Fine Music Magazine - February 2020

FEBRUARY 2020

45TH ANNIVERSARY The Celebrations Continue

SIGNIFICANT EVENTS

45TH

Vivaldi’s La verità in cimento 300 Ferdinando Carulli 300 Giuseppe Tartini 250 Anton Reicha 250 Henri Vieuxtemps 200 Leopold Godowsky 150 Milhaud’s Le boeuf sur le toit 100

The ‘legend’ for names in these photos can be obtained from our website www.finemusicsydney.com

Contents

VOL 47 No 2

2 Fine Music Sydney Unveiled 3 A Vision Fulfilled 4 Stereo FM Radio 2MBS/Fine Music Virtuosi 5 Another Early 2MBS-FM Initiative Memories of Day One 6 The Genesis of a Program 7 Eminent Virtuoso, Eminent Composer 9 Program Guide and Composer List 39 Consecutive Lives, Two Eras 40 The Rise of Guitaromanie ‘Climbing Everest without Oxygen’ 41 From Venetian Canals to the Sea 42 Paris in the 1920s Four Brilliant Concertos 43 Musical Families 44 What’s On in Music 45 Celebrating a Musical Pioneer A Tribute to Raymond Leppard 46 CD Reviews 47 A Founder of Fine Music: Charles Barton 48 Notes from the Editor

FROM the CHAIR This month, we not only celebrate the official opening of 2MBS-FM 45 years ago but we reveal our rebranding in line with the expectations of our audience. For too long we have promoted ourselves as ‘FM’ with a lesser regard for the other delivery channels: digital (DAB+) and streaming.

We are now Fine Music Sydney and our name encompasses all the delivery platforms available to us as well as identifying the station’s geographical source.

We almost invented FM. Well, we launched it in Australia and other stations followed suit. The commercial sector originally thought that no one would listen to it because ‘everything you ever wanted is on AM’.

The ABC experimented back in the 60s but no one listened because no one knew it was there. It took a ‘mob called the Music Broadcasting Society’ to come along and change it. And change it we did!

We had broken new ground for a few weeks when the station opened officially on 1 February 1975. You’ll notice a selection of special ‘anniversary’ programs this month, particularly those recorded by our volunteer sound engineers.

We are also beginning our quest to enable more information to be provided electronically about the station and our programs. Our volunteers are beavering behind the scenes to make Fine Music Magazine information available on subscribers’ smart devices. Over the next few months you will notice changes and the ability, soon, to access more information.

Please tell your friends about Fine Music Sydney. They’ll be rewarded with music presented by knowledgeable music lovers for less than 30c a day and not just dished out from a computer server. There are other rewards, too: they’ll be helping to maintain an independent music service.

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: Chris Blower, Paul Cooke, Robert Gilchrist, Nicky Gluch, Andrew Grahame, David James, Michael Morton-Evans, James Nightingale, David Ogilvie, Mona Omar, Derek Parker, Catherine Peake, Frank Presley, Elaine Siversen, John Xuereb 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, Charles Barton, Andrew Grahame, Fine Music archives, Peter Hislop, John Maizels, Gerry Myerson, Nicholas Parle, Emma Runcie, Shutterstock, Julie Simonds, John Xuereb 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: 2MBS-FM Founders Photo: Elizabeth Barton (2016) Standing: Colin Wrightson, David James, Max Benyon, Charles Barton, Trevor Jarvie, Grahame Wilson, Doug Keech Seated: David Rumsey, Howard Cocks

David James Chair, Fine Music Sydney 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 FEBRUARY 2020

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FINE MUSIC SYDNEY UNVEILED

A VISION FULFILLED

MONA OMAR GIVES AN OVERVIEW OF THE CHANGE

ELAINE SIVERSEN CONTINUES THE STORY

into this potential audience was a clear goal in the redesign.

In his play The Mourning Bride William Congreve wrote: “Music hath charms to soothe a savage breast.” This was certainly the outcome in the Biblical story when David played his lyre to King Saul.

The use of the lyre in design for music-related activities has always been very popular because the lyre has been associated with music since ancient times. In the ancient myths, the god Apollo played the lyre and presided over all Mousike (the art of the Muses) and was the chorus leader of the Muses in their celebrations. Just as David played his lyre and sang to calm the raging King Saul, the poet and musician Orpheus, son of Apollo, played his lyre to calm the Furies when he went into Hades to rescue Eurydice.

The design of the original 1972 2MBS-FM logo consisted simply of an image of a lyre, a stringed instrument. In 1974, the call sign, 2MBS-FM, was added.

The logo design was commissioned by founding member Trevor Jarvie after it was decided that a logo was needed for placement on the transmitters/exciters that were to be used at upcoming Hi-Fi shows around Sydney. As luck would have it, Trevor didn’t need to look far for a designer; Valli Moffatt, his landlady at the time, was a skilled graphic designer. Valli’s original design received some minor tweaks over the years; some updated versions featured the addition of the station frequency, 102.5 FM, while others introduced colour and featured the taglines ‘Sydney’s Fine Music Station’ and ‘Sydney’s Fine Music Broadcaster’.

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FEBRUARY 2020

These minor tweaks were the only apparent changes for 38 years, until a rebrand in 2012 saw the station change identity from 2MBS-FM to Fine Music 102.5, a name that encompassed the classical music, jazz and other genres broadcast by the station.

The rebrand was in response to survey data that showed the 2MBS-FM listening audience was much younger than predicted; more than 40 per cent of 2MBS-FM listeners at that time were aged between 25 and 39. David Brett, Chair at the time of the rebrand said: “We’d like listeners to get to know our station, volunteers and presenters on a personal level, which means we need to challenge our previous identity and become more interactive so that we can play a greater role in the lives of listeners.”

Audience research had also shown that listeners were confused with other radio stations and music genres.

2MBS-FM’s title indicated nothing about the station’s broadcasting, resulting in listeners interested in fine music being unaware of the station and the different genres of music that it had to offer. It lacked the name recognition of the ABC and lack of finance meant that it was difficult to turn this around through a marketing strategy. Tapping

The introduction of the new identity and logo on 1 July 2012 was overseen by PR company PPR. Several designs were presented to a meeting of the Board of Directors and two long-serving volunteers.

They rejected several designs including ‘My Fine Music’, a term very prevalent at the time, and chose a design that better reflects the quality of this radio station. Defined as fresh, refined and chic, it was felt to be capable of attracting a larger percentage of listeners. The new logo design consisted of only words: the station name, Fine Music, and frequency, 102.5 FM, written in the colours blue and orange.

The Fine Music 102.5 logo on signage, the magazine and online outreach began to echo the station’s dynamics and to attract a larger number of listeners by offering a more succinct brand that has turned a diminishing audience into a growing community.

Almost eight years later, the time for change has come again; however, this time the change is very minor but it recognises the advance of the digital age and the various media through which the Fine Music broadcasts now reach listeners.

From 1 February 2020, Fine Music 102.5 will be known as Fine Music Sydney, a return perhaps to the tagline of those early years.

The new Fine Music Sydney logo will see the frequency 102.5 FM replaced with the word Sydney. Although the design of the logo has changed slightly, the overall effect, including the font and colour scheme, remain unchanged.

The founders of 2MBS/Fine Music rightly acknowledge Trevor Jarvie as the driving force in the founding of this station. It was he, with his persuasive personality, who drew in so many of the early volunteers who filled and developed the roles needed for setting up and operating this new and exciting venture. Until now, in these pages, we have not mentioned the role of Professor Neil Runcie, first Chairman of the Music Broadcasting Society of New South Wales Co-Operative Limited.

I have recently listened to an interview with Neil Runcie recorded on cassette in 2004 and, through this, learned more about his role in the founding of the station. His interest in FM broadcasting began while he was conducting research in London (in the field of economics) and found that it was conducive to his work to listen to classical music from the BBC. He realised that Australian broadcasting was not of the same high standard as that of the BBC already broadcasting in the FM band.

Neil and fellow academics, Murray Low and David Menzies, began gathering evidence in favour of very high frequency modulation (VHF) for FM broadcasting in Australia but, by the time they returned to Sydney in 1970, the Federal Government had already decided that FM broadcasting would be in the ultra-high frequency range (UHF).

As a result, Neil and his colleagues founded a Listeners Society which had three objectives: to aim for higher standards in broadcasting; to try to get FM on the VHF band introduced into Australia; to edit a publication similar to the BBC’s The Listener.

Over a period of several years, Neil helped to establish, and also managed, a credit union at the university (giving him valuable experience in running a co-operative) and he became involved in a number of resident action groups opposing aspects of government planning (a useful exercise in working with volunteers). It also instilled in him a deep belief in community self-help.

Kevin Jones

station and FM stereo broadcaster has been most encouraging. Enthusiastic listeners, helpers, donors and even kindly critics have nurtured this important community advance in an area where Australia has tended to lag behind the rest of the world.

Professor Neil Runcie

Photo Emma Runcie

In a different sphere, Trevor Jarvie, at the time a university physics student, was also working towards the introduction of FM radio. A Music Broadcasting Society had already been set up in Melbourne and Trevor wished to do the same in Sydney. Neil and Trevor joined forces to form the Music Broadcasting Society of New South Wales Co-operative Limited.

At first only two or three people attended meetings but sometimes there were as many as six. Trevor suggested that Neil should become the Chairman but Neil declined and instead became Director of Research. The Society operated without a Chair until our broadcasting licence was approved for an FM station in the VHF band. Neil then took on the chairmanship. David James and Max Benyon have already written (in December) about the representations made by Trevor Jarvie, Michael Law and Max himself to a Committee that influenced the Government’s decision to use the VHF band for FM broadcasting.

In the first Stereo FM Radio publication issued to subscribers in February 1975, we find Neil Runcie’s first Chairman’s Message in which he wrote: “Response to the launching of Australia’s first community broadcasting

Laurel Merritt, George Dubiel-Smith, Vicki Brooke

“Right now, 2MBS-FM is in the vanguard of the movement to raise standards in Australian radio and to realise more fully radio’s potential for meeting community needs. Our station aims to play its part by providing high-quality sound broadcasting of music suitable for serious listening, by encouraging participation in operations including programming, [and] by supporting Australian musical life.”

He also gave credit to those in the community who had subscribed to support the new FM station: “In mid-January 1975, just five weeks after our test broadcasts began, over 650 people had become subscribers. The Music Broadcasting Society of New South Wales Cooperative Limited is pioneering subscription radio in Australia … the more subscribers, the better our service can become.”

In July 2012, 2MBS-FM 102.5 became Fine Music 102.5 and this month we move to a new name, Fine Music Sydney, which better reflects the wider range of media receiving our transmission. Concluding his Chairman’s Message of February 1975, Neil Runcie wrote: “This milestone in Australian broadcasting will be celebrated in an official opening planned for February 1-2, 1975. It has been reached by the co-operation and sacrifice of our extraordinary team of talented people, and on behalf of the serious music listeners of Australia, and especially of Sydney, I would like to extend heartfelt thanks.”

We, at Fine Music Sydney, also wish to thank everyone who has supported us during the last 45 years, whether it be financially or through volunteer work. We look forward to many more years of broadcasting fine music.

John Medhurst FEBRUARY 2020

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STEREO FM RADIO THE MAGAZINE BEFORE COMPUTERS AND EMAIL On 1 February 1975 more than 650 subscribers were able to turn the pages of the first edition of Stereo FM Radio, the magazine that listed the works to be played on each day of the month. On that day the subscribers knew exactly which pieces of music were to be played, enabling them to make their listening choices according to their musical tastes and the time available to them.

They could also read articles about the music. That first Stereo FM Radio featured Trevor Jarvie on the cover. It was Trevor who, with vision and determination, was the driving force in gathering other FM enthusiasts to found this volunteer-operated stereo FM radio station.

For many years the magazine was in black and white but in July 2012, when 2MBS-FM became Fine Music, the magazine was published in glorious colour and renamed Fine Music Magazine. This has not been the only change over the years. The production, which was for many years very labour intensive, moved from manual typewriters and green ink to computer and email.

Every program was typed on a manual typewriter; the program subeditors then proofread the typewritten program and made corrections with a green pen (standard editorial colour for editing at the time). This

Recording concerts began very early in the station’s existence and the fruits of the sound engineers’ labours may be heard in the many fine recordings in our Concert Recording collection that we have highlighted in programs throughout December and January, but the main emphasis this month is on other recordings.

Technology advanced and the manual typewriter was replaced with the electric typewriter but the original process remained the same.

Finally, the first computer came into service: a Mac with such a tiny screen that one could only see a few lines at a time. This was the beginning of a new era in magazine production. It was a little hard for some to adjust but they did. One volunteer, a Holocaust survivor, typed through these changes and only retired in her early 90s because travelling by public transport became too difficult.

A very ambitious project for a fledgling radio station was the production of LPs, and later CDs, for commercial release. This initiative eventually had to end due to the financial burden but these recordings are safely stored in our record library for use by programmers, with LPs having been transferred to CD, and now being digitised.

These days every part of Fine Music Magazine is produced by computer with communication by email between editor, writers and sub-editors. However, the Program Guide would not be as accurate without the musical knowledge of the program sub-editors and the quality of the articles would not be possible without the awesome grammatical knowledge of the sub-editors of the articles.

CHRIS BLOWER HIGHLIGHTS SOME PAST WINNERS Arkinstall take the prize. Philip is Associate Principal Clarinet of the Melbourne Symphony Orchestra and was previously with the Malaysian Philharmonic. He is also an active chamber musician and has toured Australia for Musica Viva.

Nicholas Parle has earned an international reputation as an organist and harpsichordist, the Academy of Ancient Music being only one of the distinguished ensembles with which he has been associated. To Fine Music, he has the additional distinction of being the very first winner, in 1984, of the Station’s prestigious Young Performer Award, now known as the Young Virtuoso Award.

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Nicholas Parle

Photo supplied

Composer and guitarist Phillip Bolliger, the winner in 1988, is active in performing and teaching in Sydney, while William Chen, our 1989 winner, combines performing with an academic career, as Professor of Piano at the Shanghai Conservatorium.

career focused on performing traditional and new classical works. Asmira is one of a number of Australian musicians who regularly visit Australia as members of the Australian World Orchestra.

Violinist Asmira Woodward-Page, who won the 1990 title, performs internationally as soloist and chamber musician. Praised by the New York Times for her ‘transforming intensity and beauty of tone’, she enjoys an eclectic

Pianist Tamara-Anna Cislowska, the 1992 winner, needs no introduction to Sydney music lovers familiar with her many recordings, particularly of the works of Elena KatsChernin. The year 1996 saw clarinettist Philip

FEBRUARY 2020

COMMERCIAL LP AND CD RECORD PRODUCTION

marked-up copy (as well as copy for articles) was sent to a commercial typesetter and the formatted type returned to the editor who, with some helpers, cut the typesetter’s document into individual articles and programs. These were pasted on to a large sheet, each page being formatted in this way. For the ‘computer generation’ this is the origin of ‘cut and paste’.

2MBS/FINE MUSIC VIRTUOSI

Since Nicholas, 36 young musicians have won recognition for their musical talents. Not all have gone on to international fame but many have pursued a successful career in their chosen musical genre.

ANOTHER EARLY 2MBS-FM INITIATIVE

In 2001, the prize was awarded for the first time to a singer: mezzo-soprano Dominica Matthews. Currently a Senior Principal Artist with Opera Australia, Dominica has established herself as one of Australia’s bestloved singers. The next singer to win was in 2008, when soprano Emma Moore was chosen. Since 2016 Emma has been following a career in Europe with the German National Theatre in Weimar.

What do the musicians themselves think about these competitions? Perhaps the words of Benett Tsai, the young cellist who at the age of 12 was awarded first prize in 2016 (and also the National Award), sums it all up: “Competitions for me are occasions to perform and get feedback. Playing my best is more important than the result and I would just go for it without worrying about the outcome.”

Charles Barton, may be heard on Saturday 1 February at 2.30pm in Saturday Matinee.

Among the soloists, singing as the cantor, is Neil McEwan, now a Fine Music volunteer presenter.

In all, 12 LPs and 24 CDs were produced covering a wide repertoire from the Renaissance to very modern 20th century music, all featuring Australian musicians with

some featuring Australian composers. This was in response to the charter for the station to promote and encourage our own homegrown musicians. We have to admit that one of the first LPs produced (later reissued as a CD) was not recorded by a 2MBS volunteer.

Although the performance was recorded in Europe in 1975, the organist was David Rumsey, one of the first programmers and first presenter heard broadcasting on 2MBS-FM.

One of the first LPs produced was of the Australian Chamber Orchestra long before it became a household name. We like to think that we assisted in its public recognition.

