.

Brilliant Classics 95275 9 Rachmaninov, S. Piano sonata no 2 in B flat minor, op 36 (1931). Howard Shelley, pf.

Hyperion CDS 44046 20 10:30 CONCERT HALL Prepared by Di Cox Dvorák, A. Prague waltzes (1879).

Budapest FO/Iván Fischer.

Philips 464 647-2 8 Weber, C.M. Horn concertino in E minor for horn and orchestra, op 45 (1815). Peter Damm, hn; Staatskkapelle Dresden/Siegfried Kurz.

Berlin Classics 0012882BC 16 Schubert, F. Symphony no 9 in C, D944, Great C major (1825-28). Berlin PO/ Simon Rattle.

EMI 3 39382 2 58 12:00 JAZZ RHYTHM with Jeannie McInnes 13:00 THE PLANETS Prepared by Jacky Ternisien Holst, G. Mars, from The planets, op 32 (1914-16; arr. Sauer). Summit Brass.

Summit DCD 171 8 Jupiter the bringer of jollity, from The planets.

Queensland SO/Nicholas Braithwaite.

ABC 481 1143 8 Strozzi, B. The three Graces to Venus.

Soloists of Capella Musicale di S.

Petronio/Sergio Vartalo.

Naxos 8.553318 5 Martín, J. Black moon. Juan Martín, gui.

Flamencovision FV 02 8 Fauré, G. The birth of Venus, op 29 (1882 version). Brigitte Lafon, sop; Anna Holroyd, cont; Bruno Ranc, ten; Jacques Bona, bass; Lyon Soloists; Jean-Claude Pennetier, pf; Bernard Tétu, cond.

EMI 5 56728 2 23 14:00 THE CHARLES DUTOIT LEGACY Prepared by Ray Lemond Ibert, J. Escales (1922). Montreal SO. Decca 440 332-2 15 Stravinsky, I. Concerto in E flat, Dumbarton Oaks (1937-38). Montreal Sinfonietta.

Decca 440 327-2 15 Paganini, N. Variations on Süssmayr’s La streghe, op 8 (1813). Salvatore Accardo, vn; London PO. DG 423 717-2 10 Theodorakis, M. Excerpts from Zorbas suite-ballet. Ioanna Forti, sop; Montreal Symphony Choir & O. Decca 475 6130 18 Poulenc, F. The misunderstood policeman.

François le Roux, bar; members of French NO. Decca 452 666-2 21 Ravel, M. Menuet antique (1895). Montreal SO. Decca 410 230-2 7 Honegger, A. Symphony no 1 (1929-30).

Bavarian RSO. Erato 2292-45242-2 22 Charles Dutoit, cond (all above) 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm 19:00 THE JAZZ BEAT with Lloyd Capps 20:00 RECENT RELEASES 22:00 CHAMBER SOIRÉE Prepared by Paul Cooke Krommer, F. Oboe quintet no 1 in C. Nancy Ambrose King, ob; Solomia Soroka, vn; Eva Stern, va; Joseph Kam, va; Natalia Khoma, vc.

Naxos 8.557669 27 Beach, A. Violin sonata in A minor, op 34 (1896). Terri Pontremoli, vn; Anita Pontremoli, pf.

Centaur CRC 2119 30 Fábregas, E. Voces de mi tierra (2003).

Meininger Trio.

Profil PH 05019 18 Brahms, J. Piano trio no 1 in B, op 8 (1853/89). Macquarie Trio.

ABC 472 668-2 38

Wednesday 25 March 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 Inspired by literature Prepared by Jacky Ternisien Mozart, W. Overture to The marriage of Figaro, K492 (1786). O Victoria/Richard Divall.

ABC 481 0616 4 Bizet, G. Suite from Carmen (1875).

Royal Opera House O/Alexander Gibson.

Decca 480 6620 24 Thomas, J. Duet on subjects from Bizet’s Carmen. Lipman Harp Duo. Harmonious Resonance HR20130313 10 Servais, A-F. Grand fantasy, after Rossini’s The barber of Seville, op 6 (arr.). Wen-Sinn Yang, vc; Munich RSO/ Terje Mikkelsen. cpo 777 542-2 14 Bizet, G. Suite no 1 from L’arlésienne (1872; arr.). Julia Severus, pf.

Naxos 8.570831-32 16 Milton, S. Carmen fantasy. Michael Collins, cl; Piers Lane, pf.

Chandos CHAN 10615 9 10:30 CONCERT HALL Prepared by Paul Hopwood Elgar, E. Overture: Froissart, op 19 (1890). BBC PO/Edward Downes.

Conifer CDCF 187 14 Beethoven, L. Piano concerto no 5 in E flat, op 73, Emperor (1809). Leon Fleisher, pf; Cleveland O/George Szell.

Sony SBK 46549 38 Haydn, J. Symphony no 81 in G, Hob.I:81 (c1784). Australian CO/Charles Mackerras.

Chandos/Conifer CF 165 30 12:00 JAZZ SKETCHES with Robert Vale 13:00 IN CONVERSATION with Christopher Waterhouse 14:00 POEMS AND FANTASIES Glazunov, A. Orchestral fantasy in E, op 28, The sea (1890). Royal Scottish NO/ Neeme Järvi.

Chandos CHAN 7049 16 Kabalevsky, D. Suite: The comedians, op 26 (1940). Moscow SO/Vasily Jelvakov.

Naxos 8.553411 15

Tchaikovsky, P. Francesca da Rimini, symphonic fantasia after Dante, op 32 (1878). Erik Andresen, cl; Oslo PO/Mariss Jansons.

EMI 5 74113 2 22 Mosolov, A. Front roads, nine choruses (c1944). USSR TV and Radio Russian Song Ch/Nikolai Kutuzov.

Melodiya MA 3009 20 Stravinsky, I. Ballet: Petrushka (1911).

Suisse Romande O/Neeme Järvi.

Chandos CHAN 9240 33 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm 19:00 JAZZ 20:00 AT THE OPERA Prepared by James Nightingale Grétry, A-E-M. The village test. Comic opera in two acts. Libretto by Pierre Desforges. First performed Versailles, 1784.

DENISE: Sophie Junker, sop MADAME HUBERT: Talise Trevigne, sop M. DE LA FRANCE: Thomas Dolié, bar ANDRÉ: Francisco Fernández-Rueda, ten; Opera Lafayette Ch & O/Ryan Brown.

Naxos 8.660377 54 The farm girl, Denise, is being courted by both her jealous fiancé, André, and a rich landowner, Monsieur de la France who previously had been courting her mother, Madame Hubert. The two women decide to find a way to punish both men.

Madame Hubert announces that André’s punishment for spying on Denise will be that Denise will marry her wealthy suitor.

André announces that he has a new love, making Denise jealous and she realises that she really loves André. Finally, André admits that Denise is his one and only love. Monsieur de la France offers Denise all the wonders the city can offer: fashion, art, and entertainments. She declines saying that she prefers a happy country village life with André. Humiliated, Monsieur de la France storms off while the villagers rejoice.

Rousseau, J-J. The village soothsayer. Opera in one act. Libretto by the composer. First performed Fontainebleau, 1752.

SOOTHSAYER : Thomas Müller de Vries, bass COLLETTE: Eva Kirchner, sop COLIN: Dongkyu Choy, ten GottardoTomat Ch; Alpe Adria Ensemble/ René Clemencic.

Nuova Era 7335 1:17

The shepherdess Colette is heartbroken that her beau, the shepherd Colin appears to have left her for another woman, the lady of the manor. In her despair Colette consults the village soothsayer, who advises her to pretend that she herself has taken a lover. At this rumour, Colin himself also seeks the wisdom of the village soothsayer, leading to their reconciliation. The event is celebrated with much dancing and a pantomime in which a courtier attempts to seduce a village girl, threatens to kill her betrothed but in the end yields to good sense and gives her up. The lesson against inconstancy is thereby made clear to all, who rejoice.

22:30 POSTCARDS FROM BELGIUM Prepared by Jacky Ternisien Benoit, P. Overture to The king of Alders (c1859). Royal Flanders PO/Frédéric Devreese.

Marco Polo 8.223827 8 Servais, A-F. Grand fantasy after Rossini’s The barber of Seville, op 6 (arr.). Wen-Sinn Yang, vc; Munich RSO/ Terje Mikkelsen. cpo 777 542-2 14 Hasselmans, A. Mazurka, op 31; Follets, op 48; Gnomes, op 49; Petite valse, op 25. Floraleda Sacchi, hp.

Brilliant Classics 94625 13 Lemmens, J. Fanfare; Cantabile.

Eugène Gigout, org.

OEHMS Classics OC 843 9 Gossec, F-J. Symphony in E flat, op 5 no 2 (pub. 1761). London Mozart Players/ Matthias Bamert.

Chandos CHAN 9661 13 Benoit, P. Flute concerto, op 43a, Symphonic tale (1865). Gaby van Riet, fl; Royal Flanders PO/Frédéric Devreese.

Marco Polo 8.223827 20

While reading Walter Scott’s Old Mortality, Elgar was attracted by a reference to the 14th century Chronicles of Jean Froissart.

Inspired by this ancient work, he wrote his concert overture, Froissart.

Composed in 1890 as a commission for the Worcester Festival, it was his first orchestral work but shows touches of the mature composer.

Unlike his later concert overtures, Falstaff and Cockaigne, Froissart is not programmatic but seeks to evoke a mood in broad terms.

MARCH 2020

33

Thursday 26 March 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Nicky Gluch 9:00 DIVERSIONS IN FINE MUSIC The instruments: Brass Prepared by Di Cox Grieg, E. Norwegian dances, op 35 (arr.

Archibald). English Brass Ensemble.

ASV QS 6181 13 Albinoni, T. Trumpet concerto in B flat, op 7 no 3. Håkan Hardenberger, tpt; I Musici.

Philips 442 131-2 7 Larsson, L-E. Horn concertino, op 45 no 5 (1954-57). Sören Hermansson, hn; Umeå Sinfonietta/Edvard Tjivzjel.

BIS CD-473/74 13 Poulenc, F. Sonata for horn, trumpet and trombone (1922/45). Hervé Joulain, hn; Guy Touvron, tpt; Jacques Mauger, tb.

Naxos 8.553613 9 Lovelock, W. Bass tuba concerto (1967).

Peter Whish-Wilson, tuba; Adelaide SO/ David Stanhope.

ABC 476 5251 14 Bernstein, L. Suite from West Side story (1960; arr. Crees). Phillip Jones Brass Ensemble.

Decca 417 354-2 23 10:30 CONCERT HALL Prepared by Jacky Ternisien Dargomyzhsky, A. Overture to Rusalka (1856). Bolshoi TO/Yevgeny Svetlanov.

Melodiya MEL 10011824 6 Arensky, A. Suite from Egyptian nights, op 50a (1902). USSR RSO/Boris Demchenko.

Melodiya MEL 45002-2 20 Eybler, J. Clarinet concerto in B flat.

Eduard Brunner, cl; Bamberg SO/Hans Stadlmair.

Tudor 782 25 Raff, J. Symphony no 10 in F minor, op 213, In autumn (1879). Slovak State PO/ Urs Schneider.

Naxos 8.555491 31 12:00 JAZZ, PURE AND SIMPLE with Maureen Meers 13:00 CHAMBER HOUR Prepared by James Nightingale Scott, C. Piano trio no 2 (1951). Gould Piano Trio.

Chandos CHAN 10575 10 Beethoven, L. Sonata no 4 in C, op 34

MARCH 2020

102 no 1 (1815). Zoe Knighton, vc; Amir Farid, pf.

Move MD3356 16 Caplet, A. Quintet for flute, oboe, clarinet, bassoon and piano (1899). Les Vents Français.

Warner Classics 0825646231850 25 14:00 MONTE CARLO ORCHESTRAS Prepared by Jacky Ternisien Dukas, P. Symphony in C (1895). Monte Carlo PO/Lawrence Foster.

Claves 50-9102 39 Massenet, J. Suite no 7: Scènes alsaciennes (1881). John Eliot Gardiner, cond.

Erato 2292-45859-2 23 Orchestral suite no 6: Scènes de féerie (1879). John Eliot Gardiner, cond.

Erato 2292-45858-2 18 Rodrigo, J. Sones en la Giralda, Fantasia sevillana (1963). Catherine Michel, hp; Antonio de Almeida, cond.

LP Philips 6500 812 8 Rossini, G. Ballet music from Moses and Pharaoh (1827). Antonio de Almeida, cond.

Philips 422 843-2 21 Monte Carlo National Opera O (4 above) 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm 19:00 THE NEW JAZZ STANDARD with Frank Presley 20:00 THE WORLD OF A SYMPHONY Prepared by Chris Blower Bach, J.S. Cantata, BWV145: Ich lebe, mein Herze, zu deinem Ergötzen (172629). Bach Collegium Japan/Masaaki Suzuki.

BIS BIS-9052 9 Herzogenberg, H. Phantasie for violin and piano, op 15. Christian Altenburger, vn; Oliver Triendle, pf. cpo 777 428-2 19 Brahms, J. Academic festival overture, op 80 (1880). Scottish CO/Charles Mackerras.