A particularly important recording was of Monteverdi’s Vespers of the Blessed Virgin of 1610 performed by the Sydney University Chamber Choir conducted by Nicholas Routley. This beautiful work, recorded in the Great Hall of the University of Sydney by LP cover of Vespers of the Blessed Virgin by Monteverdi Photo: Charles Barton

It’s impossible to name every artist on these recordings but among the many fine local musicians recorded for this project were singers Elizabeth Campbell, Lauris Elms and Donald Shanks, flautists Geoffrey Collins and Christine Draeger, cellist David Pereira, pianists Stephanie McCallum, David Miller, Rachel Valler, Roger Woodward and Tamara-Anna Cislowska, harpsichordist and organist Nicholas Parle, as well as many fine chamber ensembles and the occasional choir and orchestra.

Look for the 45th anniversary logo on these programs throughout February to find recordings of some of these musicians produced by the early 2MBS-FM volunteer sound engineers.

MEMORIES OF DAY ONE JOHN XUEREB RECALLS HIS FIRST BROADCAST I had the honour and pleasure of presenting music on air on Day One of Public FM Broadcasting in Australia. At last, an alternative to low fidelity AM radio!

My recollections of that day, 45 years ago, are a little hazy but there are a few memories of that experience which come to mind. My two-hour ‘slot’ was during the afternoon, I think at 4pm. In those early days we used an oscilloscope to monitor studio output. My briefing was to strictly maintain signal levels within a certain range on the screen in order to avoid transmitter overload. Needless to say, my eyes were glued to that screen when not cueing records.

I was given some classical LPs and the order in which to play the tracks; I also had the opportunity to play some of my jazz albums.

I believe that I played the classical music first and then jazz. The jazz music I played was from a then (and still now) favourite, Portrait

I remember the studio being warm (perhaps the air-conditioning was not running or I was nervous). An executive decision was taken: open the window for some fresh air. Wrong! A gust of wind caused the stylus to skip halfway across the side (of a classical disc). Within moments, David Rumsey appeared and the communication between us was along the lines of ‘What was that all about?’ with the timid response of ‘Whoops’.

John Xuereb

Photo supplied

by Cleo Laine (first released in 1971) and I started with On a clear day. The band was led by her husband, saxophonist John Dankworth.

So, with eyes glued to the oscilloscope, I had to look again when Cleo hit a note and held it and, for a brief moment, the oscilloscope trace did not move; yes, she could really sing!

I left 2MBS-FM because of the work pressures but these days, I am part of the project at Fine Music to digitise the station’s CD collection.

The team has been working on it since June 2016 and has completed ripping 15,000 CDs. If you see me around the station, I am not offended if you refer to me as John The Ripper.

45 years on from 1974: who would have imagined music stored digitally?

FEBRUARY 2020

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THE GENESIS OF A PROGRAM

EMINENT VIRTUOSO, EMINENT COMPOSER

ANDREW GRAHAME: COLOURS OF THE KING

PAUL COOKE PROFILES HENRI VIEUXTEMPS

An article in the Sydney Organ Journal of April/May 1982 states that the first person to broadcast on 2MBS-FM on 15 December 1974 was organist David Rumsey. Shortly after the radio station celebrated its seventh birthday, the Organ Music Society of Sydney began presenting a monthly organ music broadcast known as Colours of the King. The OMSS had in earlier times presented a program on 2CH. The presenter was David Worobin, who also later worked at 2MBS-FM. However, the Society celebrated the fact that the new broadcasts would be in ‘glorious FM stereo’.

The first Organ Society stereo FM broadcast took place on Sunday 30 May, between 1 pm and 3 pm (2 hours in duration!). By early 1986 the broadcast was one hour long and had been moved to the second Saturday of each month. Perhaps that original Sunday timeslot had proved unpopular with organists due to the fact that many had church commitments.

The program has continued without a break

TO W N S V I L L E 3 1 J U LY T O 9 AUGUST 2020

Andrew Grahame

Photo Gerry Myerson

and, to this day it remains on the second Saturday. Early programs were drawn up by various Society volunteers, but the name Roy Simmonds emerges as a regular and ongoing contributor, and organist Robert Smith was among the first presenters.

I came on the scene in the early days of 2001. I had read in the December 2000 issue of the Sydney Organ Journal that the latest presenter, Ralph Lane, had stepped down.

I put my hand up to succeed him, and the rest, as they say, is history. Colours of the King went on to become a regular facet of my life for the next 18 years. Beyond this, I also presented broadcasts in other genres on 2MBS/Fine Music. In February 2003 I commenced a regular monthly theatre organ broadcast known as The Theatre Pipe Organ – Seriously. I would record this 30-minute broadcast on the same night as presenting Colours of the King live, and maintained this until July 2010.

In February 2019 I advised the station and the Society that the broadcast of June 2019 would be my last. After 18 wonderful years the time had come for me to move on. At its AGM in October 2019 the Organ Music Society of Sydney conferred upon me the status of Honorary Life Member in recognition of my broadcasting work. Colours of the King continues with plans for a new permanent presenter to take over in 2020.

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an eminent virtuoso, he now adds no less a reputation as a composer.”

During his extended stay between 1846 and 1851, as well as duties as soloist to the Tsar and professor of violin, he composed his Concerto no 4 in D minor, regarded by Berlioz as ‘a magnificent symphony for orchestra with principal violin’.

In January 2013 a violin was sold to an anonymous buyer for more than £9.8 million, making it the most expensive in the world at the time. It was a 1741 Guarneri ‘del Gesù’ violin owned by Henri Vieuxtemps who, a couple of months before his death in 1881, was considering selling it. He was unable to play it properly, having suffered a number of strokes, but was nevertheless devastated about parting with it: “But when I look at it, it brings tears to my eyes that I can no longer converse with it, bring it to life, make it speak!” He had found a buyer, the Duke of Camposelice, and they had agreed on a price, 17,000 francs.

Vieuxtemps, however, first raised the price to 20,000 francs, to which the Duke agreed, and then decided that he could not part with it at any price.

Henri Vieuxtemps was born 200 years ago, on 17 February 1820, at Verviers, near Liège in Belgium.

He was a violinist, composer and teacher, and the most celebrated of a family of musicians, eclipsing his father and his brothers Lucien and Henri Vieuxtemps Ernest. His progress as a violinist was inexorable, taking lessons from the age something of a prodigy. While in Austria he of four, and performing in public at the age of took lessons in counterpoint from Simon six in Verviers, at seven in Liège, and at eight Sechter (with whom a dying Schubert had had in Brussels where he attracted the attention of one lesson), and then in Paris in 1835-36 he Charles-Auguste de Bériot. Bériot taught him studied composition with Anton Reicha. He for a few years and also took him to Paris, also attended orchestral rehearsals with score where he played Rode’s Seventh Concerto in hand in order to observe techniques of and was acclaimed as ‘a born musician’. instrumentation. Reicha directed Vieuxtemps’ In 1833 he embarked on a concert tour of attention towards the composition of Germany and Austria. He met and heard the concertos, and his first effort, the confusingly violin virtuoso Louis Spohr and was introduced named Violin concerto no 2 in F sharp minor, to a circle of musicians who had been close to appeared in 1836, with the denoted First being Beethoven. In March 1834, having just turned written in 1837. His aim was to combine ‘the 14 and after only two weeks preparation, grand form of the Viotti concerto with the he performed Beethoven’s Violin Concerto, technical demands of modern times’, but he then a largely forgotten work. The conductor was perhaps less innovative than he wished to Eduard von Lannoy praised his interpretation be: Paganini, Mozart and Beethoven are cited as ‘original, novel, and yet classical’. A as influences, and the concerto is more postsubsequent performance in Leipzig elicited Classical than Romantic. this from Robert Schumann: “When we speak of Vieuxtemps, we are apt to think of Paganini ... We find ourselves unawares, from the first to the last tone, in a magic circle, which has been drawn around us without our having been able to find its beginning to end.” In June, in London, Vieuxtemps met Paganini and each was much impressed by the other.

Vieuxtemps’ development as a composer was much more piecemeal, yet he was still

The following year Vieuxtemps resumed his travels, and much of the music he composed was for his own use on these extended tours.

He ultimately wrote seven violin concertos, together with some less challenging chamber pieces. He often visited London; he made three American tours between 1843 and 1871; and he visited and later spent five years in Russia.

On his first visit to Russia, he premiered his recently composed Concerto no 1, praised

by Berlioz thus: “To Vieuxtemps’ merits as

In 1871 Vieuxtemps became professor at the Brussels Conservatory, where he taught Ysaÿe and Hubay and founded the Belgian violin school.

In 1873, however, he suffered the first of several strokes, affecting his bowing arm and leaving him partially paralysed. This meant that he was able to spend more time composing, one result being the Cello concerto no 1, premiered in 1876 and praised by the Revue et Gazette musicale de Paris as ‘a masterpiece ... this beautiful and ingenious composition’. He was able to resume teaching in 1877, but was forced to resign in 1879, moving to Algeria to join his daughter and sonin-law, a doctor who had established a sanitorium where Vieuxtemps spent his last couple of years, although not before founding a string quartet there.

As a performer he was highly respected being compared to both Paganini and Joseph Joachim. Vieuxtemps was regarded as combining superb technical command with deeper understanding, and praised as a fine violist and quartet player. As a composer, he ‘never indulged in sheer virtuosity for its own sake ... he brought a more classical dimension to the violin repertoire in place of the technically brilliant variations and fantasies on popular operatic themes that were so popular with audiences’.

A 200th anniversary program of Vieuxtemps’ music will be broadcast in Sunday Special on 16 February at 3pm.

From a volunteer: “When I came in to broadcast on Christmas Day, I found two messages from people who’d been listening in the Blue Mountains amid the fire crisis, one from Blackheath, a seriously threatened area. They had rung/emailed to express their appreciation for the positive effect of our music on their spirits. We really appreciate knowing that our work can be of comfort to people in such difficult times.”

FEBRUARY 2020

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Saturday 1 February 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SATURDAY MORNING MUSIC with David Garrett 9:00 WHAT’S ON IN MUSIC Our weekly guide to musical events in and around Sydney 9:05 THE PIANO ALONE Prepared by Jennifer Foong Bach, J.S. Prelude and fugue in F sharp, BWV858 (1722). Angela Hewitt, pf.

Hyperion CDA67741/4 4 Liszt, F. The bells of Geneva, from Années de pèlerinage. Geoffrey Tozer, pf.

McPherson Promotions MP001 8 Rachmaninov, S. Étude-tableau in A minor, op 39 no 2 (1916-17). Vladimir Ashkenazy, pf.

Decca 478 5644 7 Mussorgsky, M. Pictures at an exhibition (1874). Sviatoslav Richter, pf.

Philips 454 167-2 30 10:00 MUSIC OF THE DANCE Vanguards Prepared by Rodrigo Azaola Stravinsky, I. Adoration of the earth, from The rite of spring (1911-13).

Melbourne SO/Hiroyuki Iwaki.

ABC 434 896-2 15 Poulenc, F. Ballet: Les biches (1923).

Ulster O/Yan Pascal Tortelier.

Chandos CHAN 9023 20 Satie, E. Ballet: Mercure (1924). Utah SO/Maurice Abravanel.

Vanguard OVC 4030 11 Antheil, G. Ballet pour instruments mécanique et percussion (1925). Rex Lawson, reproducing pf; New Palais Royale O & Percussion Ensemble/Maurice Peress.

Nimbus NI 2567 27 Prokofiev, S. Suite from Chout, op 21 (1920). Yuli Turovsky, vc; Peter Pettinger, pf.

Chandos CHAN 8555 7 11:30 ON PARADE Music that’s band Prepared by Owen Fisher Joplin, S. The entertainer. Royal Doulton Band/Edward Gray.

LP Astor GGS 1506 3 Rimsky-Korsakov, N. Trombone concerto. Norman Law, tb; Black Dyke Mills Band/Peter Parkes.

Chandos CHAN 4523 11

Rose, D. Holiday for trombones. Band of Yorkshire Imperial Metals/Trevor Walmsley.

LP Columbia 330 SX 1118 2 Teike, C. Alte Kammeraden. Allentown Band/Ronald Demkee.

AMP 21188 4 Hamlish, M. What I did for love. NSW Police Band/M. Butcher.

LP Delta 60357 2 12:00 URBAN JAZZ LOUNGE with Leita Hutchings 13:00 CHAMBER MASTERWORKS Brahms, J. Violin sonata no 3 in D minor, op 108 (1886). Krysia Osostowicz, vn; Susan Tomes, pf.

Hyperion CDA66465 21 Danzi, F. Wind quintet in F, op 68 no 2 (pub. 1824). Vienna-Berlin Ensemble.

DG 423 591-2 19 Janácek, L. String quartet no 1, Kreutzer sonata (1923). Medici String Quartet.

Nimbus NI 5379 18 Hummel, J. Piano trio no 7 in E flat, op 96 (c1822). Borodin Trio.

Chandos CHAN 9529 20 14:30 SATURDAY MATINEE MBS LP and CD Recordings: Vespers of 1610 Prepared by Chris Blower

45TH

Monteverdi, C. Vespers of the Blessed Virgin (1610). Jennifer Bates, sop; Romola Tyrrell, sop; Gerald English, ten; Ian McCahon, ten; Neil McEwan, cantor; Chamber Choir of Sydney University; Baroque ensemble/Nicholas Routley.

LP MBS 11 1:26 Haydn, J. String quartet in B flat, op 76 no 4, Sunrise (1795). Chanterelle Quartet.

Fine Music concert recording 23 Mendelssohn, F. Piano trio in D minor, op 49 (1839). Natsuko Yoshimoto, vn; Timo-Veikko Valve, vc; Kathryn Selby, pf.

Fine Music concert recording 29 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

45TH

19:00 MBS LP AND CD RECORDINGS

Mozart, W. Divertimento no 14 in B flat, K270 (1777; arr. Weigelt). Australian Wind Virtuosi.

LP MBS 10 12 Benjamin, A. Sonatina (1924). Jane Peters, vn; Rachel Valler, pf.

MBS 27 CD 17 Martinez-Parada, V. Variations on a milonga. Victor Martinez-Parada, gui.

MBS 32 CD 12 Piazzolla, A. Le grand tango (1982).

Trish O’Brien, vc; Renate Turrini, pf.

MBS 41 CD 12 20:00 THE LIFE OF A COMPOSER Louise Farrenc Prepared by James Nightingale Farrenc, L. Piano trio no 1. Neave Trio.

Chandos CHAN 20139 35 Reicha, A. Variations for solo bassoon, accompanied by two violins, viola and cello. Jane Gower, bn; Madeleine Easton, vn; Alice Evans, vn; Galina Zinchenko, va; Catherine Jones, vc.

Ars ARS 38 091 12 Farrenc, L. Études, op 26 nos 19, 7, 4 and 30. Konstanze Eickhorst, pf. cpo 999 879-2 8 Cello sonata, op 46. Kirsten Whitson, vc; Mary Ellen Haupert, pf.

Centaur CRC 3271 22 Symphony no 2 in D, op 35 (1845).

Solistes Europeéns, Luxembourg/ Christoph König.

Naxos 8.573706 33 22:00 SATURDAY NIGHT AT HOME Prepared by Di Cox Wirén, D. Serenade, op 11 (1937).

Academy of St Martin in the Fields/Neville Marriner.

Decca 466 459-2 15 Berlioz, H. Excerpts from The damnation of Faust (1845-46). Edith Mathis, sop; Stuart Burrows, ten; Boston SO/Seiji Ozawa.

DG 469 118-2 23 Liszt, F. Transcendental studies (183953). Laszlo Simon, pf.

BIS CD-369 1:05 Myslivecek, J. Wind octet no 3 in B flat.

Harmoniemusik of London.

Virgin 5 61368 2 9

FEBRUARY 2020

9

Monday 3 February

Sunday 2 February 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SUNDAY MORNING MUSIC with Terry McMullen 9:00 MUSICA SACRA Prepared by Stephen Matthews Bach, J.S. Lutheran Mass in A. Bach Collegium Japan/Masaaki Suzuki.

BIS CD-2121 30 Graupner, C. Epiphany cantata, GWV1114/30. Kirchheimer Bach Consort.

Naxos 8.554138 20 Zelenka, J. Psalm 115: Credidi.

Ensemble Inegal; Prague Baroque Soloists/Adam Viktora.

Nibiru 01632231 5 10:00 THE CLASSICAL ERA Prepared by Rex Burgess Schubert, F. Impromptu in C minor, D899 no 1 (1827). Mary Warnecke, pf.

Tall Poppies TP062 13 Spohr, L. Sonata concertante in D, op 115 (1811). Sophie Langdon, vn; Hugh Webb, hp.

Naxos 8.555364 22 Mozart, W. Keyboard trio no 1 in G, K496 (1786). Florestan Trio.

Hyperion CDA67609 23 Viotti, G. Quartetto concertante no 3 in G flat (c1813). Viotti String Quartet.

Brilliant Classics 95264 23 Beethoven, L. String quintet in E flat, op 4 (1795). Members of Utzon Ensemble.

Fine Music concert recording 30 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 A MASTER OF TECHNIQUE Prepared by Derek Parker A Sesquicentenary Event

1870 2020

Godowsky, L. Studies on Chopin’s études (1900-14): no 16 in F; no 16a in A flat; no 21 in A for left hand only. David Stanhope, pf.

Tall Poppies TP230 9 10

FEBRUARY 2020

Concert paraphrase on Die Fledermaus (1907). Piers Lane, pf.

Hyperion CDA66785 12 Passicaglia (1927). Marc-André Hamelin, pf.

Musica Viva MVCD 1026 19 Symphonic metamorphosis after J. Strauss II’s Artist’s life (1907). Earl Wild, pf, Vanguard OVC 4033 13 15:00 SUNDAY SPECIAL Shostakovich: Music for stage and screen Prepared by Paolo Hooke Shostakovich, D. The Red Army dances, from The bolt, op 27 (193031). Stockholm Transport Band; Royal Stockholm PO/Gennady Rozhdestvensky.

Chandos CHAN 9343/4 10 Suite from Hypothetically murdered, op 31a (1931; arr. McBurney). City of Birmingham SO/Mark Elder.

Cala CA 1020 39 Excerpts from The nose, op 15 (1928).

Moscow Chamber TO/Gennady Rozhdestvensky.

Melodiya 74321 60319 2 10 Suite, from New Babylon, op 18 (1929; arr. Rozhdestvensky). Russian State SO/ Valeri Polyansky.

Chandos CHAN 9600 45 Tahiti trot, op 16 (1928). Royal Concertgebouw O/Riccardo Chailly.

Decca 433 702-2 4 17:00 HOSANNA Prepared by Stephen Matthews Hymns: There’s a wideness in God’s mercy; Saviour, again to thy dear name we raise. Choir of Wells Cathedral; Rupert Gough, org; Malcolm Archer, cond.

Hyperion CDP12105 7 Greene, M. Lord, let me know mine end.

Choir of Lincoln Cathedral; James Vivien, org; Colin Walsh, cond.

Priory PR 454 6 Bach, J.S. Kyrie, from Mass for the Dresden court, BWV232/1. Dresden Chamber Choir & Baroque O/HansChristoph Rademan.

Carus Carus 83.044 17

Psalm: No 51, Have mercy upon me, O God. Choir of Peterborough Cathedral; David Humphreys, org; Andrew Reid, cond.

Priory PR 1082 6 Weelkes, T. Magnificat; Nunc dimittis in medio chori. Choir of St George’s Chapel, Windsor Castle; Roger Judd, org; Jonathan Rees-Williams, cond.

Priory PR 634 14 18:00 SMALL FORCES Prepared by Rita Felton Brahms, J. Piano trio no 3 in C minor, op 101 (1886). Borodin Trio.

Chandos CHAN 8335 24 Stamitz, C. Oboe quartet in D, op 8. Paul Goodwin, ob; Terzetto.

Harmonia Mundi HMU 907220 15 Tchaikovsky, P. Souvenir of a beloved place, op 42 (1878). James Ehnes, vn; Vladimir Ashkenazy, pf.

Sydney Symphony SSO201206 17 19:00 SUNDAY NIGHT CONCERT Prepared by Frank Morrison Mozart, W. Overture to The magic flute, K620 (1791). Berlin PO/Herbert von Karajan.

DG 431 291-2 7 Sinding, C. Violin concerto no 1 in A, op 45 (1898). Henning Kraggerud, vn; Bournemouth SO/Bjarte Engeset.

Naxos 8.557266 21 Mahler, G. Symphony no 1 in D, Titan (1888). New York PO/Leonard Bernstein.

Sony 88697943332 53 20:30 NEW HORIZONS Prepared by Calogero Panvino Rihm, W. Song time, no 2 (1991-92).

Tianwa Yang, vn; Rheinland-Pfalz State PO/Darrell Ang. Naxos 8.573667 28 Norgård, P. Symphony no 6, At the end of the day (1998-99). Danish National SO/Thomas Dausgaard.

Chandos CHAN 9904 33 Violin concerto, Light night (1986-87).

Christina Astrand, vn; Danish National RSO/Thomas Dausgaard.

Chandos CHAN 9830 24 22:00 JAZZ AFTER HOURS

CONTINUING PROGRAM SERIES Musical Families prepared by Jennifer Foong: Tuesdays 4, 18 at 2pm Come to the Opera prepared by Derek Parker: Saturday 15 at 1pm Evenings with the Orchestra, The Great Conductors prepared by David Brett: Friday 21 at 8pm

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: 1917 Prepared by Paul Cooke Ravel, M. Forlane, from Le tombeau de Couperin (1917). Stephanie McCallum, pf.

ABC 461 798-2 5 Bax, A. November woods (1917). Royal Scottish NO/David Lloyd-Jones.

Naxos 8.557599 17 Debussy, C. Violin sonata in G minor (1917). Asmira Woodward-Page, vn; Scott Davie, pf.

Fine Music concert recording 12 Prokofiev, S. Piano sonata no 3 in A minor, op 28 (1917). Joshua Tsai, pf.

Fine Music tape archive 8 Respighi, O. Deità silvane (1917). Ingrid Attrot, sop; BBC PO/Richard Hickox.

Chandos CHAN 9453 13 Villa-Lobos, H. String quartet no 4 (1917). Quarteto Bessler-Reis.

Kuarup KCD-034 23 10:30 CONCERT HALL Prepared by Di Cox Suppé, F. Overture to The beautiful Galathea (1865). Royal Scottish NO/ Neeme Järvi.

Chandos CHSA 5110 7 Hummel, J. Piano concerto in B minor, op 89 (1819). Stephen Hough, pf; English CO/Bryden Thomson.

Chandos CHAN 8507 36 Bruch, M. Symphony no 3 in E, op 51 (1887). Hungarian State SO/Manfred Honeck.

Naxos 8.555985 38 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 PLACES OF INTEREST Prepared by Ron Walledge Novák, V. In the Tatra mountains, op 26 (1902). Royal Liverpool PO/Libor Pesek.

Virgin 5 45251 2 16 Holst, G. Egdon Heath, op 47 (1927).

London PO/Adrian Boult.

Decca 440 318-2 13

Ives, C. Three places in New England (1908/29). Gilbert Kalish, pf; Orpheus CO. DG 457 911-2 20 Lilburn, D. Tone poem: A song of islands (1946). New Zealand SO/James Judd.

Naxos 8.557697 17 Vaughan Williams, R. Symphony no 7, Sinfonia antartica (1949-52). Patricia Rozario, sop; BBC Women’s Ch & SO/ Andrew Davis.

Teldec 0630-13139-2 43 15:00 BEWITCHED Prepared by Madilina Tresca Glinka, M. I was bewitched. Nicolai Gedda, ten; Lija Mogilevskaja, pf.

LP Melodiya/Eurodisc 203284-366 4 Shankar, R. The enchanted dawn.

Geoffrey Collins, fl; Alice Giles, hp.

Tall Poppies TP031 13 Strauss, R. The young witch’s song, op 39 no 2 (1898). Edita Gruberova, sop; Friedrich Haider, pf.

Teldec 2292-44922-2 3 Hoàng, T. Full moon festival. Tuan Hoàng, gui.

Fine Music concert recording 8 Kats-Chernin, E. The witching hour, concerto for eight double basses and orchestra (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 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 his popular symphonic poem, In the Tatra Mountains, and in some of his orchestral suites, Czech composer Vitezslav Novák created powerful musical representations of natural beauty and the splendours of nature. The majestic landscape of the Tatras as depicted in this symphonic poem has caused the work to be favourably compared to An alpine symphony of Richard Strauss.

Tuesday 4 February 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Julie Simonds 9:00 DIVERSIONS IN FINE MUSIC Colours of the keyboard Prepared by Rex Burgess Telemann, G. Fantasias: no 1 in D; no 4 in E minor. Monika Kornel, hp.

Sydney Consort SC003 7 Haydn, J. Piano trio in A flat, Hob.XV:14 (1790). Beaux Arts Trio.

Philips 454 098-2 22 Vasks, P. Musique du soir (1988). Sol Gabetta, vc; Irène Timacheff-Gabetta, org.

Sony 88725423122 13 Albéniz, I. Iberia, bk IV (1908). Esteban Sánchez, pf.

Brilliant Classics 9255 21 Rachmaninov, S. Variations on a theme of Corelli, op 42 (1931). Daniil Trifonov, pf.

DG 479 4970 18 10:30 CONCERT HALL Prepared by Peter Poole Walton, W. Suite from Henry V (194344). Florida PO/James Judd.

Harmonia Mundi HMU 907070 16 Offenbach, J. Cello concerto in G, Militaire (1847). Guido Schiefen, vc; West German RO/Helmut Froschauer. cpo 777 069-2 24 Catoire, G. Symphony in C minor, op 7 (c1889-91; orch. 1895-98). Royal Scottish NO/Martin Yates.

Dutton Epoch CDLX 7298 42 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 MOZART WITH STRINGS Prepared by Paul Hopwood Mozart, W. Violin sonata no 26 in B flat, K378 (1779). Igor Oistrakh, vn; Natalia Zertsalova, pf.

Melodiya MA 13689 16 Piano quartet no 2 in E flat, K493 (1785-86). Michael Barenboim, vn; Yulia Deyneka, va; Kian Soltani, vc; Daniel Barenboim, pf.

DHM 0289 483 5255 5 37 FEBRUARY 2020

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Tuesday 4 February 14:00 MUSICAL FAMILIES Jadin and Kreutzer brothers Prepared by Jennifer Foong Jadin, L. Introduction and rondeau pastorale (1811-12). Marielle Nordmann, hp; Brigitte Haudebourg, pf.

Arion ARN 68285 10 Kreutzer, R. Grand quintet in C (179099). Sarah Francis, ob; Allegri String Quartet.

Hyperion CDA66143 15 Jadin, H. Piano sonata in D, op 5 no 2 Andreas Staier, fp.

MBF 1108 12 Kreutzer, R. L’aurore à dissipé les ombres, from La mort d’Abel. Pierre-Yves Pruvot, bar; Les Agrémens/Guy van Waas.

MBF 1108 6 Jadin, H. String quartet, op 4 no 1 (1798). Rasumovsky Quartet.

ASV GAU 151 11 Kreutzer, J. Grand trio, op 16. Alexa Still, fl; Robert Alemany, cl; JoAnn Falletta, gui.

Koch 3-7404-2H1 19 Jadin, H. Piano sonata in F sharp minor, op 4 no 2 (pub. 1795). Jean-Claude Pennetier, pf.

Harmonia Mundi HMC 901189 15 Kreutzer, R. Oboe concerto. Claude Villevieille, ob; Talich CO/Jan Talich.

Koch 3-1475-2 19

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

0:00 CONTEMPORARY COLLECTIVE

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

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

20:00 RECENT RELEASES 22:00 CHAMBER SOIRÉE Prepared by Frank Morrison Chopin, F. Cello sonata in G minor, op 65 (1847). Jacqueline du Pré, vc; Daniel Barenboim, pf.

EMI CZS 5 68132 2 27 Danzi, F. Wind quintet in F, op 56 no 3 (pub. 1821). Berlin Philharmonic Wind Quintet.

BIS CD-552 22 Pärt, A. Spiegel im Spiegel (1978).

Tasmin Little, vn; Martin Roscoe, pf.

EMI 5 73117 2 8 Bartók, B. Contrasts (1938). Eimer Trio.

Dynamic CDS60 18 Grétry, A-E-M. String quartet in D, op 3 no 4 (1761-65). Haydn Quartet.

Koch 310 158 H1 10 Borodin, A. Piano quintet in C minor (1862). Ilona Prunyi, pf; New Budapest String Quartet.

Marco Polo 8.223172 23

André-Ernest-Modeste Grétry had musical tuition from a number of respected teachers while he was a chorister and later, an organist, at several Liège churches. His most valuable musical experience appears to have been his attendance at performances of an Italian opera company where he heard the operas of Baldassare Galuppi, Giovanni Battista Pergolesi and other Italian masters. Inspired by these to complete his studies in Italy, and in order to raise funds, Grétry composed a Mass dedicated to the canons of Liège Cathedral.

It impressed Canon Hurley so much that he covered the costs of the young composer’s study in Rome that lasted for five years. Despite this, young Grétry confessed that his proficiency in harmony and counterpoint was at times moderate.

Nevertheless, his first success came with an Italian intermezzo (or operetta), staged in Rome to great acclaim. However, French comic opera captured his attention and he left Rome for Paris in 1767 where he found the first two years were difficult; he was very poor and very obscure. His fortunes revived when he set a libretto as the comic opera Le Huron. Its successful premiere in August 1768 set Grétry on the road to continuing success and, after having two more successful operas produced, he became known as the leading composer of comic opera. He composed more than 50, and also wrote about 20 serious operas. Richard-Coeur-de-Lion, became an international success after it was translated into English and staged in London.

Although Grétry’s fame rests on his operas with their fine delineation of character and tender sentiment, his orchestral writing is not so highly regarded, some being re-orchestrated by other composers in order to make them acceptable to modern audiences. Little is known of his chamber music but the opus 3 set of string quartets, written in his youth in Liège, is sufficiently admired to be have been recorded by several ensembles.

12

FEBRUARY 2020

Wednesday 5 February 3:00 CLASSICAL TILL DAWN

9:00 DIVERSIONS IN FINE MUSIC Inspired by literature Prepared by Paul Cooke Pierson, H. Overture: Romeo and Juliet, op 86 (pub. 1874). English Northern Philharmonia/David Lloyd-Jones.

Hyperion CDA66515 10 Salieri, A. Quartets from the opera Palmira (1796-97). Christoff Ogg, cl; Regula Schneider, bshn; Markus Niederhauser, bshn; Andreas Ramseier, bshn.

Claves CD 50-9212 7 Sibelius, J. Rakastava, op 14 (1911).

Academy of St Martin in the Fields/Neville Marriner.

Decca 442 819-6 11 Liszt, F. Vallée d’Obermann, from Années de pèlerinage: première année: Suisse (1848-54). Stephanie McCallum, pf.

ABC 476 1248 13 Copland, A. Eight poems of Emily Dickinson. Emma Matthews, sop; Melbourne SO/Benjamin Northey.

ABC 481 0863 21 Caplet, A. Conte fantastique (1908).

Laurence Cabel, hp; Ensemble Musique Oblique.

Harmonia Mundi HMC 901417 17 10:30 CONCERT HALL Prepared by Jennifer Foong Elgar, E. Overture: In the South, Alassio, op 50 (1903). Royal PO/Andrew Litton.

Virgin VC 7 90727-2 21 Bach, J. Christian Piano concerto in D, op 1 no 6 (1763). Ingrid Haebler, fp; Vienna Capella Academica/Eduard Melkus.

Philips 438 712-2 13 Rimsky-Korsakov, N. Suite from Pan voyevoda, op 59 (1903). Moscow SO/Igor Golovschin.

Naxos 8.553858 25 Arriaga, J. Symphony in D minor (1824).

Scottish CO/Charles Mackerras.

Hyperion CDA66800 23 12:00 JAZZ SKETCHES with Robert Vale World-wide contemporary jazz including contributions from Australian artists and those from culturally emerging nations

Wednesday 5 February 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. The program goes live to air so you never quite know what’s going to happen.

14:00 SOUTH AMERICAN JOURNEY Prepared by Ron Walledge Ginastera, A. Dances from the ballet, Estancia, op 8a (1943). New World SO/ Michael Tilson Thomas.

Argo 436 737-2 13 Hahn, R. The loved one; The exquisite hour; Infidelity. David Hobson, ten; David McSkimming, pf.

ABC 476 5282 9 Piazzolla, A. Le grand tango. Yo-Yo Ma, vc; Kathryn Stott, pf.

Sony SK 63122 12 Villa-Lobos, H. Guitar concerto (1951).

John Williams, gui; English CO/Daniel Barenboim.

CBS M2YK 45610 19 15:00 VARIED SCHUBERT Schubert, F. Rondeau brillant in B minor, D895 (1826). Adele Anthony, vn; Jonathan Feldman, pf.