Telarc 80450 10 Smyth, E. Concerto for violin, horn and orchestra (1926). Richard Watkins, hn; Sophie Langdon, vn; BBC PO/Odaline de la Martinez.

Chandos CHAN 9449 28 Herzogenberg, H. Symphony no 1 in C minor, op 50 (1885). North German Radio PO/Frank Beermann. cpo 777 122-2 42

Friday 27 March 22:00 NOCTURNES Prepared by Jacky Ternisien Chopin, F. Nocturne in E flat, op 9 no 2 (1830-31). Ewa Kupiec, pf.

ABC 481 0773 4 Atterberg, K. The awakening, from Nocturnes, op 35 (1929-32). Gothenburg SO/Neeme Järvi.

Chandos CHAN 10894 6 Field, J. Nocturne no 4 in A (1817).

Míceál O’Rourke, pf.

Chandos CHAN 8719/20 6 Schubert, F. Adagio in E flat, D897, Nocturne (1827-28). Vienna Schubert Trio.

Nimbus NI 6137 8 22:30 ULTIMA THULE with George Cruickshank

Heinrich Picot de Peccaduc, Freiherr von Herzogenberg is not exactly a household name even among those who appreciate music of the Romantic Era. Descended from a French aristocratic family, he was born in Graz, Austria, and lived there and in Germany for all of his life. In his early career he was attracted to the music of Wagner as many young composers were at the time. His study of the works of Johann Sebastian Bach changed his thinking so that he became an adherent of the Classical tradition and an advocate for the music of Brahms who followed this tradition. Indeed, Herzogenberg’s wife, Elisabet von Stockhausen, had been a piano pupil of Brahms and the couple corresponded regularly with the older composer.

In 1874, the Herzogenbergs moved to Leipzig and two years later, in association with Philipp Spitta, Herzogenberg founded the Leipzig Bach-Verein which had the aim of reviving Bach’s cantatas as well as teaching music. During the ten years that Herzogenberg was its Artistic Director, he taught composition to the talented Ethyl Smyth. A move to Berlin in 1885 furthered Herzogenberg’s career when he was appointed Professor of Composition at the Hochschule für Musik. It was here that he advised Vaughan Williams to study with Max Bruch who was also teaching there.

0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Annabelle Drumm 9:00 DIVERSIONS IN FINE MUSIC Al fresco Prepared by Mark Renton Liszt, F. Snow whirls, in B flat minor, from 12 Studies in increasing difficulty (1851).

Alice Sara Ott, pf.

DG 477 8362 6 Head, M. By the river in Spring (1964).

Kenneth Smith, fl; Paul Rhodes, pf.

ASV DCA 768 9 Vivaldi, A. Violin concerto no 2 in G minor, RV315, Summer (pub. 1725). Jane Rutter, fl; Sinfonia Australis/Erin Helyard.

ABC 481 1321 11 Larsson, L-E. Late autumn leaves, op 20 (1940). Stenhammar Quartet.

Daphne 1035 21 Martinu, B. Borová, seven Czech dances (1929-30). Radoslav Kvapil, pf.

Unicorn-Kanchana DKP 9140 12 Berwald, F. Serenade (1825). Thomas Annmo, ten; Mikael Björk, db; Joakim Kallhed, pf; members of Arion Wind Quintet; members of Schein String Quartet.

Naxos 8.553714 14 Salinas, H. Danza di cala luna. IntiIllimani.

CBS MK 44574 4 10:30 CONCERT HALL Prepared by Michael Field Thomson, V. Suite from The plow that broke the plains (1936). Symphony of the Air/Leopold Stokowski.

Vanguard OVC 8013 14 Brahms, J. Piano concerto no 2 in B flat, op 83 (1878-81). Robert Scheiwein, vc; Maurizio Pollini, pf; Vienna PO/Claudio Abbado.

DG 479 0913 48 Saint-Saëns, C. Symphony no 2 in A minor, op 55 (1859). French RTO/Jean Martinon.

Brilliant Classics 94360 23 12:00 A JAZZ HOUR with Barry O’Sullivan 13:00 THE YEAR 1800 Boïeldieu, A. Overture to The Caliph of Baghdad (1800). New Philharmonia O/ Richard Bonynge.

Decca 466 431-2 8

Haydn, J. The spirit’s song, Hob.XXVa:41 (1800). Anne Monoyios, sop; Nils Brown, ten; Four Nations Ensemble.

ASV GAU 219 5 Beethoven, L. Sonata in F, op 17 (1800).

Wolfgang Tomboeck, hn; Madoka Inui, pf.

Naxos 8.557471 14 Wesley, S. Dixit Dominus (1800). Choir of Gonville and Caius College, Cambridge/ Geoffrey Webber.

ASV GAU 157 7 Wölfl, J. Septet in D for winds and double bass (1800). Consortium Classicum.

Schwann 310 002 H1 9 Beethoven, L. Piano concerto no 3 in C minor, op 37 (1800). Gerard Willems, pf; Sinfonia Australis/Antony Walker.

ABC 980 046-5 36 14:30 THE BRAHMS CONCERTOS Double concerto Prepared by Ron Walledge Brahms, J. Academic festival overture, op 80 (1880). Vienna PO/Leonard Bernstein.

DG 410 031-2 10 Hungarian dances, no 2 and nos 4 to 9 (1868; orch. Peter Breiner). London PO/ Marin Alsop.

Naxos 8.570233 23 Alto rhapsody, op 53 (1869). Janet Baker, mezz; London Symphony Ch; City of London Sinfonia/Richard Hickox.

Virgin VC 7 91123-2 14 Double concerto in A minor, op 102 (1887).

David Oistrakh, vn; Mstislav Rostropovich, vc; Cleveland O/George Szell.

EMI 5 65701 2 33 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm 19:00 FRIDAY JAZZ SESSION with Christopher Waterhouse 20:00 EVENINGS WITH THE ORCHESTRA Israel Philharmonic Orchestra Prepared by Di Cox Tchaikovsky, P. Capricio italien, op 45 (1880). Israel PO/Zubin Mehta.

Teldec 4509-90201-2 16 Bruch, M. Scottish fantasy in E flat, op 46 (1880). Midori, vn; Natalie Tal Glazer, hp; Israel PO/Zubin Mehta.

Sony SK 58967 31 Verdi, G. Celeste Aïda, from Aïda (1871).

Andrea Bocelli, ten; Israel PO/Zubin Mehta.

Decca 478 7732 4

Chopin, F. Piano concerto no 2 in F minor, op 21 (1829). Murray Perahia, pf; Israel PO/Zubin Mehta.

Sony SX4K 63380 30 Mendelssohn, F. Symphony no 4 in A, op 90, Italian (1833). Israel PO/Leonard Bernstein.

DG 439 411-2 30 22:00 BAROQUE AND BEFORE Minerva of the North Prepared by Rodrigo Azaola Cesti, A. Disserratevi, abissi, from L’Arigia (1650). Simone Kermes, sop; Enrico Casazza, vn; La Magnifica Comunità/Enrico Casazza.

Sony 88875111382 5 Lonati, C. Violin sonata no 7 in G minor (1701). Jaap Schröder, baroque vn; Christophe Coin, baroque vc; Peter Williams, hpd.

LP EMI 1C 065-99 760 12 Stradella, A. Sinfonia XI. The Rare Fruits Council/Manfredo Kraemer.

Ambronay AMY028 11 Corelli, A. Sonata in A minor, op 1 no 4 (pub. 1681). Rachael Beesley, vn; Julia Fredersdorff, vn; Rosanne Hunt, vc; Jaqueline Ogeil, hpd, org.

Tall Poppies TP194 6 Albrici, V. Sonata à 5. Musica Antiqua Cologne/Reinhard Goebel.

Archiv 459 619-2 4 Carissimi, G. Historia di Jephte (bef.

1650). Nicola Wemyss, sop; Mattijs van de Woerd, bar; Netherlands Bach Society/Jos van Veldhoven.

Radio Netherlands MCCP121 26 Pasquini, B. Hor ch’il ciel fra densi horrori. Sharon Rostorf-Zamir, sop; Furio Zansi, bar; Capella Tiberina/Giovanni Caruso.

Brilliant Classics 94225 26 Colista, L. Sinfonia à 3. O/Maurice Steger.

Harmonia Mundi HMC 902253 6 Scarlatti, A. Forgive me love (1701-02).

James Sanderson, ct; Chacona/Rosalind Halton.

ABC 476 6170 10

Christina, Queen of Sweden, attained the throne at the age of six but abdicated when she was 28, moving to Rome where she was known as the ‘Minerva of the North’. Many baroque artists, composers and musicians were under her patronage.

MARCH 2020

35

Sunday 29 March

Saturday 28 March 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SATURDAY MORNING MUSIC with Peter Bell 9:00 WHAT’S ON IN MUSIC Our weekly guide to musical events in and around Sydney 9:05 THE PIANO ALONE Prepared by Elaine Siversen Albéniz, I. Navarra (1909). Alicia de Larrocha, pf.

Decca 417 795-2 6 Chopin, F. Polonaise-fantasy in A flat, op 61 (1846). Maurizio Pollini, pf.

Philips 456 940-2 13 Schubert, F. Sonata no 19 in C minor, D958 (1828). Mitsuko Uchida, pf.

Philips 475 6282 31 10:00 MUSIC OF THE DANCE Prepared by Stephen Wilson Purcell, H. Ayres and dances, from Dido and Aeneas (1689). Tasmanian Symphony Chamber Players/Geoffrey Lancaster.

ABC 456 667-2 17 Turina, J. Danzas gitanas, op 55 (1930).

Azahar Ensemble.

Profil Medien PH18073 13 Tchaikovsky, P. Ballet: Les présages (1888). West Australian SO/Vladimir Verbitsky.

ABC 480 6403 13 Liszt, F. Tarantella di bravura, after La tarantelle from La muette de Portici by Auber (1846). Leslie Howard, pf.

Hyperion CDS44545 11 Respighi, O. Ballet: The magic pot (1920). Jakub Francisci, treb; Slovak RSO/Adriano.

Naxos 8.570741 25 11:30 ON PARADE Prepared by Chris Blower Fletcher, P. An epic symphony. John Foster Black Dyke Mills Band/Peter Parkes.

Chandos CHAN 4508 14 Ball, E. A Kensington concerto.

Grimethorpe Colliery RJB Band/Peter Parkes.

Chandos CHAN 4553 11 12:00 URBAN JAZZ LOUNGE with Leita Hutchings 13:00 IN A SENTIMENTAL MOOD with Maureen Meers Nostalgic music and artists from the 30s, 40s and 50s and occasionally beyond, in 36

MARCH 2020

a trip down many memory lanes 14:00 THE VOICES, THE ROLES Prepared by Angela Cockburn The chorus: ganging up 14:30 SATURDAY MATINEE Operetta in the afternoon Prepared by Elaine Siversen

(1922); The Tsarevich (1927); Giuditta (1933). Soloists, Ch & O of ORTF/ Adolphe Sibert.

Naxos 8.111010 35

0:00 CLASSIC-ALL THROUGH THE NIGHT

17:00 SOCIETY SPOT Sydney Schubert Society Prepared by Ross Hayes

9:00 MUSICA SACRA Prepared by Robert Small Mozart, W. Exsultate jubilate, K165 (1773). Sara Macliver, sop; O of the Antipodes/Antony Walker.

ABC 476 4064 15 Vivaldi, A. Nisi Dominus (c1712). James Bowman, ct; Academy of Ancient Music/ Christopher Hogwood.

L’Oiseau-Lyre 414 329-2 21 Vaughan Williams, R. A Song of thanksgiving (1944). Frederica von Stade, sop; Marion D. Hanks, narr; Salt Lake Children’s Ch; Mormon Tabernacle Choir; Utah SO/Joseph Silverstein.

Decca 436 284-2 16

18:00 MUSIC OF THE SCREEN Music of all kinds featured on the screen, small and large

Straus, O. Scenes from A waltz dream.

PRINCESS HELENE: Anneliese Rothenberger, sop LIEUTENANT NIKI: Nikolai Gedda, ten LIEUTENANT MONTSCHI: Willi Brokmeier, ten FRANZI STEINGRUBER: Edda Moser, sop Bavarian State Opera Ch; Graunke SO/ Willi Mattes.

Laserlight 16 042 55 Princess Helene and Lieutenant Niki are to be married and her father, Prince Joachim XIII of Flausenthum, declares that Niki is to be heir apparent to his throne. Niki is sceptical, as this position of prince is not financially beneficial and he misses his home in Vienna and its customs.

After the marriage, Niki is unhappy and secretly leaves the palace with his comrade Lieutenant Montschi for a pleasurable evening in the beer garden.

At the beer garden, Niki is attracted to Franzi, a ladies’ orchestra leader. A scheming Count Lothar who wishes to have a liaison with Franzi, arranges for the Prince and Princess Helene to be present at the same venue. When Niki dances with Princess Helene, Franzi realises that Niki is married to the Princess.

Princess Helene discovers that Niki is unhappy and is longing for familiar Viennese customs. An immediate change is implemented in the palace: Viennese dress code, furniture and even meals.

Niki, as expected, is happy with the new surroundings and soon willingly accepts Princess Helene without restrictions, renouncing Franzi, who also decides that she no longer cares for Niki.