Naxos 8.554148 15 The miller and the stream; The stream’s lullaby, from Die schöne Müllerin, D795 (1823). Ian Bostridge, ten; Mitsuko Uchida, pf.

EMI 5 57827 2 11 Symphony no 1 in D, D82 (1813). Royal Concertgebouw O/Nikolaus Harnoncourt.

Teldec 4509-91184-2 28 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm

Thursday 6 February

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

0:00 CONTEMPORARY COLLECTIVE

20:00 AT THE OPERA Prepared by Angela Cockburn Donizetti, G. Anna Bolena. Opera in four acts. Libretto by Felice Romani. First performed Milan, 1830.

ANNE BOLEYN: Joan Sutherland, sop HENRY VIII: Samuel Ramey, bass LORD PERCY: Jerry Hadley, ten JANE SEYMOUR: Susanne Mentzer, mezz SMEATON: Bernadette Manca di Nissa, cont Welsh National Opera Ch & O/Richard Bonynge.

Decca 421 096-2 3:13 Three years after marrying Anne, Henry Vlll wants to marry Jane Seymour. He has recalled Anne’s first love, Lord Percy, from exile and has ordered his spies to watch her closely. Smeaton, a page who is in love with Anne, overhears Percy’s confession of love followed by the drawing of his sword to kill himself.

He rushes from his hiding place to the defence of his mistress. Henry orders that Anne, her brother, Lord Percy and Smeaton be tried for treason. They are condemned to death. Anne prays for compassion and mercy rather than for vengeance. She collapses when the guards arrive to conduct her to her execution.

9:00 DIVERSIONS IN FINE MUSIC The instruments: Winds Prepared by Paul Cooke Finzi, G. Fear no more the heat o’ the sun (1928-42; arr. Hawes). Amy Dickson, sax; Aurora O/Nicholas Collon.

Decca 478 9357 6 Martin, F. Ballade (1939). Sharon Bezaly, fl; Ronald Brautigam, pf.

BIS SACD-1729 7 Bach, J.S. Meine Seele sei vergnügt, from Cantata, BWV204 (1727). Kathrin Graf, sop; Peter-Lukas Graf, fl; Raffaele Altwegg, vc; Michio Kobayashi, hpd.

Claves 50-604 8 Bauer, M. Double concerto, op 32b (1939-43). Jeremy Polmear, ob; Eli Eban, cl; Ambache CO. Naxos 8.559253 9 Saint-Saëns, C. Oboe sonata, op 166 (1921). Jirí Tancibudek, ob; John Champ, pf.

LP ABC RRCS 569 11 Brahms, J. Excerpts from Hungarian dance suite (1852/69; arr. Webster).

Geoffrey Collins, fl; Catherine McCorkill, cl; Ian Munro, pf.

Fine Music concert recording 13 Debussy, C. Saxophone quartet in G minor, op 10 (1894). Aurelia Saxophone Quartet.

Etcetera KTC 1088 25

23:30 LATE SONATA Beethoven, L. Sonata no 32 in C minor, op 111 (1822). Vladimir Ashkenazy, pf.

Decca 417 150-2 27

In the Summer 2017 edition of Classical Guitar we read about the ‘immortal’ Guitar concerto of Heitor Villa-Lobos: “For many, this work is the culmination of all of the composer’s contributions to the guitar’s repertoire. In this concerto, one can hear compositional elements found in Villa-Lobos’ technically demanding Études (1929) combined with the lyricism of his Preludes (1940). This piece, which is both an evolution and distillation of 30 years of Villa-Lobos’ ideas, resulted in one of the most important guitar concertos”.

While in Paris in the 1920s, Villa-Lobos came in contact with well-known musical and literary figures, among them the great Spanish guitarist Andrés Segovia and Mexican composer Manuel Ponce. He formed lasting friendships with them.

Segovia requested both to write works for him, requesting an étude from VillaLobos who wrote not just one, but 12. However, it was not until near the end of his life that Villa-Lobos received commissions to compose concertos. Three of the most important were for harp, harmonica and guitar, the latter for Segovia.

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

10:30 CONCERT HALL Prepared by Paul Hopwood Rimsky-Korsakov, N. Overture and suite from Christmas Eve (1895). Moscow SO/ Igor Golovschin.

Naxos 8.553789 26 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 Dvorák, A. Symphony no 5 in F, op 76 (1875). London SO/István Kertész.

Decca 417 597-2 41 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 FEBRUARY 2020

13

Thursday 6 February 13:00 FIVE TIMES EIGHT Prepared by Derek Parker Beethoven, L. Wind octet in E flat, op 103 (c1792-93). Vienna Philharmonic Wind Group.

Westminster RC 8808678121735 22 Mendelssohn, F. String octet in E flat, op 20 (1825). Kodály Quartet; Auer Quartet.

Naxos 8.557270 32 Hummel, J. Octet partita in E flat for winds (1803). Consortium Classicum.

Musikproduktion MD+G L 3440 12 Spohr, L. Octet in E flat for wind and strings, op 32 (1814). Nash Ensemble. crd 3354 27 Stravinsky, I. Octet for wind instruments (1922-23/52). Columbia Chamber Ensemble/Igor Stravinsky.

Sony SM3K 46 291-302 15 15:00 THERE’S MAGIC IN THE AIR Prepared by Yola Center Mozart, W. Die Weisheitslehre dieser Knaben ... Wie stark ist nicht dein Zauberton, from The magic flute, K620 (1791). Jonas Kaufmann, ten; Michael Volle, bass-bar; Mahler CO/Claudio Abbado.

Decca 478 1463 10 Dukas, P. The sorcerer’s apprentice (1897). Boston SO/Charles Munch.

Sony 88875192992 10 Delibes, L. Les chasseresses; Intermezzo; Valse lente, from Sylvia (1876). Yehudi Menuhin, vn; Philharmonia O/Robert Irving.

EMI 1664462 9 Sibelius, J. Suite no 1, from The tempest, op 109 no 2 (1925). Iceland SO/ Petri Sakari.

Naxos 8.554266 23 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 Tchaikovsky, P. Piano concerto no 3 in E flat, op 75 (1893). Peter Donohoe, pf; Bournemouth SO/Rudolf Barshai.

EMI CDC 7 49939 2 16 Dohnányi, E. Capriccio in B minor, op 2 no 4 (1894-97). Milton Hallman, pf.

Centaur CRC 2025 7 Wagner, R. Prelude to Act I of Parsifal (1882). Berlin PO/Claudio Abbado.

DG 474 377-2 13 14

FEBRUARY 2020

Bruckner, A. Intermezzo in D minor (1879). Enrique Santiago, va; Melos Quartet.

Harmonia Mundi HMC 901421 10 Brahms, J. Nänie, op 82 (1880-81). San Francisco Symphony Ch & O/Herbert Blomstedt.

Decca 478 6787 13 Dohnányi, E. Symphony no 1 in D minor, op 9 (1900). London PO/Leon Botstein.

Telarc 80511 54 22:00 HUMOUR IN MUSIC Prepared by Jacky Ternisien Anderson, L. The syncopated clock (1950; arr. Drapkin). Rastrelli Cello Quartet.

Genuin GEN 15364 2 The typewriter. Eastman-Rochester Pops O/Frederick Fennell.

Mercury 475 6942 2 Mozart, W. The buttered toast. Cyprien Katsaris, pf.

LP Teldec 6.42479 2 Schikele, P. Grand serenade for an awful lot of winds and percussion, by P.D.Q. Bach. Peter Schikele, narr; Turtle Mountain Naval Base Tactical Wind Ensemble.

Telarc 80307 11 Satie, E. Cold rooms, tunes to scare (1897). Joanna MacGregor, pf.

Warner 2564 67263-5 7 22:30 ULTIMA THULE with John Shapiro Ambient and atmospheric music

P.D.Q. Bach, the ‘only forgotten son of the Bach family’, was a prolific composer. His works include The Abduction of Figaro, Canine cantata: Wachet, Arf! (Sleeping dogs awake!), Echo sonata for two unfriendly groups of instruments, Erotica variations for banned instruments and piano, Fanfare for the common cold, The musical sacrifice, Royal firewater musick for bottles and orchestra, The short-tempered Clavier, preludes and fugues in all the major and minor keys except for the really hard ones, and many more, including the ‘undiscovered’ operas of The magic fruit and Rosenkavalier and Guildenstern. He is the alter ego of Professor Peter Schickele, a ‘serious’ composer with many works published under his own name. The name P.D.Q. is a parody of the threepart names given to some members of the Bach family.

Friday 7 February 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 Haydn, J. String quartet in D, Hob.III:63, Lark (1790). Kodály Quartet.

Naxos 8.550674 19 Hanmer, R. Blue Hills rhapsody (1956).

Queensland SO/Ronald Hanmer.

ABC 442 374-2 13 Martinu, B. Butterflies and birds of paradise (1920). Emil Leichner, pf.

Supraphon 11 1010-2 16 Reinecke, C. Flute sonata, op 167, Undine (c1885). Robert Aitken, fl; Robin McCabe, pf.

BIS CD-183 20 Elgar, E. Harmony music no 4: The farmyard (1878). Athena Ensemble.

Chandos CHAN 241-33 12 10:30 CONCERT HALL Prepared by Anne Irish Beethoven, L. Overture to Fidelio, op 72 (1814). Berlin PO/Herbert von Karajan.

DG 445 112-2 7 Winding, A. Piano concerto in A minor, op 16 (1869). Oleg Marshev, pf; South Jutland SO/Matthias Aeschbacher.

Danacord DACO 581 25 Strauss, R. An alpine symphony, op 64 (1915). Melbourne SO/Andrew Davis.

ABC 481 6754 51 12:00 A JAZZ HOUR with Barry O’Sullivan 13:00 COMPASS Goossens, E. East of Suez: suite for piano, op 33 (1922). Antony Gray, pf.

ABC 476 7636 26 Holst, G. Songs of the west, op 21 no 1 (1906-07; arr. Curnow). City of London Wind Ensemble/Geoffrey Brand.

LDR LDRC 1001 11 Ponce, M. Concerto of the South (1941).

Andrés Segovia, gui; Symphony of the Air/Enrique Jordá.

MCA MCAD 42067 25 Carr-Boyd, A. Southern Cross (2005).

John Martin, pf.

Jade JAD 1106 5 Saint-Saëns, C. East and West, op 25 (1869). Royal Northern College of Music Wind O/Timothy Reynish.

Chandos CHAN 9897 8

Friday 7 February Bax, A. Three northern ballads. BBC PO/ Vernon Handley.

Chandos CHAN 10446 33

Lloyd Webber, vc; London SO/Charles Mackerras.

EMI CDM 7 64726 2 6

15:00 KEYBOARD CONTRASTS Prepared by Ray Lemond Bach, J.S. Suite no 3 in G minor, BWV808, English (bef. 1725). Ivo Janssen, pf.

VOID 9806 19 Handel, G. Suite no 3 in D minor, HWV428 (pub. 1720). Alan Cuckston, hpd.

Naxos 8.550415 19 Beethoven, L. Bagatelles, op 119 (1821).

Stephen Kovacevich, pf.

EMI 5 62700 2 14

22:00 BAROQUE AND BEFORE Composers writing for their own instruments Prepared by Susan Foulcher Speer, D. Trio sonata and gigue. Christian Lindberg, tb; members of Australian CO. BIS CD-1688 4 Cavalli, F. Prison scene duets, from L’Ormindo, Act III (1644). Fiona Campbell, mezz; David Walker, ct; Ironwood/Neal Peres da Costa.

Vexations 840 840-1101 14 Marais, M. Suite VII in G, from Troisième livre (pub. 1701). Jordi Savall, va da gamba; Hopkinson Smith, theorbo; Ton Koopman, hpd.

Alia Vox AVSA 9872 A/E 26 Pachelbel, J. Aria quinta in A minor (1699). Kees van Houten, org.

LBCD 71/74 9 Pergolesi, G. Violin concerto in B flat.

Elizabeth Wallfisch, vn; Raglan Baroque Players/Nicholas Kraemer.

Hyperion CDA67230 12 Telemann, G. Concerto in B flat for three oboes, three violins and basso continuo, TWV44:43. Musica Antiqua Cologne/ Reinhard Goebel.

Archiv 479 1045 9 Rameau, J-P. Concert no 3 in A major/ minor (pub. 1741). Ryo Terakado, vn; Kaori Uemura, va da gamba; Christophe Rousset, hpd.

Harmonia Mundi HMC 901418 17 Hotteterre, J-M. Suite no 1 in G minor, from Second book of pieces, op 5 (pub.

1715). Philippe Allain-Dupré, fl; Philippe Pierlot, bass viol; Yasuko UyamaBouvard, hpd.

Naxos 8.553708 15

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 Prepared by Robert Small Mercadante, S. Double flute concerto in D (1816; ed. Gallois). Kazunori Seo, fl; Czech Chamber PO/Patrick Gallois, fl & dir.

Philips 442 775-2 17 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 Symphony Ch & O/Sebastian Lang-Lessing.

ABC 476 3623 1:07 Strauss, R. Duet-concertino (1947).

Sarah Watts, cl; Laurence Perkins, bn; Royal Scottish NO/Sian Edwards.

Hyperion CDA68263 22 Elgar, E. Romance, op 62 (1909). Julian

Some composers would be classed as multi-instrumentalists but few have probably played as many instruments as Georg Philipp Telemann who taught himself to play flute, oboe, violin, viola da gamba, recorder and double bass as well as other instruments. He was mostly self-taught in composition but became a highly-regarded composer of the Baroque era and remains so today. His knowledge of these instruments most probably contributed to his success as a composer.

The French Hotteterre family were renowned wind instrument makers and performers. The most illustrious was Jacques-Martin who, as well as being an instrument maker, was the most celebrated flautist of his time. He was the first musician to play a transverse flute in the orchestra of the Paris Grand Opera. He also played the oboe, bassoon and musette and published several methods for recorder, transverse flute and oboe, with the flute manual of 1719 being Europe’s first. It is said that the ‘music of the modern era begins with this author’.

Saturday 8 February 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SATURDAY MORNING MUSIC with Stephen Wilson 9:00 WHAT’S ON IN MUSIC Our weekly guide to musical events in and around Sydney 9:05 THE PIANO ALONE Prepared by Katy Rogers-Davies Chopin, F. Prelude in D flat, op 28 no 15, Raindrop (1836-39). Roger Woodward, pf.

Warner Music 450990318-2 4 Kats-Chernin, E. Dance of the paper umbrellas (2013). Tamara-Anna Cislowska, Elena Kats-Chernin, pf.

ABC 481 6430 4 Grieg, E. Storm clouds, from Three piano pieces (1898). Einar Steen-Nøkleberg, pf.

Naxos 8.553399 5 Debussy, C. Gardens in the rain, from Estampes (1903). Walter Gieseking, pf.

EMI 5 62798 2 3 Medtner, N. Piano sonata, op 25 no 2, Night wind. Geoffrey Tozer, pf.

Chandos CHAN 9618 35 10:00 MUSIC OF THE DANCE Prepared by Katy Rogers-Davies Tchaikovsky, P. Waltz, from Swan Lake (1877). Adelaide SO/Elyakum Shapirra.

ABC 476 6955 7 Dvorák, A. Waltz no 2 in D, op 54 no 4 (1880). Lindsay String Quartet.

ASV DCA 777 3 Coleridge-Taylor, S. Four characteristic waltzes, op 22 (1898). RTE Concert O/ Adrian Leaper.

Marco Polo 8.223516 14 Hill, A. Waltz caprice. Asmira WoodwardPage, vn; Scott Davie, pf.

Artworks AW034 2 Koster, L. Moselträume waltz suite (c1920). Estro Armonico Luxembourg/ Jonathan Kaell.

Naxos 8.573330 11 Delibes, L. Waltz, from Coppélia (1870).

National PO/Richard Bonynge.

Decca 478 4746 2 Chabrier, E. Three romantic waltzes (1880-83). Kathryn Stott, pf; Elizabeth Burley, pf.

Unicorn-Kanchana DKP 9158 14 Prokofiev, S. Waltzes: Suite for orchestra, op 110 (1947). Ukranian State SO/Theodore Kuchar.

Naxos 8.553069 29 FEBRUARY 2020

15

Sunday 9 February

Saturday 8 February 11:30 ON PARADE Prepared by Robert Small France, S. Kroger march (1998).

Lawrence University Wind Ensemble/ Robert Levy.

Tall Poppies TP177 3 Dreyfus, G. Euroa hooray! (c1980).