Lehár, F. Excerpts from Der Graf von Luxembourg (1909). Lilian Sokis, sop; Erich Kunz, ten; Peter Frölich, ten; Eberhard Wächter, bar; Graunke SO/ Walter Goldschmidt.

Phillips 420 663-2 41 Excerpts from Dance of the dragonflies

19:00 JAZZ 20:00 THE LIFE OF A COMPOSER Silvestre Revueltas Prepared by Rodrigo Azaola Revueltas, S. Cuauhnáhuac (1930).

Royal PO/Enrique Bátiz.

LP ASV DCA 871 10 Hommage a Federico García Lorca (1937). Arturo Reyes, tpt; Mexico PO/ Fernando Lozano.

LP Forlane UM 3558 13 The night of the Mayas (1939). Simon Bolivar Youth O/Gustavo Dudamel.

DG 477 8775 30 Travel diary (1938). Santa Barbara SO. 9 Colorines (1932). English CO. 7 The lady colonel (1940). Santa Barbara SO. 34 Gisèle Ben-Dor, cond (3 above) Naxos 8.572250 Toccata. Royal PO/Enrique Bátiz.

ASV DCA 738 4 Sensemayà (1938; arr. Roberts). Anthony Kniffen, tuba; Chicago SO Brass/Michael Mulcahy.

CSO-Resound 901 1101 7 22:00 SATURDAY NIGHT AT HOME Prepared by Rex Burgess Chabrier, E. Overture to Gwendoline (1885). Vienna PO/John Eliot Gardiner.

DG 447 751-2 9 Cartellieri, A. Clarinet concerto no 1 in B flat (pub. 1797). Dieter Klöcker, cl; Prague CO/Karel Stadtherr.

MDG 301 1483-2 25 Couperin, F. Nouveau concert no 6 (1724). Musica Ad Rhenum.

Brilliant Classics 94489 12 Strauss, R. Duet concertino for clarinet and bassoon (1947). Martin Spangenberg, cl; Karsten Nagel, bn; Polish Chamber PO/Wojciech Rajski.

Amati ami 9205/1 30 Mozart, W. Symphony no 40 in G minor, K550 (1788). Danube SO/Gavin Fraser. www.bimamcd.com GFM0Z4041 35

6:00 SUNDAY MORNING MUSIC with Stephen Wilson

10:00 THE CLASSICAL ERA Prepared by Paul Cooke Weber, C.M. Overture to Euryanthe (1823). Staatskapelle Dresden/Marek Janowski.

Berlin Classics 0300249BC 9 Field, J. Piano sonata in C minor, op 1 no 3 (1801). Benjamin Frith, pf.

Naxos 8.550762 15 Kuhlau, F. Duo brilliant, op 110 no 1 (pub. 1830). Henrik Wenzel Andreasen, fl; Anna Øland, pf.

Naxos 8.553333 15 Marsh, J. Symphony no 6 in D (1796).

London Mozart Players/Matthias Bamert.

Chandos CHAN 10458 18 Haydn, J. Quartet in D, Hob.III:8 (bef.

1765; arr. for guitar and string trio). Karin Schaupp, gui; members of Flinders Quartet.

ABC 476 4435 23 Pleyel, I. Symphonie concertante in F. Gaby Pas-Van Riet, fl; Anne Angerer, ob; Hanno Dönneweg, bn; Mila Georgieva, vn; Michael Salm, vn; Gunter Teuffel, va; Manuel Fischer-Dieskau, vc; Konstanze Brenner, db; South West German RSO/ Johannes Moesus. cpo 777 606-2 28 12:00 CLASSIC JAZZ AND RAGTIME with Jeannie McInnes 13:00 WORLD MUSIC: Whirled Wide with Gerry Myerson

“Music expresses that which cannot be said and on which it is impossible to be silent.” — Victor Hugo

14:00 TRIBUTE TO STEPHEN CLEOBURY Prepared by Chris Blower Allegri, G. Psalm 50 (51): Miserere mei Deus. Choir of Westminster Cathedral.

Newton 8802042 11 Tallis, T. Videte miraculum. Choir of Kings College, Cambridge.

Decca 478 5637 11 Strauss, R. Hymne, from Two songs, op 34 (1897). BBC Singers; Choristers of King’s College, Cambridge.

Collins 14952 11 Rutter, J. Gloria (1974). Choirs of King’s and Gonville and Caius Colleges, Cambridge; City of Birmingham SO. EMI 5 57952 2 18 Stephen Cleobury, cond (all above) 15:00 SUNDAY SPECIAL Tribute to Mariss Jansons Prepared by Frank Morrison Wagner, R. Overture to Tannhäuser (1845). Oslo PO. EMI 9 73399 2 14 Rimsky-Korsakov, N. Capriccio espagnol, op 34 (1887). Joakim Svenheden, vn; London PO. EMI 5 55227 2 16 Schoenberg, A. Five orchestral pieces, op 16 (1909). Royal Concertgebouw O. Radio Nederland RCO11004 17 Hellmesberger, J. I Ball scene. Vienna PO. Sony 88875174772 5 Tchaikovsky, P. Variations on a rococo theme, op 33 (1876). Truls Mørk, vc; Oslo PO. Virgin VC 7 59325 2 19 Prokofiev, S. Symphony no 5 in B flat, op 100 (1944). Leningrad PO. Chandos CHAN 8576 38 Mariss Jansons, cond (all above) 17:00 HOSANNA Prepared by Meg Matthews Hymns: Lord of the dance; There is a green hill; Tell me the stories of Jesus.

Rupert Gough, org; Choir of Wells Cathedral/Malcolm Archer.

Hyperion CDP 12104 9 Vivaldi, A. Salve Regina, RV616.

Andreas Scholl, ct; Australian Brandenburg O/Paul Dyer.

ABC 466 964-2 16 Telemann, G. Excerpts from Cantata, TWV1:1510: Was gibst du denn, O meine Seele. Klaus Mertens, bass-bar; Academia Daniel/Shalev Ad-El. 7

Bach, C.P.E. Excerpts from St Matthew Passion (1785). Jochen Kupfer, bar; Zelter Ensemble of Berlin SingAcademie/Joshard Daus.

Capriccio 60 113 6 Bach, J.S. Excerpts from Cantata, BWV21: I have many afflictions in my heart (1720). Monika Frimmer, sop; Peter Kooij, bass; Bach Collegium Japan/ Masaaki Suzuki. 11 Hymn: Now the day is over. Choir of Wells Cathedral; Rupert Gough, org; Malcolm Archer, cond. 3 18:00 SOCIETY SPOT Sydney Recorder Society Prepared by Susan Foulcher Boismortier, J. de Trio sonata in E minor, op 37 no 2 (1732). Umbra Lucis Ensemble.

Brilliant Classics 95754 6 Deligiannis, T. A bit unfair (2017).

Seldom Sene.

Brilliant Classics 95956 7 Eyck, J. Doen Daphne d’over schoone Maegt, from Der Fluyten Lust-hof (pub.

1649) Pieter-Jan Belder, rec.

Brilliant Classics 95917 7 Noordt, S. Sonata no 1 in F. Pieter-Jan Belder, rec; Menno van Delft, hpd.

Brilliant Classics 95917 5 Williams, C. Pass to us the cups with which sorrow is forgotten. Alicia Crossley, bass rec; Acacia Quartet.

Move MCD 587 10 Lassus, O. de Domine, quid multiplicati sunt à 12; Decantabat populus à 7.

Musica Fiata/Roland Wilson.

DHM 19075876712 7 Boismortier, J. de Gracieusement, from Sonata in F, op 91 no 1 for recorder and harp (1741). Umbra Lucis Ensemble.

Brilliant Classics 95754 2 19:00 SUNDAY NIGHT CONCERT Prepared by Dan Bickel Rameau, J-P. Overture to Dardanus (1739). Les Talens Lyriques/Christophe Rousset.

L’Oiseau-Lyre 455 293-2 4 Haydn, J. Horn concerto no 1 in D, Hob. VIId:3 (1762). Hermann Baumann, hn; Academy of St Martin in the Fields/Iona Brown.

Philips 422 346-2 16 Beethoven, L. Ballet: The creatures of Prometheus, op 43 (1800-01). Scottish CO/Charles Mackerras.

Hyperion CDA66748 1:03 MARCH 2020

37

Sunday 29 March 20:30 NEW HORIZONS Prepared by Robert Small Kats-Chernin, E. The witching hour (2016). Kees Boersma, db; Timothy Dunin, db; Alex Henery, db; Max McBride, db; Kirsty McCahon, db; Matthew McDonald, db; Robert Nairn, db; Caro Vigilante, db; Australian World O/ Alexander Briger.

ABC 481 6430 25 Edwards, R. Full moon dances (2012).

Amy Dickson, sax; Sydney SO/Miguel Harth-Bedoya.

ABC 481 1703 29 Koehne, G. Suite: Between two worlds (2014). Tasmanian SO/Richard Mills.

ABC 481 1480 27 22:00 JAZZ AFTER HOURS

OPERA DISSECTED

In his continuing series Come to the Opera, Derek Parker leads us through an opera act by act, aria by aria, introducing some of the great operas to those who may not be familiar with them and who may hesitate to attend an opera, or even listen to At the Opera on Fine Music Sydney. In the Wednesday night opera program, full-length operas are broadcast with the action of each act being outlined before the music of that act begins, ensuring that the listener knows the overall story even when sung in a foreign language.

Derek presents the opera differently.

His approach is to play major excerpts from the opera, explaining the action taking place before each aria or chorus. At the end, the listener will have progressed through the whole story without actually having heard the whole opera. This may mean that some lovely music is excluded but the purpose is to ensure an understanding of the opera.

Rigoletto is the opera being discussed on Saturday 21 March at 1pm. This tragic story revolves around the licentious Duke of Mantua, his hunch-backed court jester Rigoletto, and Rigoletto’s beautiful daughter Gilda. Gilda falls in love with the Duke and sacrifices her life to save him from the assassin hired by her father to avenge his daughter’s seduction.

38

MARCH 2020

Monday 30 March 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Robert Small 9:00 DIVERSIONS IN FINE MUSIC A year in retrospect: 1817 Prepared by Chris Blower Giuliani, M. Variations on a theme from Fanchon, op 88 (1817). Ricardo Gallén, gui.

Naxos 8.555284 10 Ries, F. Grand variations on Rule Britannia, op 116 (1817). Christopher Hinterhuber, pf; Royal Liverpool PO/Uwe Grodd.

Naxos 8.570440 16 Rossini, G. Della fortuna istabile ...

Nacqui all’affanno, from La Cenerentola (1817). Julia Lezhneva, sop; Warsaw Chamber Opera Choir; Sinfonia Varsovia/ Marc Minkowski. naïve V 5221 10 Field, J. Nocturnes (1817): no 4 in A; no 6 in F. Míceál O’Rourke, pf.

Chandos CHAN 8719/20 11 Beethoven, L. To the blackbird, from 26 Welsh songs, WoO155 (1817). Julia Hamari, mezz; Andreas Roehn, vn; Georg Donderer, vc; Karl Engel, pf.

DG 480 0385 5 Klingenbrunner, W. 12 Walzes, op 47 (1817). La Simphonie du Marais/Hugo Reyne, fl & dir.

Musiques à la Chabotterie 605007 5 Schubert, F. String trio in B flat, D581 (1817). Members of L’Archibudelli.

Sony SK 53982 21 10:30 CONCERT HALL Prepared by Rita Felton Tchaikovsky, P. Fantasy overture: Romeo and Juliet (1869/70). Willoughby SO/Nicholas Milton.

Fine Music concert recording 18 Haydn, J. Divertimento in A, op 2 no 1.

Australian CO. MBS 2 16 Beethoven, L. Symphony no 6 in F, op 68, Pastoral (1808). New York PO/ Leonard Bernstein.

CBS MK 42222 44 12:00 SWING SESSIONS with John Buchanan 13:00 FROM SWEDEN Prepared by Jacky Ternisien Alfvén, H. Festival overture (1908).

Royal Scottish NO/Niklas Willén.

Naxos 8.553962 5 Aulin, V. Waltz, op 8 no 2. Solveig Funseth, pf.

Swedish Society SCD 1043 3 Berwald, F. Piano concerto in D (1855).

Niklas Sivelöv, pf; Helsingborg SO/Okko Kamu.

Naxos 8.553052 21 Bäck, S-E. Motet: Dessa äro de som komma ur den stora bedrövelsen.

Swedish Radio Choir/Eric Ericson.

Phono Suecia PSCD 10 5 Alfvén, H. Symphonic poem: A legend of The Skerries, op 20 (1904). Royal Scottish NO/Niklas Willén.

Naxos 8.553729 18 14:00 NORWEGIAN FESTIVAL Prepared by Ron Walledge Halvorsen, J. Norwegian festival overture, op 16. Bergen PO/Karsten Andersen.

NKFCD 50013-2 9 Halvorsen, J. Entry march of the Boyars (1893). Bergen PO/Neeme Järvi.

Chandos CHAN 241-44 4 Grieg, E. Piano concerto in A minor, op 16 (1868). Leif Ove Andsnes, pf; Bergen PO/Dmitri Kitaienko.

Virgin 7 59613 2 30 Stravinsky, I. Four Norwegian moods (1942). Bergen PO/Dmitri Kitaienko.

Virgin 5 61322 2 10 Grieg, E. Six lyric pieces, op 65 (1896).

Leif Ove Andsnes, pf; Bergen PO/Dmitri Kitaienko.

Virgin 7 59613 2 24 Halvorsen, J. Bergensiana, Rococo variations on an old melody from Bergen.

Bergen PO/Karsten Andersen.

NKFCD 50013-2 10 Grieg, E. Holberg suite, op 40 (1884/1885). Bergen PO/Ole Kristian Ruud.

BIS CD-1740/42 20 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm 19:00 JAZZ PULSE with Chris Wetherall 20:00 STORMY MONDAY with Austin Harrison and Garth Sundberg 22:00 JAZZ AFTER HOURS

“If anyone has conducted a Beethoven performance, and then doesn’t have to go to an osteopath, then there’s something wrong.”

— Simon Rattle

Tuesday 31 March 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Julie Simonds 9:00 DIVERSIONS IN FINE MUSIC Colours of the keyboard Prepared by Rex Burgess Mattheson, J. Suite in G minor. Attilio Cremonesi, hdp; Alessandro de Marchi, hpd.

Harmonia Mundi HMC 905235 10 Brahms, J. Chaconne in D minor, transcr. for piano left hand from the Partita, BWV1004 by J.S. Bach (pub.1878). Walter Klien, pf.

Praga Digitals PRD 250 316 14 Tchaikovsky, P. Was I not a little blade of grass? op 47 no 7 (1880); Sleep, my poor friend, op 47 no 4 (1880).

Galina Vishnevskaya, sop; Mstislav Rostropovich, pf.

EMI 5 65716 2 11 Sibelius, J. Piano sonata in F, op 12 (1893). Havard Gimse, pf.

Naxos 8.553899 18 Lachrymae, op 48a, Reflections on a song of John Dowland (1950). Justine Marsden, va; Robert Chamberlain, pf.

Fine Music concert recording 14 Galuppi, B. Piano sonata in E flat.

Matteo Napoli, pf.

Naxos 8.572490 12 10:30 CONCERT HALL Prepared by Jacky Ternisien Méhul, É-N. Overture to La chasse du jeune Henri (1797). Gulbenkian Foundation O/Michel Swierczewski.

Nimbus NI 5184/5 11 Mozart, L. Sinfonia in G, New Lambach.

Toronto CO/Kevin Mallon.

Naxos 8.570499 24 Bach, J.S. Keyboard concerto no 1 in D minor, BWV1052. Angela Hewitt, pf; Australian CO/Richard Tognetti.

Hyperion CDA67307 23 Krommer, F. Symphony no 1 op 12 (1798). Swiss Italian O/Howard Griffiths.

CPO CPO555 099-2 24 12:00 JAZZ RHYTHM with Jeannie McInnes 13:00 FOUR SEVENS Prepared by Derek Parker Hummel, J. Septet in D minor for winds, strings and piano, op 74 (1816). Melos Ensemble.

Decca 430 297-2 29

Archduke Rudolph of Austria. Septet in E minor for winds and strings (1830).

Consortium Classicum/Dieter Klöcker.

Orfeo C 182 891 A 33 Saint-Saëns, C. Septet in E flat for trumpet, strings and piano, op 65 (1881).

Paul Archibald, tpt; Marcia Crayford, vn; Jeremy Williams, vn; Roger Chase, va; Christopher van Kampen, vc; Rodney Slatford, db; Ian Brown, pf.

Virgin VC 7 90751-2 18 Weber, J. Septet in E for winds and strings, From my life (1899). Consortium Classicum/Dieter Klöcker.

Orfeo C 182 891 A 32 15:00 A PRAGUE AFFAIR Dvorák, A. Fanfare for the festive opening of the Regional Exhibition in Prague (1891). London Gabrieli Brass Ensemble/Christopher Larkin.

Hyperion CDA66470 2 Smetana, B. Prague carnival (1883).

BBC PO/Gianandrea Noseda.

Chandos CHAN 10413 6 Dvorák, A. Five Prague waltzes (1879).

Russian PO/Dmitry Yablonsky.

Naxos 8.557352 9 Mozart, W. Symphony no 38 in D, K504, Prague (1786). English Sinfonia/Charles Groves.

IMP PCD 892 36 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm 19:00 THE JAZZ BEAT with Lloyd Capps 20:00 RECENT RELEASES 22:00 CHAMBER SOIRÉE Prepared by Rex Burgess Janácek, L. Capriccio for piano left hand and seven wind instruments (1926). Boris Berman, pf; members of the Netherlands Wind Ensemble/Thierry Fischer.

Chandos CHAN 9399 22 Spohr, L. Sonata in A flat, op 115. Klaus Storck, vc; Helga Storck, hp.

LP Telefunken 6.4102 24 Schubert, F. Fantasy in C, D934 (1827).

Adele Anthony, vn; Jonathan Feldman, pf.

Naxos 8.554148 25 Telemann, G. Quartet no 3 in G, from Paris quartets (pub. 1738). Musica ad Rhenum.

Brilliant Classics 94104 22 Charpentier, M-A. Sonata à 8. Ricercar Consort.

Ricercar RIC 037011 18

OPERA TRANSFORMED It’s often been said that Giuseppe Verdi and Giacomo Puccini had the ‘best tunes’ in all opera. Verdi’s Rigoletto and Puccini’s La bohème are two of the most-loved operas of the romantic repertoire, both endowed with wonderful melodies, both imbued with sadness and loss.

On the previous page, we have discussed Rigoletto being presented in Come to the Opera.

On the same day, in Saturday Matinee, we’ll be treated to the ballet version of Puccini’s La bohème. The original opera is one of the great love stories of all time and it is perfect for the romantic and passionate nature of most ballet productions.

In a Parisian bohemian setting, surrounded by a group of good friends, a young couple, Rodolfo and Mimi, fall in love but are parted forever by Mimi’s death. The soaring music expressing their love is some of the most beautiful heard in opera.

Despite its tragic ending with Mimi’s death, this opera is mostly joyous and a perfect vehicle for a ballet with lots of vibrant dancing. It also has tender moments: the first meeting and love scene between Rodolfo and Mimi and a death scene that makes the tears flow. Imagine the joyous laughter in the street scene where Musetta’s Waltz song takes place: café society, milling crowds, street urchins and activity swirling around everywhere with the petulant Musetta trying to get rid of her very attentive aged lover.

In 2004 the West Australian Ballet commissioned Kevin Hocking to arrange the music of the opera into a ballet score. This was a monumental decision; never before had a ballet company undertaken such a project.

Hocking had a long career in music as a pianist, composer and orchestrator, later becoming Music Director at the ABC. Hocking’s La bohème ballet can be heard in the acclaimed recording by the West Australian Symphony Orchestra conducted by Dobbs Franks at 2.30pm on Saturday 21 March.

MARCH 2020

39

The following composers have works of at least five minutes on the March dates listed Abbott, K. b1971 4 Abrahamsen, H. b1952 22 Adam, A. 1803-1856 2 Addinsell, R. 1904-1977 2 Akhunov, S. b1967 22 Albéniz, I. 1860-1909 19,28 Albinoni, T. 1671-1751 26 Albrechtsberger, J. 1736-1809 10 Alfvén, H. 1872-1960 30 Alkan, C-V. 1813-1888 3 Archduke Rudolph of Austria.

1788-1831 31 Arensky, A. 1861-1906 7,26 Arlen, H. 1905-1986 7 Arne, T. 1710-1778 13 Arnold, M. 1921-2006 8 Arriaga, J. 1806-1826 22 Atterberg, K. 1887-1974 26 Aulin, T. 1872-1960 12 Bach, C.P.E. 1714-1788 10,15,16,17,24,29 Bach, J. Christian 1735-1782 8,15 Bach, J.S. 1685-1750 3,5,8,9,13,14,15,19,21,26,29,31 Baguer, C. 1768-1808 22 Balakirev, M. 1837-1910 7 Ball, E. 1903-1989 28 Bantock, G. 1868-1946 17 Barber, S. 1910-1981 12 Bartók, B. 1881-1945 12,20 Barton, W. b1981 4 Bax, A. 1883-1953 5,12,18 Beach, A. 1867-1944 24 Beamish, S. b1956 8 Beck, F. 1734-1809 15 Beethoven, L. 1770-1827 1, 10,11,12,15,16,19,21,25,26,2 7,29,30 Benoit, P. 1839-1901 25 Berlioz, H. 1803-1869 16 Bernstein, L. 1918-1990 6,26 Berwald, F. 1796-1868 12,22,27,30 Biber, H. 1644-1704 21 Bishop, H. 1786-1855 13 Bizet, G. 1838-1875 5,25 Blair, H. 1864-1932 15 Blow, J. 1649-1708 15 Boïeldieu, A. 1775-1834 27 Boismortier, J. de 1689-1755 29 Bolling, C. b1930 11 Bomtempo, J. 1771-1842 10 Bononcini, G. 1670-1747 5 Borodin, A. 1833-1887 5 Bowen, Y. 1884-1961 10 Brade, W. 1560-1630 6 Brahms, J. 1833-1897 3,6,10,13,14,17,23,24,26,27,31 Bridge, F. 1879-1941 6,12 Britten, B. 1913-1976 4,12,19 Brouwer, L. b1939 17 Bruch, M. 1838-1920 11,12,27 Bruckner, A. 1824-1896 5,22 Bush, G. 1920-1998 22 Busoni, F. 1866-1924 14 Campion, T. 1567-1620 6 Cannabich, C. 1731-1798 15

Caplet, A. 1878-1925 26 Carissimi, G. 1605-1674 27 Cartellieri, A. 1772-1807 17,28 Carwithen, D. 1922-2003 13 Casciolini, C. 1697-1760 16 Catoire, G. 1861-1926 15 Chabrier, E. 1841-1894 21,28 Chaminade, C. 1857-1944 10 Charpentier, G. 1860-1956 11 Charpentier, M-A. 1635-1704 8,15,31 Chausson, E. 1855-1899 2,19 Chopin, F. 1810-1849 7,14,17,27,28 Clarke, R. 1886-1979 2 Clementi, M. 1752-1832 8,18 Colista, L. 1629-1680 27 Copland, A. 1900-1990 11,23 Coprario, J. c1575-1626 6 Corelli, A. 1653-1713 27 Cornysh, W. d1523 20 Couperin, F. 1668-1733 28 Curzon, F. 1899-1973 5 Czerny, C. 1791-1857 5,12,22 d’Albert, E. 1864-1932 4 d’Indy, V. 1851-1931 12,15 Daetwyler, J. 1907-1994 13 Dargomyzhsky, A. 1813-1869 26 David, Ferdinand. 1810-1873 12 Davies, P. Maxwell 1934-2016 8,20 Debussy, C. 1862-1918 1,2,4,5,21,22 Deligiannis, T. b1983 29 Delius, F. 1862-1934 9,12,13 Dibdin, C. c1745-1814 13 Dohnányi, E. 1877-1960 3 Dowland, J. c1563-1626 6 Dreyfus, G. b1928 18 Dukas, P. 1865-1935 12,26 Duncan, E. b1956 22 Duparc, H. 1848-1933 15 Dupré, M. 1886-1971 21 Duruflé, M. 1902-1986 1 Duvernoy, F. 1765-1838 5 Dvorák, A. 1841-1904 4,7,9,10,24,31 Dyson, G. 1883-1964 18 Edwards, R. b1943 29 Elgar, E. 1857-1934 6,7,12,25 Enescu, G. 1881-1955 13,16 Eybler, J. 1765-1846 26 Eyck, J. c1590-1687 29 Fábregas, E. b1955 24 Fall, L. 1873-1925 14 Fasch, J. 1688-1758 15 Fauré, G. 1845-1924 1,3,12,24 Ferneyhough, B. b1943 1 Fernström, J. 1897-1961 3 Fesca, F. 1789-1826 4,20 Fibich, Z. 1850-1900 3 Field, J. 1782-1837 26,29,30 Finzi, G. 1901-1956 6 Fletcher, P. 1879-1932 28 Ford, A. b1957 4 Fossa, F. de 1775-1849 22