Symphonic Wind Ensemble of Johannes Gutenberg University/George Dreyfus.

Move MCD 166 4 Giannini, V. Variations and fugue (1965).

University of Houston Wind Ensemble/ Tom Bennett.

Naxos 8.570130 15 Dreyfus, G. Rush (1974); Lawson’s mates (1979). Symphonic Wind Ensemble of Johannes Gutenberg University/George Dreyfus.

Move MCD 166 4 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 Swords 14:30 SATURDAY MATINEE Operetta in the afternoon Prepared by Elaine Siversen Kálmán, E. The gypsy princess. Operetta in three acts. Libretto by Leo Stein and Béla Jenbach. First performed Vienna, 1915.

SYLVA VARESCU: Yvonne Kenny, sop PRINCE EDWIN: Michael Roider, ten COUNTESS STASI: Mojca Erdmann, sop COUNT BONI: Marko Kathol, ten FERI VON KEREKES: Karl-Michael Ebner, ten Slovak Philharmonic Choir & RSO/ Richard Bonynge.

Naxos 8.660105-06 1:25 Sylva Varescu, a successful cabaret singer from Budapest, is in love with Prince Edwin, who has promised to marry her. His disapproving parents arrange his marriage to Countess Stasi who does not love him. Sylva leaves on an American tour. On her return, Sylva visits Edwin’s palace in Vienna and Edwin’s father informs her that, if she marries Edwin without first having achieved noble rank through some other route, her role in society could be merely that of a Gypsy Princess. As her entrée into society, 16

FEBRUARY 2020

Sylva pretends to have married Edwin’s friend, the nobleman Boni who falls in love with Edwin’s fiancée Stasi. Edwin tells Sylva that his parents will accept her if she pretends to have divorced Boni as she has already entered society through the marriage. Sylva realises that she is better than they, snubs Edwin and his father and leaves.

Feri, also a nobleman, is about to accompany Sylva and the cabaret troupe on another American tour when, in a Viennese hotel, he recognises Edwin’s mother as a retired cabaret singer from Budapest. Edwin’s mother joins Sylva and Edwin with Boni and Stasi as they leave for America, all unwittingly heading to safety as World War I is about to begin.

My dream, my dream; Lovely Marquise, from Empress Josephine (1936). Marilyn Hill Smith, sop; Chandos Concert O/Stuart Barry.

Chandos CHAN 8978 10 Excerpts from The circus princess. Sári Barabás, sop; Ursula Köster, soubrette; Kurt Wehofschitz, ten; Heinz Maria Lins, bar; Rudolf Lamy Choir; O/Frank Fox. LP Baccarola 80 015 ZE 13 Excerpts from The gypsy princes; Die Faschingsfee; The little Dutch girl; Der Teufelsreiter. Slovak RSO/Richard Bonynge.

Naxos 8.660105-06 23 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

45TH

19:00 MBS LP AND CD RECORDINGS

Carr-Boyd, A. A garland for 2MBS. Sydney Mandolins.

MBS 34 CD 3 Josquin Desprez. Ave Maria, virgo serena. Sydney Chamber Choir/Nicholas Routley.

LP MBS 3 5 Koehne, G. Gothic toccata (1983). David Rumsey, org.

MBS 36 CD 7 Bartók, B. Divertimento for string orchestra (1938). Australian CO. LP MBS 2 26 MacDowell, E. To a wild rose, from Woodland sketches, op 51 (1896; transcr.). Louise Johnson, hp.

MBS 40 CD 2

Liszt, F. Oh, quand je dors; Es war ein König in Thule (1842). Lauris Elms, cont; David Miller, pf.

LP MBS 17 8

0:00 CLASSIC-ALL THROUGH THE NIGHT

13:00 WORLD MUSIC: Whirled Wide with Orli Zahava

6:00 SUNDAY MORNING MUSIC with Robert Small

20:00 THE LIFE OF A COMPOSER Carl Stamitz Prepared by Jacky Ternisien Stamitz, C. Symphony in C, op 24 no 1 (1765). New Dutch Academy/Simon Murphy.

PentaTone PTC 5186 365 15 Stamitz, A. Viola concerto in B flat. Jan Peruska, va; Prague Philharmonia/Jirí Belohlávek.

Supraphon SU 3929-2 21 Cannabich, C. Flute quintet in E minor, op 7 no 3 (1768-69). Camerata Cologne. cpo 999 544-2 15 Stamitz, J. Organ concerto no 3 in B flat.

Alena Veselá, org; Dvorák CO/Vladimir Válek.

Supraphon SU 3094-2011 14 Stamitz, C. Quartet in E flat, op 8 no 2 (1773). Guy Henderson, ob; Gabor Reeves, cl; Gordon Skinner, bn; Anthony Buddle, hn.

Fine Music concert recording 10 Stamitz, J. Symphony in D, op 3 no 2 (pub. 1757). New Zealand CO/Donald Armstrong.

Naxos 8.553194 10 Stamitz, C. Sinfonia concertante in D (1780-82). Isaac Stern, vn; Pinchas Zukerman, va; English CO/Daniel Barenboim.

Sony SM2K 66 472 21

9:00 MUSICA SACRA Prepared by Rex Burgess Mozart, W. Regina coeli in B flat, K127 (1772). Elizabeth Cragg, sop; Deborah Miles-Johnson, cont; Daniel Auchincloss, ten; Lawrence White, bass; Choir of St Albans Cathedral; Sinfonia Verdi/Andrew Lucas.

Naxos 8.573092 17 Telemann, G. Zerschmettert die Götzen.

Dorothee Mields, sop; Klaus Mertens, bass; Accademia Daniel/Shalev Ad-El. cpo 777 249-2 36

14:00 FERDINANDO CARULLI 250 YEARS ON Prepared by Frank Morrison Carulli, F. Guitar concerto in E minor, op 140, Petit concerto de Société (pub.

1820). Pepe Romero, gui; Academy of St Martin in the Fields/Iona Brown.

Decca 478 5669 16 Andante in E, op 320 no 2. Alfonso Baschiera, gui.

Nuova Era 7102 4 Mélange on a theme of Rossini, op 236 no 2. Leopoldo Saracino, gui; Massimo Palumbo, fp.

Nuova Era 7174 10 Waltz in A, op 101 no 2. Alfonso Baschiera, gui.

Nuova Era 7102 1 Concerto in G for flute, guitar and orchestra. Jean-Pierre Rampal, fl; Alexandre Lagoya, gui; Franz Liszt CO/ János Rolla.

CBS MK 42130 22

22:00 SATURDAY NIGHT AT HOME Prepared by Elaine Siversen Rimsky-Korsakov, N. Suite from Pan voyevoda, op 59 (1903). Moscow SO/Igor Golovschin.

Naxos 8.553858 25 Weill, K. Suite from The threepenny opera (1928; arr. Ledger). David Elton, tpt; Seraphim Trio.

Fine Music concert recording 22 Verdi, G. Ballet music from The Sicilian vespers (1855). Monte Carlo National Opera O/Antonio de Almeida.

Philips 422 846-2 29 Rameau, J-P. Orchestral suite, from Naïs (1749). Philharmonia Baroque O/Nicholas McGegan.

Harmonia Mundi HMU 907121 37

“Music is the art which is most nigh to tears and memory.” — Oscar Wilde

10:00 THE CLASSICAL ERA Prepared by Paul Cooke Salieri, A. Double concerto in C. Richard Adeney, fl; James Brown, ob; English CO/Richard Bonynge.

ABC 475 070-2 18 Boccherini, L. String quintet in B minor, op 27 no 6 (1779). La Magnifica Comunità.

Brilliant Classics 94386 12 Clementi, M. Symphony in D, op 18 no 2 (1787). Bruno Canino, pf; Rome Sinfonietta/Francesco La Vecchia.

Naxos 8.573273 17 Giuliani, M. Grand potpourri, op 53 (pub.

1814). Nora Shulman, fl; Norbert Kraft, gui.

Naxos 8.554560 11 Cherubini, L. Sinfonia, from Il Giulio Sabino (1786). Auser Musici/Carlo Ipata.

Hyperion CDA67893 10 Colbran, I. Six Italian songs (1805).

Maria Chiara Pizzoli, sop; Marianne Gubri, hp.

Tactus TC 780302 13 Paganini, N. Bravura variations on Dal tuo stellato soglio, from Rossini’s Moses, op 24 (1818-19; arr. Karr). Gary Karr, db; Berlin RSO/Uros Lajovic.

LP Schwann VMS 2063 9 Rossini, G. Terra amica, from Zelmira (1822). Lawrence Brownlee, ten; Kansas City SO/Constantine Orbelian.

Delos DE 3455 9 Donizetti, G. Allegro in C for strings (1822). Rossini Ensemble, Budapest.

Naxos 8.550621 6 12:00 CLASSIC JAZZ AND RAGTIME with John Buchanan

15:00 SUNDAY SPECIAL Celebration of the music of Martin Wesley-Smith Prepared by James Nightingale Wesley-Smith, M. Little Tommy. Wesley Three.

LP CBS BP 233207 3 The day we found O’Reilly’s chook in Mrs Boon’s backyard. Song Company/Roland Peelman. www.songcompany.com.au 3 Wattamolla red (1983). Martin WesleySmith, computer.

Tall Poppies TP072 11 Excerpts from Boojum (c1979). Tony Backhouse, voice; Sydney Philharmonia Motet Choir; Michael Askill, perc; David Miller, keyboards; John Grundy, cond.

Vox Australis VAST010-2 19 Snark-hunting (1984). Flederman.

Canberra School of Music CSM 1 17 Songs from The hunting of snark (c1985).

Philharmonia Motet Choir; David Miller, pf; Neil McEwan, cond.

Fine Music concert recording 15 Balibo (1992). Geoffrey Collins, fl; tape.

Tall Poppies TP069 15 Who stopped the rain?; Freddie the fish; The elderly elephant; Quito, blown by the wind. Song Company/Roland Peelman. www.songcompany.com.au 3

Tekee Tokee Tomak (2011). Ros Dunlop, cl.

Private recording 10 Grey beach. Lisa Moore, pf.

Tall Poppies TP040 3 17:00 HOSANNA Prepared by Meg Matthews Hymns: Love divine; Christ whose glory; My song is love unknown. Choir of St Andrew’s Cathedral; Mark Quarmby, org; Michael Deasey, cond. 9 Byrd, W. Ave verum corpus. 4 Viadana, L. da Exultate justi. 2 Schütz, H. Blessed are the dead. 4 Australian Chamber Choir/Douglas Lawrence (3 above) Handel, G. Excerpts from Esther: Tune your harps; Who calls my parting soul from death?; Virtue, truth and innocence; Turn not O Queen; Flattering tongue no more I hear thee (c1720). Patricia Kwella, sop; Paul Elliot, ct; Anthony Rolfe Johnson, ten; Academy of Ancient Music Ch & O/Christopher Hogwood.

L’Oiseau-Lyre 414 423-2 16 Rossini, G. Kyrie; Gloria; Cum sancto spiritu, from Messa de gloria (1820).

Elzbieta Towarnicka, sop; Ewa Marciniec, cont; Lorenzo Melissano, ten; Piotr Kusiewicz, ten; Alessandro Verducci, bass; Cracow Concert Choir; New Polish PO/Winston dan Vogel.

Dynamic CDS 74 16 18:00 SMALL FORCES Prepared by Krystal Li Biber, H. Violin sonata in C minor.

Latitude 37.

ABC 481 0483 15 Paganini, N. Guitar quartet no 11 in B (1818-20). Bruno Pignata, vn; Lorenzo Lugli, va; Paolo Mosca, vc; Pino Briasco, gui.

Dynamic CDS 17/1-2 20 Turina, J. Sevilla, op 2 (1908). Azahar Ensemble.

Profil Medien PH18073 18 19:00 SUNDAY NIGHT CONCERT Prepared by Krystal Li Williamson, M. Suite, from Our man in Havana (1963). Tasmanian SO/Richard Mills.

ABC 476 3222 20 Saint-Saëns, C. Piano concerto no 5 in F, op 103, Egyptian (1896). Stephen Hough, pf; City of Birmingham SO/Sakari Oramo.

Hyperion CDA67331/2 27 FEBRUARY 2020

17

Sunday 9 February Alfvén, H. Symphony no 3 in E, op 23 (1905). Royal Scottish NO/Niklas Willén.

Naxos 8.553729 35 20:30 NEW HORIZONS Prepared by Paul Cooke Greenbaum, S. Falling by degrees (2009). NZTrio.

ABC 481 0504 17 Golijov, O. Air to air. Silk Road Ensemble.

World Village 468095 19 Plaetner, J. Clarinet sonata, op 93 (200001). Jens Schou, cl; Erik Kaltoft, pf.

Dacapo 8.226520 22 Higdon, J. All things majestic (2011).

Nashville SO/Giancarlo Guerrero.

Naxos 8.559823 23 22:00 JAZZ AFTER HOURS

“I seek elation and consolation. My music aims to evoke an atmosphere apart from the routine of modern life. I believe in the need to allow space in a world increasingly filled with commercialism, light and noise pollution and 24/7 thinking. At times, I think we lose a sense of wonderment at our Earthly surrounds. Therefore, when I write, I seek an experience in sound to take me beyond everyday imperatives.” The words of Stuart Greenbaum explaining his compositional motivation.

His music has been described as having ‘overt connections to jazz, pop and minimalism but is equally grounded in the Western art music tradition’. He studied composition at the University of Melbourne with Brenton Broadstock and Barry Conyngham, and he also plays the oboe, piano ad electric guitar.

Currently Professor and Head of Composition at the Melbourne Conservatorium of Music, Greenbaum is the composer of over 200 works that are heard regularly in Australia and overseas. They include 18 sonatas, seven string quartets, five piano trios, five concertos, four symphonies and two operas, one of which was presented in London.

In 2009 he was Australia’s representative for the Trans-Tasman Composer Exchange, working in Auckland with NZTrio on a new piano trio, The year without a Summer. This trio has since recorded Falling by degrees.

18

FEBRUARY 2020

Monday 10 February 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: 1850 Prepared by Frank Morrison Meyerbeer, G. Torch dance no 2 in E flat, from Dances for Prussian royal weddings (1850). North German Radio PO/Michail Jurowski. cpo 999 168-2 8 Liszt, F. Six consolations (1850). Nelson Freire, pf.

Decca 478 2728 16 Wagner, R. In fernem Land, from Lohengrin (1850). Jonas Kaufmann, ten; Marcus Bruck, bass-bar; Berlin German Opera Ch & O/Donald Runnicles.

Decca 478 5189 10 Saint-Saëns, C. Fantasy after Weber’s Oberon (1850). Philippe Graffin, vn; Pascal Devoyon, pf.

Helios CDH55353 16 Auber, D-F-E. Overture to The child prodigy (1850). Tasmanian SO/David Porceljin.

ABC 481 0616 6 Lalo, E. Piano trio no 1 in C minor, op 7 (1850). Barbican Piano Trio.

ASV DCA 899 22 10:30 CONCERT HALL Prepared by Derek Parker Arnold, M. Philharmonic overture, op 120 (1976). BBC Concert O/Vernon Handley.

Sony 88875181702 15 Bortkiewicz, S. Piano concerto no 1 in B flat, op 16 (1912). Stephen Coombs, pf; BBC Scottish SO/Jerzy Maksymiuk.

Hyperion CDA66624 36 Beethoven, L. Symphony no 1 in C, op 21 (1800). CO of Europe/Nikolaus Harnoncourt.

Teldec 2292-46452-2 27 12:00 SWING SESSIONS with John Buchanan 13:00 HARNESSING THE BREATH The chalumeau and the clarinet Prepared by Albert Gormley Telemann, G. Concerto in D minor for two chalumeaux, strings and basso continuo. Musica Antiqua Köln/Reinhard Goebel.

Archiv 479 1045 11

Weber, C.M. Clarinet quintet in B flat, op 34 (1815). Members of Consortium Classicum/Dieter Klöcker.

Orfeo C314 941 A 27 Spohr, L. Clarinet concerto no 1 in C minor, op 26 (1808). Andreas Ottensamer, cl; Rotterdam PO/Yannick Nézet-Séguin.

DG 481 0131 22 Mozart, W. Clarinet quartet in F, op 79 no 3. Dieter Klöcker, cl; members of Eder Quartet.

LP Teldec 6.43046 AZ 21 14:30 FRENCH INSPIRED Prepared by Jacky Ternisien Auber, D-F-E. Overture to La muette de Portici (1828). Polish National RSO/ Richard Hayman.