Françaix, J. 1912-1997 21 Franck, C. 1822-1890 1,7,15 Frederick II. 1712-1786 3 Freitas Branco, L. 1890-1955 20 Gace Brulé. c1160-c1213 20 Gade, N. 1817-1890 15 Galuppi, B. 1706-1785 31 Gibbons, O. 1583-1625 22 Giovacchini, G. 1825-1906 1 Giuliani, M. 1781-1829 30 Glanville-Hicks, P. 1912-1990 19 Glass, P. b1937 1 Glazunov, A. 1865-1936 6,15,17,19,23,25 Glière, R. 1875-1976 2 Glinka, M. 1804-1857 13 Godard, B. 1849-1895 23 Gomes, C. 1836-1896 18 Gossec, F-J. 1734-1829 25 Grainger, P. 1882-1961 15 Granados, E. 1867-1916 21 Greene, M. 1696-1755 22 Grétry, A-E-M. 1741-1813 25 Grieg, E. 1843-1907 4,14,26,30 Grofé, F. 1892-1972 6 Guillaume d’Amiens. fl late 13th c 20 Halvorsen, J. 1864-1935 30 Handel, G. 1685-1759 4,6,21 Harris, C. 1871-1897 18 Harty, H. 1879-1941 8 Hasselmans, A. 1845-1912 25 Haydn, J. 1732-1809 1,6,15,17,18,22,25,27,29,30 Haydn, M. 1737-1806 19 Head, M. 1900-1976 27 Hersch, F. 20th c 14 Herzogenberg, H. 1843-1900 26 Hildegard of Bingen. 10981179 20 Hill, A. 1870-1960 4 Holbrooke, J. 1876-1958 20 Holmboe, V. 1909-1996 12 Holst, G. 1874-1934 24 Honegger, A. 1892-1955 24 Hook, J. 1746-1827 8 Houghton, P. b1954 4 Howells, H. 1892-1983 15,21 Hummel, J. 1778-1837 31 Hurst, M. b1925 14 Hyde, M. 1913-2005 8 Ibert, J. 1890-1962 8,24 Ippolitov-Ivanov, M. 18591935 3 Jacob, G. 1895-1984 12 Jacob, V. 1685-1734 1 Janácek, L. 1854-1928 10,13,31 Jolivet, A. 1905-1974 24 Kabalevsky, D. 1904-1987 25 Kats-Chernin, E. b1957 29 Ketèlbey, A. 1875-1959 3 Koechlin, C. 1867-1950 21

Koehne, G. b1956 29 Kozeluch, L. 1747-1818 1,19 Krommer, F. 1759-1831 24,31 Kuhlau, F. 1786-1832 29 Kuhnau, J. 1660-1722 13 Lambert, C. 1905-1951 4 Larsson, L-E. 1908-1986 26,27 Lassus, O. de c1530-1594 29 Le Roux, G. c 1650-1705 3 Lehár, F. 1870-1948 28 Lekeu, G. 1870-1894 17 Lemmens, J. 1823-1881 25 Linde, H-M. b1930 1 Liszt, F. 1811-1886 9,11,23,27,28 Loewe, C. 1796-1869 23 Loewe, F. 1901-1988 7 Lonati, C. c1645-c1710 27 Lovelock, W. 1899-1986 26 Ma, S. 1912-1987 3 MacDowell, E. 1860-1908 9 MacMillan, J. b1959 8 Maconchy, E. 1907-1994 6 Magnard, A. 1865-1914 23 Mainerio, G. c1535-1582 20 Marsh, J. 1752-1828 29 Martín, J. b1943 24 Martinu, B. 1890-1959 2,27 Massenet, J. 1842-1912 4,26 Mattheson, J. 1681-1764 31 McGuire, E. b1948 8 Meale, R. 1932-2009 7 Medtner, N. 1880-1951 18 Méhul, É-N. 1763-1817 1,31 Melnyk, L. b1948 15 Mendelssohn, F. 1809-1847 1,5,7,9,11,14,17,18,27 Mercury, F. 1946-1991 17 Milhaud, D. 1892-1974 23 Milton, S. b1977 25 Moniuszko, S. 1819-1872 20 Morlock, J. b1969 1 Moroi, S. 1903-1977 15 Moscheles, I. 1794-1870 5,8,23 Mosolov, A. 1900-1973 25 Mozart, L. 1719-1787 16,31 Mozart, W. 1756-1791 1,3,5,7,9, 10,13,14,19,20,22,24,28,29,31 Muffat, G. 1653-1704 17 Muset, C. fl c1200-1250 3 Mussorgsky, M. 1839-1881 9,23 Myaskovsky, N. 1881-1950 22 Nardini, P. 1720-1793 20 Nielsen, C. 1865-1931 12 Novák, V. 1870-1949 5 Paganini, N. 1782-1840 10,24 Panufnik, A. 1914-1991 15 Parry, H. 1848-1918 1 Pärt, A. b1935 21 Pasquini, B. 1637-1710 27 Pavek, J. b1960 15 Pergolesi, G. 1710-1736 20 Piazzolla, A. 1922-1992 14 Pleyel, I. 1757-1831 16,23,29 Polymeneas-Liontiris, A. 20th c 1 Ponce, M. 1882-1948 22

Soler, A. 1729-1783 22 Sor, F. 1778-1839 22 Sousa, J.P. 1854-1932 6,21 Speer, D. 1636-1707 19 Spohr, L. 1784-1859 1,3,6,19,31 Stamitz, J. 1717-1757 16 Stanford, C. Villiers 1852-1924 5,12,18,20 Stenhammar, W. 1871-1927 12 Stradella, A. 1644-1682 27 Quantz, J. 1697-1773 9 Straus, O. 1870-1954 14,28 Quilter, R. 1877-1953 19 Strauss, J. I 1804-1849 2 Strauss, J. II 1825-1899 2 Rachmaninov, S. 1873-1943 Strauss, R. 1864-1949 6,7,13,21,24 2,17,20,28 Raff, J. 1822-1882 18,23,26 Stravinsky, I. 1882-1971 Rameau, J-P. 1683-1764 16 7,9,19,22,24,25,30 Ramirez, A. 1921-2010 22 Suk, J. 1874-1935 10 Rands, B. b1934 22 Sullivan, A. 1842-1900 4 Ravel, M. 1875-1937 Sviridov, G. 1915-1998 4 1,3,5,10,16,24 Sweelinck, J. 1562-1621 24 Ravenscroft, T. c1589-c1633 20 Szymanowski, K. 1882-1937 18 Reger, M. 1873-1916 9 Reicha, A. 1770-1836 15 Tansman, A. 1897-1986 2 Reid, J. 20th c 8 Tarrodi, A. b1981 22 Reinecke, C. 1824-1910 Tartini, G. 1692-1770 20 12,14,16 Tchaikovsky, P. 1840-1893 Respighi, O. 1879-1936 2,21,25,27,28,29,30,31 1,9,13,19,20,28 Tcherepnin, A. 1899-1977 3 Revueltas, S. 1899-1940 28 Telemann, G. 1681-1767 Ries, F. 1784-1838 30 8,10,11,19,29,31 Rigney, S. b1960 13 Thalberg, S. 1812-1871 5 Riisager, K. 1897-1974 6 Theodorakis, M. b1925 24 Rimsky-Korsakov, N. Thomas, J. 1826-1913 25 1844-1908 4,7,8,11,17,29 Thomson, V. 1896-1989 27 Ristori, G. 1692-1753 1 Tubin, E. 1905-1982 7 Rodrigo, J. 1901-1999 26 Rosenmüller, J. c1619-1684 10 Turina, J. 1882-1949 17,28 Rosseter, P. c1568-1623 6 Rossini, G. 1792-1868 Vanhal, J. 1739-1813 12 4,7,20,26,30 Vaughan Williams, R. 1872Rota, N. 1911-1979 4 1958 9,13,29 Roth, A. b1948 13 Verdi, G. 1813-1901 11,20 Roussel, A. 1869-1937 19 Victoria, T. de 1548-1611 8 Rubinstein, A. 1829-1894 14,21 Vierne, L. 1870-1937 15 Ruge, F. c1725-c1767 16 Vieuxtemps, H. 1820-1881 15 Rutter, J. b1945 17 Villa-Lobos, H. 1887-1959 6,15,16,20 Saint-Saëns, C. 1835-1921 Vivaldi, A. 1678-1741 20,27,29 5,11,15,17,27,31 Salieri, A. 1750-1825 16 Wagner, R. 1813-1883 Sarasate, P. de 1844-1908 1 11,20,22,23,29 Scarlatti, A. 1659-1725 3,27 Walmisley, T. 1814-1846 8 Scheidt, S. 1587-1654 1 Walton, W. 1902-1983 6,12,19 Schelle, J. 1648-1701 13 Ward, J. 1571-1638 6 Schmitt, F. 1870-1958 18 Weber, B. 1766-1842 19 Schoenberg, A. 1874-1951 Weber, C.M. 1786-1826 22,29 3,7,24,29 Schubert, F. 1797-1828 1,5,6 Weber, J. 1854-1906 31 ,7,8,9,10,14,17,18,19,24,26,2 Wesley, S. 1766-1837 8,27 8,30,31 Wesley, S.S. 1810-1876 8 Schumann, R. 1810-1856 Whitacre, E. b1970 6 8,11,14,20,21,23 Widor, C-M. 1844-1937 11 Scott, C. 1879-1970 19,21,26 Williams, C. 1893-1978 29 Serebrier, J. b 1938 14 Wirén, D. 1905-1986 2 Servais, A-F. 1807-1866 25 Shostakovich, D. 1906-1975 1 Wölfl, J. 1773-1812 27 Sibelius, J. 1865-1957 1,5,9,31 Wood, Haydn. 1882-1959 14 Smetana, B. 1824-1884 6,10,31 Smith, C. 1932-1987 14 Zelenka, J. 1679-1745 1 Smith, T. b1967 8 Smyth, E. 1858-1944 26 Porpora, N. 1686-1768 20 Potter, C. 1792-1871 8 Poulenc, F. 1899-1963 5,22,24,26 Prokofiev, S. 1891-1953 4,7,17,23,29 Puccini, G. 1858-1924 11,12,21 Purcell, H. 1659-1695 20,28

WOMEN WHO KNOW WHAT THEY WANT ANGELA COCKBURN EXPLORES THE FAMILIAR AND UNFAMILIAR Strong-minded women and girls who know what they want, or think they do, and go after it with mixed results, are the focus of our four operas in March.

We’re starting off with Rossini’s Elizabeth of England, the second of our operas about the Tudors in our historical series. We know a great deal about Elizabeth: she wrote many letters which still exist. Her father, sister and brother wrote letters; foreign ambassadors wrote letters; and everybody else listened to ‘celebrity gossip’ about her. Her longstanding relationship with Robert Dudley, Earl of Leicester, begun when they were both teenage prisoners in the Tower, is very well documented right down to the mysterious death of his unstable first wife, Amy Robsart.

Historians and novelists have speculated about it ever since. Then Dudley contracted a secret marriage with the Queen Elizabeth look-alike Lettice Knollys, and the Queen was furious.

It’s all tailor-made for an opera plot. So, there’s no good reason at all for librettist Giovanni Schmidt to base his story on a romance by Carlo Federici, itself based on a 1783 early Gothic novel, The Recess by Sophia Lee. The result is that Lettice has disappeared, to be replaced by Matilde, a totally spurious daughter of Mary Queen of Scots, who has nothing to do with the opera or the action.

Matilde and her brother (also imaginary) turn up at Elizabeth’s court with a batch of Scottish prisoners. The Queen stages a show-down,

Key Music duration is shown after the record and citation Ch & O: Chorus & Orchestra CO: Chamber Orchestra FO: Festival Orchestra NO: National Orchestra NSO: National Symphony Orchestra PO: Philharmonic Orchestra RO: Radio Orchestra RSO: Radio Symphony

Orchestra RTO: Radio & Television Orchestra RTV SO: Radio and Television Symphony Orchestra SO: Symphony Orchestra TO: Theatre Orchestra alto: male alto ban: bandoneon

bar: baritone bshn: basset horn bass: bass bn: bassoon bass bar: bass baritone cl: clarinet clvd: clavichord cont: contralto cora: cor anglais ct: counter-tenor

db: double bass dbn: double bassoon did: didjeridu elec: electronic 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 sop: soprano tb: trombone ten: tenor timp: timpani tpt: trumpet treb: treble voice va: viola vc: cello vn: violin

António Carlos Gomes

Images: Alamy

publicly offering Leicester marriage, which forces him to admit he’s married already. The lovers are condemned to death, but released after a surprise assassination attempt by the Duke of Norfolk. Matilde gets what she wants, the Queen doesn’t.

There’s some gorgeous music (well, this is Rossini) although a lot of it may seem weirdly familiar. A firm believer in recycling, apparently, he reused the overture from Aureliano in Palmira, which later turns up again as the overture to The barber of Seville, which also uses some other bits of Elizabeth.

(Listen for Una voce poco fà.)

The following week we move on to Puccini’s take on Manon Lescaut, a girl who goes after what she wants to the point of her own destruction. The story had been set twice before, once Jean-Jacques Rousseau, philosopher, writer and

by Auber and again, only nine years composer, 1853, by Maurice Quentin de la Tour before Puccini’s opera, by Massenet.

Famously, Puccini commented: “Massenet and presumably the silver mine, but not her feels it as a Frenchman, with powder and father’s castle which blows up at the end in a minuets. I shall feel it as an Italian, with flurry of stage effects. a desperate passion.” Puccini always did The idea of the ‘noble savage’ is certainly there, like a gritty storyline. A look at the exquisite but historically in the early days of Portuguese costume designs by Adolfo Hohenstein, the colonisation, intermarriage between white Art Nouveau artist who did most of Puccini’s settlers and Indians was actively encouraged to posters, suggests that like Tosca there’s cement alliances, and the dominant language a deliberate positioning of grubby realities used was not Portuguese but based on Tupi. against frippery and beautiful material things. This only changed when gold was discovered Manon is followed by a much less well-known opera by Brazilian Antônio Carlos Gomes, a composer who impressed Verdi. It was the first Brazilian opera to succeed outside Brazil, probably because it was written in Italian, not Portuguese. Gomes had won a scholarship to study in Milan where he wrote his fifth opera Il Guarany which premiered on 19 March 1870 at La Scala, Milan.

The story is set in 16th century Brazil and deals with Cecilia, daughter of the Portuguese nobleman Don Antonio; she loves Pery, chieftain of the Indian tribe of Guarany. The local cannibals have other ideas, and the villain has designs on both Cecilia and her father’s silver mine. There’s some wonderful atmospheric writing, but it’s not very Brazilian. There have been a couple of notable revivals. This one’s from 1996 with Plácido Domingo in the lead role.

Chilean soprano Verónica Villarroel sings Cecilia, a girl who gets her man

and the Portuguese brought in black slaves, followed later by an entire royal court and administration after Napoleon occupied Portugal. Mixed marriages were relegated to romances of the past, like this one.

The final At the Opera for March is a double bill of village comedies, with loose connections to Marie Antoinette, another queen and another woman who, like Manon, had everything she wanted until it all went tragically wrong.

First is Grétry’s The village test, originally the comic subplot to an indifferent three-act opera, performed before Marie Antoinette at Versailles. It’s one of those stories where a girl sets out to make her boyfriend jealous to see what will happen; never really a good idea.

It’s paired with Rousseau’s The village soothsayer, performed at Marie Antoinette’s wedding. Two lovers suspect each other of being unfaithful, and employ the local ‘hedge wizard’ to sort things out. Both stories end happily, of course, unlike the poor Queen.

These four operas can be heard at 8pm on Wednesday nights in March.

MARCH 2020

41

REMEMBERING PETER SCHREIER

MUSICAL FAMILIES

ELAINE SIVERSEN RECALLS AN EXPRESSIVE TENOR

ELIZABETH HILL LOOKS AT TWO GENERATIONS

Known for his ‘balance of vocal elegance and dramatic urgency’ singing German Lieder, oratorio and opera, Peter Schreier was also a conductor. He was particularly renowned for singing the role of the Evangelist in Bach’s St Matthew and St John Passions and it was not unusual for him to continue to do this while conducting a performance.

Peter Schreier, who died in Dresden on Christmas Day at the age of 84, was also praised for his musical insight. Known as one of the most fastidious and expressive of Lieder singers of his generation, it has been said that he had the music of Johann Sebastian Bach ‘flowing in his veins’. From the influence of his early days with his father, a church cantor and organist, through his youth as a chorister in the Dresden Kreuzchor (cathedral choir), Schreier emerged as one of the foremost tenors singing in Bach cantatas and Passions.

In the obituary in The Guardian, Barry Millington referred to Schreier’s less than reverential approach to the Evangelist role in the Passions. “In the St John Passion he could bring the Evangelist’s account of Peter’s guilty anger and indignation, followed by his

Peter Schreier, 1970s

Image: Alamy

bitter weeping to strikingly dramatic life at the disciple’s denial of Christ. He also made the whipping of Jesus sound suitably savage, while the description of the crowd’s shouting out for Barabbas rather than Christ could be delivered with a theatrical shriek.”

Less striking, but no less dramatic, Schreier’s interpretation of Schumann and Schubert Lieder were sublime. He earned gold with recordings of Schubert’s Die schöne Müllerin and Schwanengesang with the pianist András Schiff. His Die Wintereisse, recordings made with Sviatoslav Richter and Schiff, are memorable. The Schumann cycles, Dichterliebe and Liederkreis, and Wolf’s Italienisches Liederbuch, were also outstanding.

In Italy there were few families more influential than the Scarlattis. Alessandro Scarlatti, known as the ‘Italian Orpheus’ by his peers, became the most important opera composer between Monteverdi and Rossini. As founder of the Neapolitan school of opera, he helped establish Naples as a leading operatic centre, composing operas that were an important link between the early Italian Baroque style and the Classical style that would emerge under Mozart 100 years later.

Although Schreier sang in Romantic era operas, his finest roles were in Mozart’s operas.

He was not regarded as a leading opera singer but he brought strong characterisation to all of his opera roles. After the death of the leading Mozart tenor Fritz Wunderlich in 1966, Schreier was acclaimed as a worthy successor to this title.

At 19, Alessandro was appointed Maestro di Capella at the court in Naples, at the same time as his brother Francesco was made first violinist. In 1702, political unrest in Naples prompted Alessandro to move on. He sought work in Florence and Venice and again in Rome. By now his operas were showing advanced melodic development and use of harmony. He established the form of the Italian opera overture (which was a forerunner of the classical symphony) and developed the aria into a form in which the comic or dramatic traits of a character received fuller expression in musical terms. He also ventured into orchestral writing, expanding the concept of the Sinfonia with his 12 Sinfonie di concerto grosso.

Peter Schreier will be remembered for his consummate artistry and expressivity with a superb command of phrasing and textual nuance, most evident in Lieder and oratorio.

His artistry can be heard at 1pm on Monday 9 March.

A TRIBUTE TO MARISS JANSONS DAVID OGILVIE CHARTS A BRILLIANT CAREER panel of music critics, asked by Gramophone in 2008 to rank the best orchestras in the world, picked the Concertgebouw as their first, and the Bavarian Radio Symphony Orchestra as their sixth choice. Mariss Jansons was Chief Conductor of both at the time. The fortunate few who witnessed the Concertgebouw in Australia in 2013 can attest to the warmth, depth and brilliance of its performances.

Many exceptionally talented conductors have fearsome reputations, but throughout his performing life, Mariss Jansons was hailed not only for his incisive and evocative performances of sweeping orchestral works

by Mahler, Tchaikovsky, Rachmaninov and Strauss, but also for his warm-heartedness toward his colleagues and fellow musicians.

Latvian-born Mariss Jansons, frequently awarded the accolade of ‘greatest living conductor’, has died in St Petersburg, Russia, after suffering from a long-term heart condition.

The son of the distinguished conductor Arvid Jansons, the younger Jansons’ glittering career began in 1972, when he became Associate Conductor at the Leningrad Philharmonic, the orchestra which his father had first been invited to conduct 16 years earlier. In 1979, Mariss Jansons became Music Director of the Oslo Philharmonic, at the time something of an also-ran on the European scene. Describing it as ‘a love affair from the first season’, he is widely credited with transforming the orchestra into a truly great ensemble. Appointments 42

MARCH 2020

Mariss Jansons, 2008

Image: Alamy

followed as Principal Guest Conductor of the London Philharmonic Orchestra and, in 1997, Music Director of the Pittsburgh Symphony Orchestra, where he remained until 2004, acclaimed for improving the orchestra’s sound.

After guest conducting other high-profile ensembles (the Vienna Philharmonic at the 1994 Salzburg Festival, and the Chicago and London Symphony Orchestras, to name but a few) he inevitably attracted significant attention. He joined the Bavarian Radio Symphony Orchestra in 2003 and the Concertgebouw of Amsterdam a year later. A

The stories of his campaigning tenacity, attention to detail, and musical knowledge are legendary. After his announcement in 2015 that he would be leaving the Concertgebouw due to deteriorating health, one of the players told The Guardian newspaper: “There is nothing in every score he conducts that he hasn’t read, researched, discussed, thought about and worried about. ... It was a complete and utter privilege to have worked with him and it is even more of a privilege to call him a friend.”

A program to honour Mariss Jansons will be broadcast in Sunday Special at 3pm on 29 March.

In his later life Alessandro returned to Naples, where he had been replaced in royal favour by a younger generation of composers. He went into retirement, giving private lessons, and died there, poor and in debt. Alessandro was not just a prolific composer of over 600 cantatas, more than 100 operas, many oratorios, serenatas, sonatas and other instrumental pieces, he also ensured that his musical genes were passed on to the next generation. Born in 1685, the same year as Bach and Handel, Domenico was the sixth of ten children. He began by following in his father’s footsteps, writing music for the stage and the Vatican. He left Rome in 1719 and went to work for royal families in Lisbon and Madrid, where his duties included the musical education of the royal children, particularly the gifted Portuguese princess Maria Barbara.

When an interviewer asked Itzhak Perlman about his disability (he contracted polio at the age of four), Perlman said it did not affect his performance. “I can’t walk very well, but I’m not on stage to do walking. I’m on the stage to play. People should judge me for what I can do, not for what I can’t do.”

Perlman’s big break came through American television in 1958 when he was 13. Wanting to highlight talent from the new state of Israel, the Ed Sullivan Show held auditions and Perlman was a finalist. Following studies at Juilliard with Ivan Galamian and Dorothy DeLay he won the prestigious Leventritt Competition and his career was launched. Soon recognised as one of the most brilliant violinists of his generation he has played with the great performers of his day, including Barenboim, Zukerman, Du Pré and Ashkenazy.

Domenico Scarlatti

Image: Alamy

Roseingrave, the Irish composer and organist who was to play an active role in disseminating Domenico’s music in England and Ireland, said that Domenico played the harpsichord ‘like ten hundred devils’ and regarded him as exhibiting ‘every degree of perfection to which he thought it possible he should ever arrive’.

Domenico spent the last 28 years of his life at the Spanish court under the patronage of Maria Barbara, now Queen of Spain. His legacy was a new, populist compositional style that would eventually transcend the Late Baroque and become known as the ‘Classical style’.

A dynastic succession in performance, rather than composition, has occurred in more modern times between a father and daughter as we consider the Perlman family.

With no opera in Portugal, his output there comprised almost entirely sacred works, serenatas and keyboard music for teaching purposes. For the next 35 years he improvised and composed over 500 keyboard sonatas in the styles that surrounded him. These sonatas were so influential that Chopin, Brahms, Bartók and Shostakovich cited them as a huge influence and inspiration. Thomas Itzhak Perlman

Perlman’s artistry, his charm and humanity, and his joy for making music has endeared him to audiences for the last 60 years. He has received a host of awards and honours for his contribution to the performing arts in the mainstream media including the Presidential Medal of Freedom and a Grammy Lifetime Achievement Award. In recent years he has turned more to conducting, and devotes considerable time to education, participating in the Perlman Music Program and teaching at Juilliard.

From infancy, Perlman’s children were surrounded by a circle of musicians jokingly known as the ‘Kosher Nostra’. Itzhak’s daughter Navah is comfortable with the expression ‘music brat’ to describe growing up as a child of a classical music superstar but has nevertheless made her own mark as a concert pianist and chamber musician, despite a major setback when she was diagnosed with a rare group of autoimmune diseases, including rheumatoid arthritis. Today she performs to critical acclaim in major concert venues around the world and is an active and respected performer of residency and educational outreach activities, teaching masterclasses and participating in chamber music residency programs.

Image: Alamy

Musical Families will feature the Scarlatti father and son and the Perlman father and daughter at 2pm on Tuesdays 3 and 17 March.

MARCH 2020

43

WHAT’S ON IN MUSIC ENJOY, LEARN, DISCUSS

some of the most sublime music and the silliest plot, while Verdi struggled to transfer Shakespeare from the theatre stage to operas.

Are modern composers better at this? She will invite discussion about your favourite operas and their literary sources: the good, the bad and the downright ugly.

Does Great Literature Make a Good Opera?

Presenter: Mary Jo Capps Sunday 15 March, 2.30pm Fine Music Centre 72-76 Chandos St, St Leonards Bookings: Online only at finemusicsydney. com/ELD Tickets: $20 general or $10 for Fine Music volunteers, subscribing friends and concessions You are invited to stay for light refreshments after the talk.

Presenter Mary Jo Capps AM will survey a number of great operas, from Mozart to the present day, exploring trends in the literature chosen for their libretti. The magic flute has

Mary Jo has held senior management roles in the Australian cultural industry for 40 years, beginning as Manager of the West Australian Symphony Orchestra after leaving her native Canada. She recently stepped down after nearly 20 years as CEO of Musica Viva Australia and is now managing a portfolio of board roles and leadership consultancies.

She was awarded a Member of the Order of Australia in 2019 in recognition of her services to the Arts.

CD REVIEWS DANCING TO THE TREMORS OF TIME Surrealist piano music from Australia’s east coast Michael Kieran Harvey, piano Move MD 3438 HHHH

PRTZL

Chamber works composed by Michael Kieran Harvey Peter Sheridan, flute; Derrick Grice, clarinet; Simon Reade, trumpet, horn; Tara Murphy, violin; Peter Neville, percussion; Vanessa Tomlinson, percussion; Michael Kieran Harvey, piano; Arabella Teniswood-Harvey, piano; Erik Griswold, piano Move MD 3447 HHH

Move Records has produced two new recordings featuring the unique musical voice of Michael Kieran Harvey. Dancing to the tremors of time: Surrealist piano music from Australia’s east coast is a recording of works by seven living Australian composers and PRTZL: Chamber works composed by Michael Kieran Harvey is a double CD of compositions

by Harvey himself.

Both volumes consist of a combination of live and studio recordings, which makes for a few differences in recording ambience across each disc. The live components really bring forth the dynamic energy of Harvey’s performances. For instance, the title track of the first CD, Dancing to the tremors of time by Brendan Colbert is almost 29 minutes of the most virtuosic pianism you will ever hear. The number of notes heard at any one time belies the fact that there is only one performer through a textural journey that takes the listener into Colbert’s musico-emotional translation of James Gleeson’s famous painting of the same name (pictured on the cover of the CD).