Naxos 8.553264 10 Cras, J-E. Quintet (1928). Michel Moragues, fl; Isabelle Moretti, hp; members of Quatuor Parisii. naive V 5129 21 Grigny, N. de Ave Maris Stella; A solis ortus; Fugue à 5. Joseph Payne, org.

Naxos 8.553214 7 Guglielmi, L. La vie en rose (1945; arr.

Rutter). 3 Aznavour, C. She (arr. Rutter). 4 Jane Rutter, fl; David Mibus, pf (2 above ABC 476 4837 Rode, P. Violin concerto no 3 in G minor, op 5 (1798). Friedemann Eichhorn, vn; Jena PO/Nicolás Pasquet.

Naxos 8.570767 28 Françaix, J. Cinq danses exotiques (1961). Guido Bäumer, sax; Aladár Rácz, pf.

Odradek ODR337 6 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

The chalumeau is a woodwind instrument that was prevalent in classical compositions of the late Baroque and early Classical eras. It has a cylindrical bore with eight tone holes and a broad mouthpiece with a single reed made of cane. It is the predecessor of the clarinet which gradually displaced it.

Tuesday 11 February 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Julie Simonds 9:00 DIVERSIONS IN FINE MUSIC Colours of the keyboard Prepared by James Nightingale Kats-Chernin, E. Adrift (2013). TamaraAnna Cislowska, pf.

ABC 481 2625 6 Boulanger, N. Trois pièces (1911). Paul Jacobs, org.

Naxos 8.573524 9 Liszt, F. Blessed be the day; I find no peace; I beheld on earth angelic grace (1864). Gerald Finley, bass-bar; Julius Drake, pf.

Hyperion CDA67956 15 Glass, P. Étude no 20 (2012). Viking Olafsson, pf.

DG 479 6918 11 Haydn, J. Trio in G for flute, cello and piano, Hob.XV:15 (1790). Geoffrey Collins, fl; Julian Smiles, vc; Catherine Davis, pf.

Fine Music concert recording 17 Mozart, W. Piano sonata in B flat, K333 (1783-84). Ingolf Wunder, pf.

DG 479 0084 21 10:30 CONCERT HALL Prepared by Frank Morrison Respighi, O. Brazilian impressions (1927). Cincinnati SO/Jésus LópezCobos.

Telarc 80356 19 Strauss, R. Oboe concerto in D (1945/48). Alf Nilsson, ob; Stockholm Sinfonietta/Neeme Järvi.

BIS CD-470 24 Schumann, R. Symphony no 2 in C, op 61 (1845-46). O Révolutionnaire et Romantique/John Eliot Gardiner.

Archiv 457 591-2 37 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 NOCTURNES Prepared by Jacky Ternisien Wallace, V. Nocturne: The night winds, from Lurline. Rosemary Tuck, pf.

Naxos 8.572774 5

Berlioz, H. Nocturne, from Beatrice and Benedict (1860-62). April Cantelo, sop; Helen Watts, mezz; London SO/Colin Davis.

Decca 421 314-2 12 Bochsa - Duport. Nocturne no 3.

Deborah de Graaff, cl; Marshall McGuire, hp.

Fine Music concert recording 7 14:30 VALE RAYMOND LEPPARD Prepared by Derek Parker Bach, J.S. Harpsichord concerto no 5 in F minor, BWV1056 (1735-40). English CO/Raymond Leppard, hpd & dir.

Philips 422 497-2 11 Rameau, J-P. Suite no 1 from Le temple de la gloire (1745). English CO. Decca 433 733-2 20 Cavalli, F. Ardo, sospiro e piango, from La Calisto (1652). Janet Baker, mezz; London PO. Decca 476 7091 5 Gershwin, G. Lullaby (1919).

Indianapolis SO. Decca 458 157-2 8 Mozart, W. Violin concerto no 1 in B flat, K207 (1773). Cho-Liang Lin, vn; English CO. CBS MK 44503 24 Handel, G. Ombra mai fu, from Xerxes, HWV40 (1738). Janet Baker, mezz; English CO. Philips 475 1562 4 Raymond Leppard, cond (5 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 Gerald Holder Tchaikovsky, P. String quartet no 1 in D, op 11 (1871). Jerusalem String Quartet.

EMI 5 74349 2 29 Bartók, B. Rhapsody no 1 (1928). József Szigeti, vn; Béla Bartók, pf.

Vanguard OVC 8008 9 Saint-Saëns, C. Piano trio no 2 in E minor, op 92 (1892). Florestan Trio.

Hyperion CDA67538 34 Beethoven, L. Septet in E flat for winds and strings, op 20 (1799). Australia Ensemble.

Fine Music tape archive 41

Wednesday 12 February 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Troy Fil 9:00 DIVERSIONS IN FINE MUSIC Inspired by literature Prepared by Chris Blower Berlioz, H. Overture: Le corsaire, op 21 (1844). Polish State PO/Kenneth Jean.

Naxos 8.553264 9 Verdi, G. Ei dorme? from The corsair (1848). Montserrat Caballé, sop; José Carreras, ten; New Philharmonia O/ Lamberto Gardelli.

Philips 434 986-2 13 Czerny, C. Concert variations on The march of the Greeks from Rossini’s The siege of Corinth, op 138 (pub. 1827).

Rosemary Tuck, pf; English CO/Richard Bonynge.

Naxos 8.573417 16 Goldmark, K. Overture: Prometheus bound, op 38 (1889). Philharmonia O/ Yondani Butt.

ASV DCA 934 17 Koehne, G. Three poems of Byron (1993). Australian CO/Stephen Kovacevich.

Fine Music concert recording 11 Schumann, R. Overture, from Incidental music to Manfred, op 115 (1848; arr.).

Eckerle Piano Duo. Naxos 8.572879 12 10:30 CONCERT HALL Prepared by Jacky Ternisien Mozart, W. Cassation no 1 in G, K63 (1769). Jean-François Paillard CO/JeanFrançois Paillard.

LP Erato NUM 75184 21 Bochsa, N. Harp concerto no 1 in D minor, op 15. Lily Laskine, hp; Lamoureux Concerts Association O/Jean-Baptiste Mari.

Erato 2292-45084-2 21 Gounod, C. Symphony no 2 in E flat (1856). Sinfonia Finlandia/Patrick Gallois.

Naxos 8.557463 40 12:00 JAZZ SKETCHES with Robert Vale 13:00 IN CONVERSATION with Christopher Waterhouse FEBRUARY 2020

19

Wednesday 12 February 14:00 LEONARDO’S CONTEMPORARIES Prepared by Frank Morrison Festa, C. Magnificat septimi toni à 4.

Huelgas Ensemble/Paul van Nevel.

Sony 88697478442 13 Taverner, J. Magnificat à 4: Nesciens Mater. The Sixteen/Harry Christophers.

Hyperion CDS44401/10 12 Ockeghem, J. Requiem. The Clerk’s Group/Edward Wickham.

ASV GAU 168 30 15:00 MOZART WITH STRINGS Prepared by Paul Hopwood Mozart, W. Keyboard trio no 1 in G, K496 (1786). Robert Ingram, vn; Georg Pedersen, vc, Gerard Willems, pf.

Tall Poppies TP070 27 Violin concerto no 5 in A, K219, Turkish (1775). Boris Belkin, vn; Salzburg Chamber Soloists/Lavard Skou Larsen.

Denon CO-78918 29 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm 19:00 JAZZ STARS AND STRIPES with Peter Mitchell 20:00 AT THE OPERA Prepared by Elaine Siversen Vivaldi, A. La verità in cimento, RV739.

Opera in three acts. Libretto by Giovanni Palazzi. First performed Venice, 1720.

MAMUD: Anthony Rolfe Johnson, ten MELINDO: Sara Mingardo, cont DAMIRA: Nathalie Stutzmann, cont ZELIM: Philippe Jaroussky, ct RUSTENA: Guillemette Laurens, mezz

ROSANE: Gemma Bertagnolli, sop Ensemble Matheus/Jean-Christophe Spinosi naïve OP 30365 1:53 Mamud has two sons: Melindo by his favourite Damira and Zelim by the Sultana Rustena. Mamud had them exchanged at birth so that Melindo is thought to be the legitimate heir while Zelim is thought to have no claim on the throne. When a marriage is proposed between Melindo and Rosane, the heiress to another Sultanate, Mamud decides to reveal the truth. Eventually a settlement is reached with Zelim declared the rightful heir to Mamud’s empire while Melindo, in marrying Rosane, becomes the heir to the secondary kingdom that is Rosane’s inheritance.

Psalm 126: Nisi Dominus, RV608. Sara Mingardo, cont; Concerto Italiano/Rinaldo Alessandrini. naïve OP 30397 21 22:30 THE ART OF YO-YO MA Prepared by Di Cox Beethoven, L. Cello sonata no 1 in F, op 5 no 1 (1796). Emanuel Ax, pf.

CBS M2K 42446 26 Haydn, J. Cello concerto no 2 in D, Hob. VIIb:2 (1783). English CO. CBS M2K 44562 25 Dvorák, A. Piano trio no 4 in E minor, op 90, Dumky (1890-91). Young Uck Kim, vn; Emanuel Ax, pf.

CBS MK 44527 31 Yo-Yo Ma, vc (all above)

A setting of the Missa pro defunctis (Requiem) is known to have been written by Guillaume Dufay (c1397-1474) for the use of the Order of the Golden Fleece but, as it no longer survives, it is most probable that the earliest extant polyphonic composition of the Latin rite of the Mass for the dead is by Johannes Ockeghem (c1410-1497). This Requiem may have been composed for the funeral of Charles VII in 1461 or possibly for that of Louis XI in 1483. It is also possible that Ockeghem may have composed it towards the end of his own life as Guillaume Crétin refers to a recent Requiem in his Déploration on the death of Ockeghem.

It is a rare polyphonic setting of the Requiem for the 15th century; it has been suggested that many composers may have thought that polyphony was not sober enough for a funeral Mass. One of the most famous and most-often performed of Ockeghem’s works, the work is in five parts for four voices, based on a Gregorian chant, with the composer using a paraphrase technique to achieve great variance in style. The work, as it exists now, is incomplete lacking a Sanctus, Communion or Agnus Dei. However, it has a very complex and contrapuntal Offertorium as its final movement. The only manuscript source is the Chigi Codex that was apparently intended to be a complete edition of Ockeghem’s works. The missing movements (if they existed) were either not available to the copyist or he found them to be illegible.

20

FEBRUARY 2020

Thursday 13 February 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Simon Moore 9:00 DIVERSIONS IN FINE MUSIC The instruments: Woodwind Prepared by Chris Blower Saint-Saëns, C. Clarinet sonata in E flat, op 167 (1921). Thomas Friedli, cl; Ulrich Koella, pf.

Claves 50-9322 15 Fasch, J. Sonata in C. Frances Eustace, bn; Jennifer Ward Clarke, vc; Paul Nicholson, hpd.

Amon Ra SAR 35 13 Britten, B. Lord Melbourne, from Suite on English folk tunes, op 90 (1974). Peter Walden, cora; City of Birmingham SO/ Simon Rattle.

EMI 5 55394 2 5 Klughardt, A. Schilflieder, op 28 (1873).

Albrecht Mayer, ob; Tabea Zimmerman, va; Markus Becker, pf.

Decca 478 3564 19 Mozart, W. Divertimento in B flat, K439b no 5 (c1783). Gilles Thomé, bshn; Gili Rinot, bshn; Lorenzo Coppola, bshn.

Pierre Verany PV795021 11 Diabelli, A. Serenade, op 99. Konrad Hünteler, fl; Reinbert Evers, gui.

Pantheon D 14 112 16 10:30 CONCERT HALL Prepared by Rita Felton Williams, J. Princess Leia’s theme from Star wars (1977). Boston Pops O/John Williams.

Decca 478 9244 4 Mendelssohn, F. Violin concerto in E minor, op 64 (1844). Yehudi Menuhin, vn, London SO/Rafael Frühbeck de Burgos.

EMI CDM 1 66433 2 27 Dvorák, A. Symphony no 6 in D, op 60 (1880). London PO/Mstislav Rostropovich.

EMI 5 65705 2 49 12:00 JAZZ, PURE AND SIMPLE with Maureen Meers 13:00 BAGATELLES Prepared by Jacky Ternisien Beethoven, L. Bagatelle, WoO59, Für Elise (1808). Julia Zilberquit, pf.

Naxos 8.570237 4 Royer, J-N-P. La bagatelle (1746). Yago Mahugo, hpd.

Brilliant Classics 94479 1

Thursday 13 February Sor, F. Six bagatelles, op 43, Mes ennuis (c1830). Jason Vieaux, gui.

Naxos 8.553986 18 Finzi, G. Five bagatelles, op 23 (193843). Emma Johnson, cl; Malcolm Martineau, pf.

ASV DCA 787 16 Tcherepnin, A. Bagatelles, op 5 (1958).

Julia Zilberquit, pf.

Naxos 8.570237 14 14:00 THE PORTUGUESE GUITAR Prepared by Anabela Pina Lecce, F. Mandolin concerto in G. Ugo Orlandi, mand; I Solisti Veneti/Claudio Scimone.

LP Erato NUM 75248 12 Fiorenza, N. Cello concerto in B flat.

Catherine Jones, vc; Van Diemen’s Band/ Julia Fredersdorff.

ABC 481 6359 13 Eustáquio, A. String quartet: Suite of the leaves. Antonio Eustaquio, gui; Antonio Miranda, vn; Vitorino Gomes, va; Joao Murcho, vc.

CCD-Digital 11006 28 15:00 MOZART WITH STRINGS Prepared by Paul Hopwood Mozart, W. Violin concerto no 3 in G, K216 (1775). La Petite Bande/Sigiswald Kuijken, vn & dir.

Denon CO-78837 22 Piano quartet no 2 in E flat, K493 (1786).

Isidore Cohen, vn; Bruno Giuranna, va; Bernard Greenhouse, vc; Menahem Pressler, pf.

Philips 410 391-2 32 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 Wranitzky, P. Ten German dances.

Eduard Melkus Ensemble.

Archiv 439 964-2 8

Beethoven, L. 12 Variations on a Russian dance from Wranitsky’s Das Waldmädchen, WoO71 (1802). Olli Mustonen, pf.

Decca 436 834-2 11 Haydn, J. String quartet in C, Hob.III:77, Emperor (1797). Amadeus Quartet.

DG 410 866-2 25 Rouget de Lisle, C-J. Hymn of the Marseillaise (c1792; arr. Berlioz 1830).

Gordon Gietz, ten; Montreal Choir & SO/ Charles Dutoit.

Decca 475 0972 8 Beethoven, L. Romances: no 1 in G, op 40 (1802); no 2 in F, op 50 (c1798).

Pinchas Zukerman, vn; London PO/ Daniel Barenboim.

DG 429 179-2 16 Mozart, W. Bei Männern; Ach, ich fühl’s; Pa-Pa-Pa-Papagena, from The magic flute, K620 (1791). Isobel Buchanan, sop; John Pringle, bar; Queensland SO/ Richard Bonynge.

ABC 432 249-2 9 Wranitzky, P. Grand characteristic symphony for the peace with the French Republic, op 31 (1797). London Mozart Players/Matthias Bamert.

Chandos CHAN 9916 31 22:00 SURPRISE! SURPRISE! Prepared by Jacky Ternisien Haydn, J. Andante, from Symphony in G, Hob.I:94, Surprise (1791; transcr. Alkan).

Marc-André Hamelin, pf.

Hyperion CDA67050 6 Symphony in G, Hob.I:94, Surprise (1791; arr. Salomon c1798). Australian Haydn Ensemble/Skye McIntosh.

Fine Music concert recording 21 22:30 ULTIMA THULE with George Cruickshank

Haydn produced some of his most outstanding music in London, including the Surprise Symphony. Haydn was at the fortepiano when Symphony no 94 premiered in March 1792 at the Hanover Square Rooms in London. Charles Burney had written about an earlier concert: “Haydn himself presided at the piano forte; and the sight of that renowned composer so electrified the audience, as to excite an attention and a pleasure superior to any that had ever been caused by instrumental music in England.” Before leaving London in 1795, Haydn signed over his rights to the new symphonies to Johann Peter Salomon who published them in chamber settings, in this way ensuring continuing profits from the wide dissemination of the works.

Friday 14 February 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 Mendelssohn, F. Overture: Calm sea and prosperous voyage, op 27 (1828).

Vienna PO/Christoph von Dohnányi.

Decca 460 239-2 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 Munro, I. Clarinet quintet, Songs from the bush (2009). David Rowden, cl; Omega Ensemble.

ABC 481 4667 18 Carwithen, D. Suffolk suite (1964).

London SO/Richard Hickox.

Chandos CHAN 9524 12 Debussy, C. Divertissement (c1884).

Adrienne Soos, pf; Ivo Hang, pf.

Naxos 8.572385 11 Nagasawa, K. Hoshun: First stirrings of Spring (1971; arr. McGuire). Riley Lee, shakuhachi; Marshall McGuire, hp.

ABC 476 4870 10 10:30 CONCERT HALL Prepared by Frank Morrison Gade, N. Overture: Echoes from Ossian, op 1 (1840). Danish National RSO/Dmitri Kitaienko.

Chandos CHAN 9422 15 Kozeluch, L. Clarinet concerto in E flat (bef. 1790). Emma Johnson, cl; Royal PO/Günther Herbig.

ASV DCA 763 22 Skryabin, A. Symphony no 3 in C minor, op 43, The divine poem (1902-04). Royal Concertgebouw O/Kyrill Kondrashin.

Radio Nederland RCO 06004 46 12:00 A JAZZ HOUR with Barry O’Sullivan 13:00 FESTIVAL FOR HARPSICHORD Prepared by Derek Parker Bach, W.F. Concerto in D for harpsichord and strings (1735-40). Il Convito/Maude Gratton.

Mirare MIR 162 16 Scarlatti, A. Toccata in G. Rinaldo Alessandrini, hpd.

Arcana A3 8 FEBRUARY 2020

21

Friday 14 February Boccherini, L. Violin sonata in D, op 14 no 4 (1772). Emilio Moreno, vn; Aarón Zapico, hpd.

Glossa GCD 920315 15 Handel, G. Suite no 5 in E, HWV430 (1720). Erin Helyard, hpd.

ABC 481 5711 14 Bononcini, G. Divertimento in C (pub.

1722). Giovanni Paganelli, hpd.

Brilliant Classics 95611 7 Poulenc, F. Concert champêtre (192728). Elisabeth Chojnacka, hpd; Lille NO/ Jean-Claude Casadesus.

Naxos 8.554241 24 14:30 THE BRAHMS CONCERTOS Prepared by Ron Walledge Beethoven, L. Overture: The consecration of the house, op 124 (1822).

Berlin PO/Herbert von Karajan.

DG 445 112-2 10 Brahms, J. Variations on a theme by J. Haydn, op 56a, St Antoni chorale (1873).

Vienna PO/Carlo Maria Giulini.

DG 431 681-2 21 Piano concerto no 1 in D minor, op 15 (1854-59). Daniel Barenboim, pf; Philharmonia O/John Barbirolli.

Philips 456 721-2 52 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 Weber, C.M. Overture to Der Freischütz (1821). Antoni Witt, cond.

Naxos 8.570296 10 Bridge, F. The sea (1911). James Judd, cond.

Naxos 8.578017-18 22 Wagner, R. Die Frist ist um, from Der fliegende Holländer (1841). Jonathan Lemalu, bass-bar; James Judd, cond.

EMI 5 57605 2 12 Shostakovich, D. Concerto for piano, trumpet and strings, op 35 (1933).

John Taber, tpt; Michael Houstoun, pf; Christopher Lyndon-Gee, cond.

Naxos 8.553126 24 Zemlinsky, A. The mermaid (1903).

James Judd, cond.

Naxos 8.570240 41 New Zealand SO (all above)

22

FEBRUARY 2020

22:00 BAROQUE AND BEFORE An early music pioneer Prepared by Andrew Dziedzic Scarlatti, A. Overture to Il giardino di rose (1707). New Philharmonia O. Philips 446 569-2 5 Bach, J.S. Christmas oratorio: excerpts from three cantatas, BWV248 (1734).

Scottish CO. Erato 2292-45561-2 12 Rameau, J-P. Suite no 2 from Le temple de la gloire (1745).

Decca 433 733-2 20 Telemann, G. Trumpet concerto in B flat (arr. Leppard). Wynton Marsalis, tpt.

LP CBS M 42478 10 Campra, A. Suite from L’Europe galante (1697).

Decca 433 733-2 21 Handel, G. Cantata: Lucrezia, HWV145 (1709). Janet Baker, mezz.

Philips 426 450-2 20 Pachelbel, J. Canon (c1690; arr.

Leppard). Wynton Marsalis, tpt.

LP CBS M 42478 6 Raymond Leppard, cond (all above) Bach, J.S. Triple concerto in C, BWV1064 (c1724). Andrew Davis, hpd; Philip Ledger, hpd; Raymond Leppard, hpd & dir.

Philips 422 497-2 17 English CO (6 above)

An aesthetic controversy raged in the early 20th century when ‘program’ music was pitted against ‘absolute’ music. In previous decades the traditional symphony had been challenged by the development of the symphonic poem and, after the premiere of Richard Strauss’ Ein Heldenleben, some argued that the symphonic poem had reached its epitome and could go no further. Arnold Schoenberg and Alexander Zemlinsky set out to prove them wrong, choosing literary works as inspiration and sharing their scores-in-progress with each other. Schoenberg chose Maurice Maeterlinck’s play Pelléas et Mélisande (on the advice of Strauss) and Zemlinsky based his work on Hans Christian Andersen’s Den lille havfrue (The Little Mermaid). The two symphonic poems were premiered at the same concert with each composer conducting his own work.

Saturday 15 February 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 Frank Morrison Clementi, M. Piano sonata in B flat, op 8 no 3 (1782). Howard Shelley, pf.

Hyperion CDA67632 9 Bartók, B. Improvisations on Hungarian peasant songs, op 20 (1920). Murray Perahia, pf.

Sony SX4K 63380 11 Tchaikovsky, P. Grand sonata no 3 in G, op 37 (1878; compl. Howard). Leslie Howard, pf.

Hyperion CDA66939 29 10:00 MUSIC OF THE DANCE Prepared by Paul Cooke Holst, G. Ballet music from The perfect fool, op 39 (1923). Munich SO/Douglas Bostock.

Classico CLASS 284 12 Schubert, F. 15 Original dances, D365 (1821). William Bennett, fl; Simon Wynberg, gui.

ASV DCA 692 10 Still, W. Ballet: Sahdji (1931). Eastman School of Music Ch; Eastman-Rochester Ch & O/Howard Hanson.

Mercury 434 324-2 20 Zemlinsky, A. Rustic dances, op 1 (1891). Silke Avenhaus, pf.

Naxos 8.557331 15 Sullivan, A. Masquerade, from The merchant of Venice (1871). Emmanuel Lawler, ten; RTE Concert O/Andrew Penny.

Marco Polo 8.223461 23 11:30 ON PARADE Music that’s band Prepared by Owen Fisher Anon. Work song. Royal Doulton Band/ Edward Gray.

LP Astor GGS 1506 2 Sousa, J.P. El Capitan march. Allentown Band/Ronald Demkee.

AMP 87107 2 Gershwin, G. Summertime. Ray Roe, cornet; Band of Yorkshire Imperial Metals/ Trevor Walmsley.

LP Columbia 330 SX 1118 4

Saturday 15 February Bennett, Robert. Symphonic songs for band. United States Air Force Band/ Lowel Graham.

Private DOD 9706 14 Prokofiev, S. Kije’s wedding. Southern District Concert Band/S. Maher.

LP Delta 60357 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 Mozart’s Così fan tutte, and plays some of the music that makes it a great opera.

14:30 SATURDAY MATINEE Undine Henze, H. Ballet: Undine. Peter Donohoe, pf; London Sinfonietta/Oliver Knussen.

DG 453 467-2 1:42 Debussy, C. 12 Études (1915). Walter Gieseking, pf.

EMI 5 65855 2 40 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

45TH

19:00 MBS LP AND CD RECORDINGS

Pachelbel, J. Ciacona in F minor (c1678). David Rumsey, org.

MBS 33 CD 8 Haydn, J. Variations in F minor, Hob.VII no 6 (1793). Tamara-Anna Cislowska, pf.

MBS 42 CD 14 Gross, E. Rondino pastorale, op 33 (1962). Michael Scott, fl; Sydney Mandolins.

MBS 34 CD 3 Williamson, M. Richmond fanfare.

Elizabethan PO/Henryk Pisarek.

MBS 18 CD 6 Chopin, F. Fantasy-impromptu in C sharp minor, op 66 (1835). Gusztáv Fenyö, pf.

LP MBS 7 5 Sculthorpe, P. Songs of sea and sky (1987-88; arr. 1988). Geoffrey Collins, fl; David Miller, pf.

MBS 13 CD 15

20:00 THE LIFE OF A COMPOSER Franz Schubert Prepared by Rex Burgess Schubert, F. Piano trio 1 in B flat, D898 (1827). Hansheinz Schneeberger, vn; Thomas Demenga, vc; Jörg Ewald Dähler, fp.

Claves 50-9112 12 Symphony no 3 in D, D200 (1815).

Chicago SO/Carlos Kleiber.

Artists FED 013/14 20 Adagio and rondo concertante in F, D487 (1816). Melos Ensemble.

Philips 442 937-5 13 Salve Regina, D676 (1819). Elke Hooke, sop; Sydney University Graduate Choir & O/Christopher Bowen.

SUGC recording 10 Incidental music to Rosamunde, D797 (1823). Vienna PO/Riccardo Muti.

EMI CDC 7 54873 2 16 Piano sonata no 19 in C minor, D958 (1828). Alfred Brendel, pf.

Vanguard OVC 4026 28 The shepherd on the rock, D965 (1828).

Jennifer Bates, sop; Nigel Westlake, cl; David Bollard, pf.

Tall Poppies TP011 12 22:00 SATURDAY NIGHT AT HOME Prepared by Chris Blower Saint-Saëns, C. Ballet music from Ascanio (1888). O Victoria/Guillaume Tournaire.

Melba MR301130 25 Hummel, J. String quartet in E flat, op 30 no 3 (1804). Delmé String Quartet.

Hyperion CDA66568 27 Berlioz, H. Villanelle; Le spectre de la rose, from Summer nights, op 7 (1840-41). Régine Crespin, sop; Suisse Romande O/Ernest Ansermet.

Decca 460 973-2 9 Peterson-Berger, W. Earina suite (1917).

Norrköping SO/Michail Jurowski. cpo 999 632-2 21 Mendelssohn, F. Symphony no 5 in D minor, op 107, Reformation (1832).

Tasmanian SO/Sebastian Lang-Lessing.

ABC 476 3623 30

The libretto of Saint-Saëns’ opera Ascanio is based on the 1852 play Benvenuto Cellini by Paul Meurice which was in turn based on the 1843 novel by Alexandre Dumas, père.

The name Ascanio was chosen to avoid confusion with the Berlioz opera Benvenuto Cellini.

Sunday 16 February 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SUNDAY MORNING MUSIC 9:00 MUSICA SACRA Prepared by Jacky Ternisien Palestrina, G. da Stabat Mater. Tallis Scholars/Peter Phillips.

Gimell GIM 041 10 Anon. Magnificat secundi toni. Joseph Payne, org.

Naxos 8.553215 6 Charpentier, M-A. Mass for the departed (1871-75). Gulbenkian Foundation Symphonic Choir & O/Michel Corboz.

Erato 4509-97238-2 38 10:00 THE CLASSICAL ERA Prepared by Di Cox Sperger, J. Symphony in C. Musica Aeterna/Peter Zajicek.

Naxos 8.554764 19 Hoffmeister, F. Flute concerto no 17 in D. Bruno Meier, fl; Prague CO. Naxos 8.573040 25 Mozart, W. Sonata in D for two pianos, K448 (1781). Christoph Eschenbach, pf; Justus Frantz, pf.

DG 435 042-2 24 Beethoven, L. Sextet in E flat, op 81b (1795). Gerd Seifert, hn; Manfred Klier, hn; Drolc Quartet.

DG 439 852-2 17 Paisiello, G. Nel cor più non mi sento, from L’amor contrastato (1789; ed.

Bonynge). Joan Sutherland, sop; Philomusica of London/Granville Jones.

Decca 475 6302 4 Giuliani, M. Introduction, theme with variations and polonaise. Pepe Romero, gui; Academy of St Martin in the Fields/ Neville Marriner.

Philips 454 262-2 20 12:00 CLASSIC JAZZ AND RAGTIME with Jeannie McInnes 13:00 WORLD MUSIC: Whirled Wide with Anna Tranter 14:00 THE OX ON THE ROOF Prepared by Nicky Gluch A Centenary Event

1920 2020

Milhaud, D. Prélude, from Alissa, op 9 (1913/31). John Constable, pf.

ASV DCA 810 3 FEBRUARY 2020

23

Sunday 16 February Auric, G. Adieu New York (1918).

Marcelo Bratke, pf.

Olympia OCD 487 6 Nazareth, E. Tango brasileiro: Odeon (1910); Vitorioso tango (c1912); Labirinto tango (1917). Joshua Rifkin, pf.

Decca 476 2445 12 Poulenc, F. Cocardes (1919). François le Roux, bar; soloists of French NO/Charles Dutoit.

Decca 452 666-2 7 Satie, E. Trois petites pièces montées (1920). Katia Labèque, Marielle Labèque, pf.

KML 1120 4 Milhaud, D. Ballet: Le boeuf sur le toit, op 58 (1919). London SO/Antal Dorati.

Mercury 478 5092 19 15:00 SUNDAY SPECIAL Henri Vieuxtemps Prepared by Paul Cooke Vieuxtemps, H. Three pieces, op 40 (1864). David Frühwirth, vn; Henri Sigfridsson, pf.

Avie AV0042 16 Cello concerto no 1 in A minor, op 46 (1877). Alban Gerhardt, vc; Royal Flemish PO/Josep Caballé-Domenech.

Hyperion CDA67790 25 Viola sonata in B flat, op 36 (pub. 1863).

Roberto Diaz, va; Robert Koenig, pf.

Naxos 8.555262 23 Ysaÿe, E. String quartet, London (arr.

Jacques Ysaÿe). Kryptos Quartet.

Etcetera KTC 4034 14 Hubay, J. Fantasie brilliante on Bizet’s Carmen. Gil Shaham, vn; Akira Eguchi, pf.

DG 447 640-2 9 Vieuxtemps, H. Violin concerto no 2 in F sharp minor, op 19 (1836). Mischa Keylin, vn; Janácek PO/Dennis Burkh.

Naxos 8.554114 21

17:00 HOSANNA Prepared by Richard Munge Hymn: When morning gilds the skies.

Choir of St Paul’s Cathedral; John Scott, org; Barry Rose, cond.

Guild GM 7106 3 Psalms: No 23, The Lord is my shepherd; no 121, I will lift up mine eyes unto the hills. Choir of St Clement Danes, London; Paul Brough, org; Peter Long, cond.

Classical Recording Co CRC 1223-2 5 Walton, W. Coronation Te Deum.

Choir of St John’s College, Cambridge/ Christopher Robinson.

Naxos 8.557557 10 Britten, B. Jubilate Deo. Choir of St John’s College, Cambridge/Christopher Robinson.

Naxos 8.557557 3 Wesley, S.S. Ascribe unto the Lord. Choir of Guildford Cathedral; Peter Wright, org; Andrew Millington, cond.

Priory PR 257 14 Finzi, G. The brightness of this day.

Andrew Da Silva, bar; Girls’ Choir and Lay Clerks of Winchester Cathedral; Simon Bell, org; Andrew Lumsden, cond.

Regent REG 395 5 Hymns: All creatures of our God and King; Praise, my soul, the King of Heaven. Cantus Choro; Norman Kaye, org; Peter Chapman, cond.

Regent REG 200 7 Widor, C-M. Toccata, from Symphony no 5 in F, op 42. Ashley Grote, org.

Priory PR 1153 6 18:00 SMALL FORCES Prepared by Frank Morrison Ireland, J. Piano trio no 2 (1917). Lydia Mordkovitch, vn; Karine Georgian, vc; Ian Brown, pf.

Chandos CHAN 9377/8 13

Monday 17 February Reicha, A. Clarinet quintet in B flat, op 89 (c1809). Ensemble Carl Stamitz.

Pierre Verany PV 789101 23 Bazzini, A. Three pieces in sonata form, op 44 (c1863). Marco Fornaciari, vn; Daniele Roi, pf.

Fonè 88 F 02-22 16 19:00 SUNDAY NIGHT CONCERT Prepared by Ray Lemond Albéniz, I. Iberia suite (1906-08; orch.

Arbós). Philharmonia O/Yan Pascal Tortelier.

Chandos CHAN 8904 33 Handel, G. Organ concerto no 14 in A, HWV296a. Richard Marlow, org; Academy of Ancient Music/Stephen Layton.

Hyperion CDA67678 17 Vaughan Williams, R. In the Fen country (1907). London PO/Bryden Thomson.