Similarly, Harvey’s virtuosity in his Piano sonata no 4 (from PRTZL) defies belief as the listener is pressed by walls of piano sound.

The inspiration for this sonata is the Italian writer and philosopher, Antonio Gramsci, and his struggle against fascism in the period between the wars. Using extended piano techniques at the opening, the sonata’s nearly 25 minutes is a dramatic musical journey that rewards close listening to observe the detail of Harvey’s technical achievement.

Many of the pieces on the PRTZL disc have an overtly political statement at their heart.

44

MARCH 2020

Gestalt climate sees two pianists enact their parts in a way that is analogous to human intervention in the natural world. Tubby the President for baritone horn and piano is an ironical assault on the current US President and Astro Labe, Coeur de Lion is an homage to the Tasmanian DJ who physically assaulted a former Australian Prime Minister. Harvey’s unique sense of humour is obvious but would be even more surprising in live performance.

Similarly, the visual element of PRTZL where the pianist is trapped in a cage of keyboards from which she/he is unable to escape is, it must be said, somewhat lost in a purely audio recording.

Further chamber works include Deus est fabula for violin, clarinet and piano, a tribute to the late keyboard player of Deep Purple, Jon Lord, and Toccata DNA (the only piece not dating from 2018-19, composed 1993) for flute, percussion and piano, which takes the science of genetics and DNA as the starting point for Harvey’s musical exploration.

On Dancing to the tremors of time, Harvey’s contribution to extending the diversity of recorded Australian piano music is clearly visible. From the tinkling textures of Elizabeth Drake’s Rabbit song, to Elliott Gyger’s heartfelt homage to his father in D E G, and in the Piano sonata no 9 by Don Kay, the variety, virtuosity and musicality of Australia’s 21st century piano world is brought to life in vivid performances.

These recordings are not easy listening but will be of great interest to lovers of modern piano music and followers of Australia’s classical music culture in the 21st century.

James Nightingale

THE JOURNEY TO PARADISE ELAINE SIVERSEN CONSIDERS AN ALLEGORICAL WORK performed at its premiere in the Birmingham Town Hall, but was acclaimed in later performances in Germany. Elgar was a major contributor of new choral works to the Three Choirs Festivals centred on the cathedrals of Hereford, Gloucester and Worcester. However, he had difficulty in having this work performed there and in other Anglican cathedrals, where many choral festivals were being held. The Roman Catholic dogma in Newman’s poem was not suitable in these cathedrals so Elgar revised the text for the Three Choirs Festival performances and that text was used until 1910.

One of the great literary works of the centuries is The Divine Comedy by Dante Alighieri. This is an allegorical work depicting the author’s journey through the realms of the dead including his meeting with various souls in the different levels of Purgatory. This doctrine of the Roman Catholic rite for the purification of the soul after death had come to be seen as a fearful terror, rather than a positive state of final purification before entering Paradise.

This remained the case until the English Cardinal John Henry Newman wrote his poem, The Dream of Gerontius, published in 1865.

Newman, formerly an Anglican, had converted to Roman Catholicism. He now expressed his new-found belief in the doctrine of Purgatory by writing about the pious dying man praying while approaching death, his prayers accompanied by angelic and demonic responses. Death comes, and Gerontius re-awakens as a soul preparing for judgement before God. Newman uses the death and judgement as an allegory for the reader to contemplate his or her own fear of death and unworthiness before God. The poem expresses humanity’s desire for

‘and I will come and wake thee on the morrow’ (print pub. 1866) Image: Alamy

healing often through ‘redemptive suffering’, the paramount idea of Purgatory. At the time, it did much to rehabilitate the doctrine.

For the Birmingham Music Festival of 1900, Edward Elgar composed a setting of this poem for soloists, choir and orchestra. It was poorly

Elgar composed many choral works, among them the oratorios The Apostles and The Kingdom, and the lengthy cantatas Scenes from the saga of King Olaf and Caractacus, but none has ever attained the popularity of The dream of Gerontius. The work is regarded as Elgar’s finest choral work and is considered by some to be his crowning masterpiece.

Please enjoy Elgar’s masterpiece in Saturday Matinee on 7 March at 2.30pm.

ART EXPRESSED IN MUSIC ELAINE SIVERSEN HIGHLIGHTS VISUAL INSPIRATION Tales of luxurious living, fierce that the souls of the dead prostitution and gambling are warriors continued to fight in the prevalent in the librettos of many sky as they rose to the Afterlife. operas and are often based on Wilhelm von Kaulbach’s literary works. It is unusual for an painting depicted this event and opera to be inspired by a series of Liszt, ever attracted by a dark canvases depicting such scenes. and dramatic story, transformed Between 1732 and 1734, William this into his 1857 symphonic Hogarth painted eight scenes in poem, The battle of the Huns. the life of Tom Rakewell, the son of An entire period of Granados’ a wealthy country merchant, who compositional life was inspired is drawn into this world in London.

La maja vestida by Francisco Goya Image: Alamy by the paintings of his earlier His spendthrift ways lead him countryman Francisco Goya. to the debtors’ prison and thence to Bedlam. Much of Respighi’s music was inspired One composition is La maja de Goya, roughly The paintings, issued as prints in 1735, were by composers of earlier centuries and by translated as ‘the woman of Goya’ although collectively titled A Rake’s Progress. Around historical events and places. His Botticelli one person has referred to it as ‘the really hot/ 300 years later, Stravinsky was inspired to triptych describes three paintings of the pretty woman of Goya’ because it references write his opera The rake’s progress.

Italian Renaissance master Sandro Botticelli. two other paintings by the artist, La maja Probably the best-known story of inspiration Triptych is a musical title only: Spring, The desnuda and La maja vestida (the naked from art is that of Mussorgsky’s Pictures at an Adoration of the Magi and The Birth of Venus and clothed woman, respectively), the former exhibition. Based on a series of ten paintings do not form a triptych in one place but can be confiscated by the Inquisition in 1813 as being in a posthumous exhibition of about 400 works found in different locations in Florence and obscene. by the composer’s friend, the suite is subtitled A London. remembrance of Viktor Hartmann. As the viewer The Hun armies, led by Attila, fought a savage Inspired by Paintings can be heard at 2.30pm moves from one painting to another, each is battle against the Romans and the Visigoths on Monday 9 March. described as the viewer pauses before it. in 451AD. A legend tells that the battle was so MARCH 2020

45

CD REVIEWS DUALIS I

Yi Lin Jiang, piano Solaris SOL 19011 HHHH

Praised by online guide AllMusic for ‘his virtuosity as well as his sensitivity to moods’, Munich-born Yi Lin Jiang sent his second disc (on his own label Solaris) to Fine Music before its December release. This is the first of two recordings (the second still to come) exploring the ‘opposing elements within the music language’. A Masters graduate of the Hanover University of Music, Theatre and Media, he now teaches there and, as a Young Steinway artist, he is much in demand to play on the concert circuit and at festivals. Süddeutsche Zeitung comments on his ‘tremendous musicality and enthralling depth of expression’.

The leading track is a premiere performance of a work, Simplexity no 1, a commission from Randall Meyers: a brilliant work of contrasts varying between introspection and explosive statements. Another unusual piece is Janácek’s oddly-named sonata, 1.x.1905.

STUART GREENBAUM: THE FINAL HOUR John Stanton, narrator; studio orchestra Lyrebird LB051218 HHHH

Stuart Greenbaum is Professor and Head of Composition at the Melbourne Conservatorium of Music. He has written works in genres ranging from sonata to opera, but with The final hour he has engaged with the idea of the concept album beloved by ‘progressive rock’ musicians of the 1970s. The concept in Greenbaum’s composition is an examination of the ‘perception of the passing of time’, and how we value it, in our hectic 21st century lives.

It is communicated through a combination of words and music, and a structure which is determined by the Fibonacci series on both macro and micro levels.

The text is a 500-word poem by Greenbaum’s long-time collaborator Ross Baglin and is narrated by John Stanton: it doesn’t reveal its concerns readily, being deliberately segmented and fragmented, but the narrator’s

SIMON VINCENT’S THE OCCASIONAL TRIO Live in Berlin Vision of Sound VOSCD-005 HHH½

Perhaps United Kingdom pianist and composer Simon Vincent’s greatest musical influence is Karlheinz Stockhausen. Indeed, he received a postcard reminder from the influential German composer to ‘balance your music’. Vincent certainly adheres to this, especially in terms of the variety of projects in which he immerses himself. Fascinated by stereophonic sound from an early age, in this recording he returns to his conventional jazz trio setting across two Schlot Club Berlin dates late in 2018 and April 2019.

Brubeck is a hero and Vincent’s other settings include 2017’s solo Stations of the Cross meditations, electro-acoustic commissions, the EMW Experimental Orchestra and more.

These original pieces are peppered with as much variety as one could fit into 11 tracks across two concerts. There are periods of

46

MARCH 2020

BALANCING A CAREER WITH VOLUNTEERING Commonly known as From the street, 1st October 1905, he wrote it at a time of deep personal tragedy and it alternates between ‘emotional screaming and surrendering loneliness’.

Two other works are more conventional.

Prokofiev’s Piano sonata no 4 in C minor, op 29 (being in the minor key) reinforces the mood of the Janácek sonata. However, Ravel’s Suite from Mother Goose lightens the mood. This version is the rarely-performed version for solo piano transcribed from the original work for piano duet.

All are played with flair and brilliance, but also with sensitivity, by Yi Lin Jiang reinforcing the comments of many respected reviewers.

Expect to hear more from this pianist.

Elaine Siversen voice is pleasingly resonant and elegiac.

The music synthesises classical and popular instruments, both acoustic and electric, and both played and programmed. Of particular note are the nostalgic moods evoked by oboe and violin, and a lengthy fretless electric bass solo described by the composer as ‘an oasis in the middle of a barren or frozen landscape’.

The work also incorporates a range of sound effects in a manner reminiscent of Pink Floyd’s Dark side of the moon, with operating theatre blips, typewriters, cars and trains and more all contributing to the sense of time passing.

The CD includes a copy of the text, and Greenbaum’s website includes an illuminating article by him on the genesis and the structure of The final hour.

PAUL COOKE TALKS TO KATY ROGERS-DAVIES For some, the phrase ‘magic moments’ will conjure up memories of the 1950s Bacharach and David song made famous by Perry Como.

Fine Music listeners, however, will be familiar with the series of segments where volunteers talk briefly about music that is special to them.

It was hearing one of these one morning in 2015 that prompted Katy Rogers-Davies to get in touch with Fine Music and ask about volunteering opportunities.

‘binge-listening’ to various genres. It may be piano music by Debussy, Chopin and Ravel; British indie and rock bands; the symphonies of Beethoven and Brahms; or disco. As she says: “I’ll listen to anything!”

Katy is from the United Kingdom and arrived in Sydney not long after completing a music degree. At the time she became a volunteer, she was working as a waitress and missing musical life. Since then she has been involved in both programming and presenting music at Fine Music and loves ‘the fact that programming introduces you to so much music you’ve never heard before and it’s great when you stumble upon hidden gems!’. She is a member of the Programming Committee, and has written articles for the magazine.

a lot that goes on behind the scenes in order to keep the station running smoothly, and it’s fascinating to have some insight into the many different facets of the station.” As the youngest member of the Board, and in 2019 the only female member, her perspective and input on issues has been very valuable.

Katy also grasped the opportunity when it arose to join the Board of Directors: “There’s

Like many volunteers, Katy has wide-ranging musical tastes and goes through periods of

Katy studied piano at university and still plays and teaches piano. She also works as the Marketing and Communications Manager for the Australian Youth Orchestra, a not-forprofit organisation training Australia’s finest young musicians. She was involved in their 2019 tour to Europe and China (together with their homecoming performance at the Sydney Opera House in August) and their annual National Music Camp, held this year in Adelaide. Katy has gained technical experience in voice recording and sound editing at Fine Music, and has employed these skills in making clips for online use by the AYO. In the early stages of her career, Katy’s duties with the AYO are time-consuming but, like many other young volunteers in demanding occupations, she still makes an enthusiastic and meaningful contribution to Fine Music.

PERSONNEL MUSIC BROADCASTING SOCIETY OF NEW SOUTH WALES CO-OPERATIVE LTD, registered under the Co-operatives Act 1992 (NSW); owner and operator of Australia’s first community-operated stereo FM station, 2MBS-FM now known as Fine Music Sydney; annual membership fee is $33 and members are entitled to vote at Society general meetings. Enquiries: admin@finemusicfm.com VOLUNTEERS Fine Music Sydney is run by volunteers supported by a small team of staff. To find out how to join our volunteers, visit finemusicsydney.com or call 9439 4777.

DIRECTORS Chair: David James; Deputy Chair: Christopher Waterhouse; Secretary: Katy Rogers-Davies; Roger Doyle, Robert Gilchrist, Jayson McBride, Susan Ping Kee, Peter Poole Appointed directors: David Jacobs, Peter Stavrianos

Paul Cooke

COMMITTEE CHAIRS Management: Rebecca Beare; Programming: James Nightingale; Presenters: Michael Field; Jazz: Barry O’Sullivan; Technical: Peter Bell; Library: Rex Burgess; Volunteers: Cynthia Kaye; Finance: Peter Poole; Work Health and Safety: Angela Cockburn; Emerging Artists: Rebecca Beare

Cecil Taylor-like freedom, swinging blues, hard bop blues, a ballad and a waltz for good measure. The recording retains the small but enthusiastic audience reactions which adds to the energy of the trio that includes Roland Fidezius (bass) and newcomer Kay Lübke (drums).

PROGRAMMERS AND PRESENTERS FOR MARCH Rodrigo Azaola, Charles Barton, Peter Bell, Nena Beretin, Dan Bickel, Chris Blower, Adam Bowen, David Brett, John Buchanan, Andrew Bukenya, Rex Burgess, Janine Burrus, Lloyd Capps, Vince Carnovale, Lynn Chong, Adam Cockburn, Angela Cockburn, Liam Collins, Paul Cooke, Marc Cottee, Di Cox, George Cruickshank, Nick Dan, Jackson Day, Jarrod Dolan, Nev Dorrington, Annabelle Drumm, Brian Drummond, Andrew Dziedzic, Melissa Evans, Rita Felton, Michael Field, Owen Fisher, Jennifer Foong, Tom Forrester-Paton, Susan Foulcher, Carole Garland, David Garrett, Robert Gilchrist, Nicky Gluch, Joe Goddard, Albert Gormley, Jeremy Hall, Austin Harrison, Celeste Haworth, Ross Hayes, Gerald Holder, Paul Hopwood, James Hunter, Leita Hutchings, Anne Irish, Sue Jowell, Peter Kurti, Ray Lemond, Ray Levis, Krystal Li, Anne-Louise Luccarini, Christina Macguinness, Lachlan Mahoney, Linda Marr, Meg Matthews, Stephen Matthews, Sue McCreadie, Neil McEwan, Jeannie McInnes, Terry McMullen, Maureen Meers, Camille Mercep, Heather Middleton, Simon Moore, Frank Morrison, Michael Morton-Evans, Richard Munge, Gerry Myerson, James Nightingale, Felicity Nop, David Ogilvie, Barry O’Sullivan, Calogero Panvino, Andrew Parker, Derek Parker, Aaron Peng, Keith Pettigrew, Anabela Pina, Andrew Piper, Peter Poole, Frank Presley, Karoline Ren, Mark Renton, Katy Rogers-Davies, Paul Roper, Marilyn Schock, Debbie Scholem, Julie Simonds, Elaine Siversen, Robert Small, Garth Sundberg, Jacky Ternisien, Anna Tranter, Robert Vale, Richard Verco, Ron Walledge, Brianna Wassell, Christopher Waterhouse, Chris Wetherall, Stephen Wilson, Glenn Winfield, Chris Winner, Orli Zahava, Tom Zelinka, Iris Zeng

The highlight is a piece written by the Trio when it included drummer Rudi Fischerlehner.

Well, you shouldn’t is more than a ‘tip of the hat’ to Monk. It opens with a Lübke drum solo that slots into a delicious groove prior to the entry of Fidezius, followed by Vincent.

The dynamic trio proceeds to swing heavily around Vincent’s thundering block chords.

The unleashed spontaneity could not be more pronounced than when Lübke chooses a tambourine in the final Portsmouth blue.

Frank Presley

PROGRAM SUBEDITORS Jan Akers, Chris Blower, Maureen Chaffey, Di Cox, Noelene Guillemot, Elaine Siversen, Jill Wagstaff, Teresa White LIBRARIANS Jan Akers, Rex Burgess, Maureen Chaffey, John Clayton, Di Cox, Helen Dignan, Lynden Dziedzic, Peter Goldner, David Hilton, Dawn Jackson, Michael Marchbank, Phillip McGarn, Judy Miller, Rachel Miller, Helen Milthorpe, Susan Ping Kee, Mark Renton, Gary Russ, Daria Sosna, Jacky Ternisien, Andrew Treloar, Ricky Yu STATION OPERATIONS Transmitter: Max Benyon, John Shenstone; Studio operations: Roger Doyle, Robert Tregea; Live broadcasts and recordings: Jayson McBride; IT: Alice Roberts; Digitisation: John Xuereb STAFF General Manager: Rebecca Beare; Office Manager: Sharon Sullivan; Community Engagement Manager: Mona Omar; Studio and Production Manager: Joe Goddard; Executive Assistant: Eddie Bernasconi; Digital Content Producer: Lyndon Pike MARCH 2020

47

FINE MUSIC PATRONS Fine Music Honour Roll (Bequest Received 2009-2019) Dr Alison Burrell, Mr Keith John Cosack, Mr Paul de Leuil, Ms Jean Priscilla Deck, Mr Colin Enderby, Ms Rose Gibb, Mr David Henry James, Mr Leslie Kovacs, Mr Stefan Kruger, Mrs Myra Christina Polson, Mr Michael Patrick Sheehan, Mr Charles Herbert Stokes, Mr Ronald Tinslay, Mrs Rose Varga, Mrs Norma Walledge, Mr Ken Weatherley, Mr Colin Webb, Mr Barry Willoughby, Mr John Albert Wright

Fine Music Guardians (Known Future Bequests) Mr Geoffrey Anderson, Mr David Bell, Mr David Brett, Mrs Halina Brett, Mr Rex Burgess, Mr Lloyd Capps, Ms Marilyn Endlein, Mr Robin Gandevia, Mr Bruce Graham, Mr James Hunter, Mr David James, Ms Maureen Meers, Mr Glenn Morrison, Mr Desmond Mulholland, Mr Derek Parker, Dr Neil Radford, Mr Gregory Sachs, Ms Elaine Siversen, Mr Bruce Smith, Mr Anthony Tenney, Mr Ron Walledge

Titanium Patrons ($50,000 and above) Mr Max Benyon OAM, Mr Roger Doyle, Dr Jennifer Foong, Anonymous 1

Platinum Patrons ($25,000 – $49,999) Mr Michael Ahrens, Family Frank Foundation, Prof Clive Kessler, Garrett Riggleman Trust, Mr Ron Walledge, Mr Cameron Williams, Anonymous 2

Diamond Patrons ($10,000 – $24,999) Mr Robert Albert, Mr J D O Burns, Mr Bernard Coles QC, Mrs Dorothy Curtis, Ms Jill Hickson Wran, Dr Janice Hirshorn, Mr Peter & Dr Linda Kurti, Mrs Patricia McAlary, Mr John Selby, Anonymous 4

Ruby Patrons ($5,000 – $9,999) Mrs Barbara Brady, Mr David Brett, Ms Janine Burrus, Mr Lloyd Capps, Mrs Mary Jo Capps AM, Justice David Davies SC, Mr Francis Frank, Mr Ian & Mrs Pam McGaw, Ms Jeannie McInnes, Mrs Judith McKernan, Ms Nola Nettheim, Dr William Poate, Mr Anthony C Strachan, Mr Stephen and Mrs Therese Wilson, Anonymous 5

Emerald Patrons ($2,500 – $4,999)

NOT E S FROM T HE E DI TOR

Mrs Halina Brett, Mrs Lorna Carr, Mrs Margaret Epps, Prof Michael Field AM, Prof Christine Furedy, Mr Heinz Gager, Mrs Freda Hugenberger,

48

This edition of Fine Music magazine marks the end of my time as Editor. It was briefly announced in the General Manager’s editorial in the January edition that the magazine was transitioning to an online publication.

There will no longer be a volunteer Editor but a newly-employed staff member to oversee the online activities of Fine Music Sydney, including the magazine.

The first edition of the magazine that I produced as Editor was in May 2017, two years and 11 months ago. With help from my team of volunteers and the Programming Committee, we have returned the magazine to a focus on our broadcasting, on our youth programs and on the volunteers who keep this radio station running in every aspect of its operation. All work on the magazine

MARCH 2020

Dr Peter Ingle, Ms Sue Jowell, Mr Ian Juniper, Mr D & Mrs R Keech, Mr Ray McDonald, Ms Maureen Meers, Dr Andrew Mitterdorfer, Mr Trevor Parkin, Mr Jude Rushbrooke, Mr Richard Thompson, Ms Wendy Trevor-Jones, Hon Anthony Whealy QC, Mr Richard Wilkins, Yim Family Foundation, Anonymous 7

Gold Patrons ($1,000 – $2,499) Ms Jan Bowen AM, Mrs Di Cox, Dr Carolyn Currie, Mr David Jacobs, Mrs Barbara Johnson, Mr Reginald John Lamble AO, John Mitchell, Mr Verdon Morcom, Ms Catherine Ruff, Mr Iain Thompson, Ms Caroline Wilkinson, Anonymous 4

Silver Patrons ($500 – $999) Mr Claus Blunck, Mr Colin Boston, Mr Robert Clark, Wendy Cobcroft, Mrs T Cox, Mr David Cummins OAM, Ms Prudence Davenport, Prof C E Deer AM, Mr Ian de Jersey, Mr John Fairfax AO, Dr David Gorman, Mr Paul Hopwood, Ms Georgina Horton, R & M Juchau, Dr Peter Lindberg, Mrs Meryll Macarthur, Mr M F Madigan, Mr Michael MortonEvans OAM, Mr Julius Opit, Mr Andrew Patterson, Ms Susan Ping Kee, Dr Neil Radford, Mr J A Roberts, Mr John Stevenson, Mr Larry Turner, Dr Paul Wormell, Anonymous 20

Bronze Patrons ($250 – $499) Ms Jacqui Axford, Ms Lily Bao, Ms Jane Barnes, Dr Helen Bashir, Mr Don Bennett, Mr Colin Boston, Mr David Branscomb, Mr Barrie Brockwell, Mrs Alexandra Buchner, Mr Ron Burgess, Dr Rhonda Buskell, Ms Mary Choate, Mr Dom Cottam & Ms Kanako Imamura, Hon J R Dunford QC, Ms Dorothy Dunn, In Memory of David W Allen, Ms Elizabeth Evatt, Mrs Margaret Gibson, Mr Robert Gilchrist, Mrs Jocelyn Hackett, Mr Les Hay, Prof Wendy Hu, Mr Paul Jackson, Mr Bill and Mrs Eva Johnstone, Mr Darren Jones, Mrs Pamela Kenny, Mr Robert King, Hon David Kirby QC, Mr Nicholas Korner, Mr Philip Levy, Jennifer Lewis, Mr Geoffery Magney, Mrs Robyn Manoy, Dr Jim Masselos, Mr Stephen Matthews, Ms Kerrin McCormack, Mrs Shirley Ann McEwin, Mr Simon Moore, Ms Ursula Mooser, Ms C M Pender, Mr Peter Poole, Hon James Poulos QC, Mr Mike Price, Mr Gwynn Roberts, Mrs Zvjezdana Skopelja, Ms Mei Wah So, Mrs Ruth Staples, Ms Kathryn Tiffen, Mr Peter van Raalte, Mr Kevin Vaughan, Miss Rachel Westwood, Mr Alastair Wilson, Walkerville Pty Ltd, Anonymous 35

has been contributed by volunteers without remuneration. The only exception has been a token payment to our graphic designer who has put in many more unpaid hours in order to ensure the highest quality. We are particularly proud of our coverage of the station’s 45th anniversary.

Fine Music magazine will continue to provide articles about special programs and classical CD reviews (as they come to hand) but the production of the magazine will be under the control of the General Manager and Fine Music Sydney staff.

The dedication and wonderful cooperation that I have received from our volunteer writers, sub-editors and those providing or sourcing images has been outstanding. This has made it a joy for me to produce this magazine and I thank everyone who has contributed over that period of time. I also thank all of those who have sent messages of congratulations on our work.

Elaine

BOOK THE FINE MUSIC CENTRE FOR YOUR NEXT EVENT.

Visit finemusicsydney.com/FMC for details

Perform in

SYDNEY EISTEDDFOD 2020

M A Y- S E P

INSTRUMENTAL SCHOLARSHIP (16-25 Yrs) Total Prize Value: $13,000 PIANO SCHOLARSHIP (16-26 Yrs) Total Prize Value: $13,500 NEW! JUNIOR PIANO SCHOLARSHIP (11-15 Yrs) Total Prize Value: $5,900 OPERA SCHOLARSHIP (35/ U) Total Prize Value: $61,000 SOLOS AND DUETS FOR STRINGS, WOODWIND AND BRASS INSTRUMENTAL GROUPS Orchestras Concert, Jazz and Stage Bands String Ensembles School Chamber Percussion Ensembles CLASSICAL SINGING CHOIRS PIANO

Sydney Eisteddfod offers performance opportunities, prizes and scholarships exceeding the value of $400,000.

Enter online now*

For a full list of events and conditions visit sydneyeisteddfod.com.au

+61 2 9261 8366 #sydneyeisteddfod *Entries close 13 March. Late fees apply, space permitting.

Sydney Eisteddfod, in partnership with Fine Music Sydney, will select two ďŹ nalists of each major senior scholarship above to compete in the 2020 Young Virtuoso State Finals