Chandos CHAN 8502 18 Petrassi, G. Vocalise to put a little girl to sleep (transcr. Corti). Alessio Bidoli, vn; Bruno Canino, pf.

Sony 889 853 065 12 4 Rachmaninov, S. The bells, choral symphony, op 35 (1913). Elena Ustinova, sop; Kurt Westi, ten; Jorma Hynninen, bar; Danish National Radio Ch & SO/ Dmitri Kitaienko.

Chandos CHAN 8966 41 20:30 NEW HORIZONS Prepared by Nev Dorrington Howard, L. Open heart stories (2018).

Luke Howard, pf.

Mercury 6025 67041542 1:15 Family; Sky (2013). Luke Howard, pf.

Mercury 481 6385 11 22:00 JAZZ AFTER HOURS

John Ireland’s Piano trio no 2, although brief, is exceptional. In one movement, it is in four distinct sections which, if he had wished, could have easily served as separate movements. Composed in 1917, it reflects a time when the full horrors of World War I had become known; the tragedy and loss of life are expressed in this trio (and also in his Second Violin Sonata). Ireland left no doubt that he tried to convey the terrible wastage of the war that destroyed so many young men in the springtime of their lives. One commentator has said that the composer is trying to cling to ‘the beauty that remained on the earth amidst the carnage and inhumanity of the battle’. Some find it difficult to come to terms with the work and its sombre subject but, despite this background, it ends on a surprisingly optimistic note.

Fiona Richards in her book The Music of John Ireland writes: “This is a work of mixed emotions, contrasting passages of stark textures and caustic harmonies with effusive moments and grim marches. The structure of the work is a succession of episodes exploring different mood, all of which are melodic metamorphoses of the first eighteen bars of the piece”.

After studying at the Royal College of Music, most notably with Charles Villiers Stanford, John Ireland began to make his name in the early 1900s as a composer of songs and chamber music. His Violin sonata no 1 of 1909 won first prize in an international competition and his second was even more successful. His chamber music has not been as popular as his secular and sacred songs and his Piano Concerto.

24

FEBRUARY 2020

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: 1815 Prepared by Jacky Ternisien Mayr, S. Arianna a Nasso (1815).

Bavarian Classical Players/Franz Hauk.

Naxos 8.573484 8 Carulli, F. Three little duos, op 92 (pub.

1815). Leopoldo Saracino, gui; Massimo Palumbo, fp.

Nuova Era 7169 23 Loewe, C. Erlkönig (1815). Bruce Martin, bass-bar; Ron Charles, pf.

ABC 476 3439 4 Weber, C.M. Clarinet quintet in B flat, op 34 (1815). Sabine Meyer, cl; members of Academy of St Martin in the Fields.

EMI 5 57359 2 27 Schubert, F. Nun lasst uns den leib begraben, D168, Begräbnislied (1815).

Silke Schwarz, sop; Ingeborg Danz, cont; Marcus Ullmann, ten; Marcus Schmidl, bass; Ulrich Eisenlohr, pf.

Naxos 8.570961 6 Drouet, L. Introduction and variations on an English theme (1815-19). Marc Grauwels, fl; Catherine Michel, hp.

Marco Polo 8.220441 11 10:30 CONCERT HALL Prepared by Dan Bickel Ibert, J. Escales (1922). Montreal SO/ Charles Dutoit.

Decca 440 332-2 15 Mozart, W. Piano concerto no 16 in D, K451 (1784). English CO/Murray Perahia, pf & dir.

Sony SX4K 46 443 25 Saint-Saëns, C. Symphony in F, Urbs Roma (1856). French RTO/Jean Martinon.

Brilliant Classics 94360 41 12:00 SWING SESSIONS with John Buchanan 13:00 CELEBRATING YOUNG VIRTUOSI Prepared by Chris Blower

45TH

Bach, W.F. Polonaises: in C minor; in C, from 12 Polonaises (c1765). Nicholas Parle, hpd.

Tall Poppies TP057 9

Liszt, F. Six Polish songs by Chopin, op 74: no 2, Spring; no 14, The ring (1838).

Kathryn Lambert, pf.

MBS 31 5 André, J. Clarinet quartet in E flat, op 54 (1799). Anne Menzies, cl; Donald Hazelwood, vn; Peter Pfuhl, va; Patricia Mendelow, vc.

Fine Music concert recording 16 Chopin, F. Nocturne in E flat, op 9 no 2; Mazurka, op 7 no 1 (transcr. Bolliger).

Scott Marshall, ob; Phillip Bolliger, gui.

MBS 31 7 Benjamin, A. Violin sonatina, op 7 no 1 (transcr. Bolliger). Asmira WoodwardPage, vn; Scott Davie, pf.

Artworks AW034 15 14:00 FROM TASMANIA Rossini, G. Overture to Semiramide (1823). Ola Rudner, cond.

ABC 476 259-9 12 Grieg, E. Peer Gynt suite no 2, op 55.

Sebastian Lang-Lessing, cond.

ABC 476 4523 18 Moscheles, I. Piano concerto no 7 in C minor, op 93, Pathétique (1835). Howard Shelley, pf & dir.

Hyperion CDA67385 22 Górecki, H. Three pieces in olden style (1963). Johannes Fritzsch, cond.

ABC 481 6295 9 Beethoven, L. Symphony no 3 in E flat, op 55, Eroica (1803). David Porcelijn, cond.

ABC 461 918-2 47 Tasmanian SO (all above) 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm 19:00 JAZZ PULSE with Chris Wetherall 19:00 JAZZ STARS AND STRIPES with Peter Mitchell 20:00 STORMY MONDAY with Austin Harrison and Garth Sundberg 22:00 JAZZ AFTER HOURS

The first performance of Moscheles’ opus 93 Piano Concerto at the Leipzig Gewandhaus caused Mendelssohn to write: “Moscheles in his extempore playing produced some things bordering on witchcraft, which to this day I have not been able to understand, although he pretends they were nothing.”

Tuesday 18 February 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Julie Simonds 9:00 DIVERSIONS IN FINE MUSIC The colours of the keyboard Prepared by Frank Morrison Dvorák, A. Polonaise in A (1879).

Heinrich Schiff, vc; Elisabeth Leonskaja, pf.

Philips 412 732-2 8 Le Roux, G. Suite in D. Rosalind Halton, hpd.

ABC 454 502-2 8 Debussy, C. Suite bergamasque (1905).

Claudio Arrau, pf.

Philips 434 626-2 24 Buxtehude, D. Chorale: Mit fried und freud ich fahr dahin, BuxWV76-1.

Graham Barber, org.

ASV GAU 130 6 Bach, C.P.E. Sonata in G minor, Wq51 no 6 (1760). Gustav Leonhardt, clvd.

Philips 422 349-2 8 Granados, E. Piano trio, op 50 (1894).

Lom Piano Trio.

Naxos 8.572262 25 10:30 CONCERT HALL Prepared by Paul Hopwood Cherubini, L. Overture to The crescendo (1810). Tuscan O/Donato Renzetti.

Europa 350-221 12 Bach, C.P.E. Flute concerto in B flat, Wq167 (1751). Konrad Hünteler, fl; Amsterdam Baroque O/Ton Koopman.

Erato ECD 75536 22 Tchaikovsky, P. Symphony no 5 in E minor, op 64 (1888). Concertgebouw O/ Bernard Haitink.

Decca 478 5867 50 12:00 JAZZ RHYTHM with Jeannie McInnes 13:00 CELEBRATING YOUNG VIRTUOSI Prepared by Chris Blower

45TH

Blake, H. Prelude; Nocturne; Impromptu, from Lifecycle. William Chen, pf.

ABC 476 1184 11 Haydn, J. Piano trio in D, Hob.deest (c1760s). Natalie Chee, vn; Peter Hörr, vc; Tamara-Anna Cislowska, pf.

Fine Music concert recording 5 FEBRUARY 2020

25

Tuesday 18 February Smetana, B. Macbeth and the witches (1859). Tamara-Anna Cislowska, pf.

ABC 476 6301 10 Stanhope, P. Snap (1996). Philip Arkinstall, cl.

Fine Music concert recording 7 Man, K. Kaigan Sen (2005). Riley Lee, noh-kan; Ian Cleworth, taiko set; Kerryn Joyce, odaiko drum; Kevin Man, odaiko drum; Anton Lock, shimedaiko.

New World CD641 6 Sullivan, A. Braid the raven hair, from The Mikado (1885). Dominica Matthews, mezz; Opera Australia Ch; O Victoria/ Brian Castles-Onion.

Opera Australia OPOZ56016 3 Piazzolla, A. Café 1930, from Histoire du tango (1985; transcr. Liarmakopoulos).

Achilles Liarmakopoulos, tb; Simon Powis, gui.

Naxos 8.572596 13 14:00 MUSICAL FAMILIES Purcell brothers Prepared by Jennifer Foong Purcell, H. Overture to King Arthur (1691). Parley of Instruments/Roy Goodman.

Hyperion CDA67001/3 4 Trumpet tunes and airs. Fine Arts Brass Ensemble.

Nimbus NI 5546 7 O let me weep, The plaint, from The fairy queen (1692). Emma Kirkby, sop; Anthony Rooley, lute; Richard Campbell, va da gamba; Catherine Mackintosh, vn.

L’Oiseau-Lyre 478 7863 7 Fantasia VII (c1680). Sophie Watillon, high tenor viol; Philippe Pierlot, bass viol; Wieland Kuijken, bass viol; Jordi Savall, treble viol & dir.

Astrée E 8536 4 Fairest isle, from King Arthur (arr.

McGuire). Marshall McGuire, hp.

Artworks AW013 2 Purcell, D. Morpheus, thou gentle god.

Catherine Bott, sop; Mark Levy, bass viol; David Roblou, org.

L’Oiseau-Lyre 433 187-2 5 Sonata in D minor. David Munrow, rec; Oliver Brookes, bass viol; Christopher Hogwood, hpd.

Decca 440 079-2 6 Purcell, H. Pavan in B flat (c1680).

Members of Purcell Quartet.

Chandos CHAN 8591 4 Chacony in G minor, from Trio sonata no 6. Members of Musica Antiqua Cologne.

Archiv 453 418-2 7 26

FEBRUARY 2020

Suite à 4 in G. London Baroque.

Harmonia Mundi HMC 901327 7 Anthem: O God, thou hast cast us out (c1682). Choir of Christ Church Cathedral, Oxford; English Concert/Simon Preston.

Archiv 459 487-2 5 Sonata no 3 in A minor, from Ten sonatas in four parts. Catherine Mackintosh, vn; Elizabeth Wallfisch, vn; Richard Boothby, bass viol; Robert Woolley, org.

Chandos CHAN 8763 7 Purcell, D. The masque of Hymen (c1695). Kym Amps, sop; Anna Crookes, sop; Robin Doveton, sop; David van Asch, ten; Adrian Peacock, ten; Scholars Baroque Ensemble.

Naxos 8.553752 14 Purcell, H. Ode for the birthday of Queen Mary: Love’s goddess sure was blind (1692). Julia Gooding, sop; James Bowman, ct; Christopher Robson, ct; David Wilson-Johnson, bass; O of the Age of Enlightenment/Gustav Leonhardt.

Virgin 5 61400 2 21 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 Isaac, H. A la battaglia. Triton Trombone Quartet.

BIS CD644 7 Telemann, G. Suite no 5 in A minor for flute, violin and continuo. Collegium Musicum 90/Simon Standage.

Chandos CHAN 0525 17 Liszt, F. Tristia (1880). Trio Wanderer.

Harmonia Mundi HMC 902060 17 Ravel, M. Le tombeau de Couperin (1914-17). Farkas Wind Quintet Amsterdam.

Radio Nederland MCCP124 24 Brahms, J. Piano trio no 1 in B, op 8 (1853-54). Macquarie Trio.

ABC 472 668-2 45

Liszt’s Années de pèlerinage, Première année: Suisse includes a piano piece inspired by the melancholy hero in Étienne Pivert de Senancour’s novel Vallée d’Obermann that was set in this location. A lesserknown work is Liszt’s arrangement of it for piano trio which he named Tristia.

Wednesday19 February 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Janine Burrus 9:00 DIVERSIONS IN FINE MUSIC Inspired by literature Prepared by Dan Bickel Kern, J. Mark Twain: portrait of an orchestra (1942). Cincinatti Pops O/Erich Kunzel.

CCL CDG1138 10 Antheil, G. Overture to Tom Sawyer (1949). Frankfurt RSO/Hugh Wolff. cpo 777 040-2 5 Perry, W. Excerpts from The adventures of Huckleberry Finn (1985); Life on the Mississippi (1980). Slovak PO/William Perry.

Naxos 8.570200 29 Grofé, F. Mississippi suite (1925).

Hollywood Bowl SO/Felix Slatkin.

EMI 5 74117 2 13 Thomson, V. Suite from Louisiana story (1948). New London O/Ronald Corp.

Hyperion CDA66576 21 Kern, J. Ol’ man river, from Showboat (1927). Paul Robeson, bass-bar; Brunswick Concert O/Victor Young.

Naxos 8.120789 4 10:30 CONCERT HALL Prepared by Michael Field Brahms, J. Tragic overture, op 81 (1880/81). Berlin PO/Claudio Abbado.

DG 429 765-2 13 Boccherini, L. Cello concerto in B flat.

Jacqueline du Pré, vc; English CO/Daniel Barenboim.

EMI CMS 7 63283 2 23 Skryabin, A. Symphony no 1 in E, op 26 (1899-1900). Inger Blom, mezz; Lars Magnusson, ten; Stockholm Philharmonic Ch & O/Leif Segerstam.

BIS CD-534 48 12:00 JAZZ SKETCHES with Robert Vale 13:00 IN CONVERSATION with Christopher Waterhouse 14:00 FROM THE NORTH Prepared by Stephen Wilson Roman, J. Suite in G minor, Sjukmans Musiquen (1727-28). National Museum CO/Claude Génetay.

Musica Sveciae PRCD 9047 25 Sibelius, J. Tone poem: Tapiola, op 112

Wednesday 19 February (1926). Leif Segerstam, cond.

Chandos CHAN 9083 21 Svendsen, J. Symphony no 1 in D, op 4 (1865-6). Thomas Dausgaard, cond.

Chandos CHAN 9932 35 Nielsen, C. Clarinet concerto, op 57 (1928). Niels Thomsen, cl; Michael Schønwandt, cond.

Chandos CHAN 8894 26 Danish National RSO (3 above) 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm 20:00 AT THE OPERA Prepared by Camille Mercep Bellini, V. Il pirata. Opera in two acts. Libretto by Felice Romani. First performed Milan, 1827.

IMOGENE: Maria Callas, sop ERNESTO: Constantin Ego, bar GUALTIERO: Pier Miranda Ferraro, ten GOFFREDO: Chester Watson, bass American Opera Society Ch & O/Nicola Rescigno.

Warner Classics 90295 84466 1:57 In Sicily in the 13th century, Ernesto has thwarted Gualtiero’s plans in politics and love, caused his unjust banishment, and forced Imogene to marry him. Gualtiero, now a pirate captain, is ravaging the Sicilian shores, seeking Imogene and revenge. When the curtain rises the pirates have just been defeated by Ernesto and washed ashore in his territory. Goffredo hides them in his own retreat in a nearby castle. Gualtiero and Imogene recognise each other. He is touched by the story of marriage but, when he sees her son, his thoughts are only of revenge. Ernesto and Gualtiero settle their rivalry in mortal combat

in which Ernesto is slain. Gualtiero surrenders himself to Ernesto’s retainers.

Imogene, mad with grief, declares that Gualtiero’s death sentence is also hers.

Oboe concerto in E flat (pub. 1941).

Diana Doherty, ob; Queensland SO/ Werner Andreas Albert.

ABC 456 681-2 7 Vaga luna (pub. 1837). Luciano Pavarotti, ten; Philharmonia O/Piero Gamba.

Decca 417 796-2 4 L’abbandono. Cecilia Bartoli, mezz; James Levine, pf.

Decca 455 513-2 4 22:30 EXPLORING CHAMBER Prepared by Sheila Catzel Vivaldi, A. Trio sonata in D, RV84. Darja Grossheide, fl; Gabriele Nussberger, vn; Robert Nikolayczik, vc; Willi Kronenberg, hpd.

Naxos 8.557573 7 Field, J. Piano quintet in A flat (1815).

David Juritz, vn; Jennifer Godson, vn; Sarah-Jane Bradley, va; Julia Desbruslais, vc; Míceál O’Rourke, pf.

Chandos CHAN 9534 11 Bazzini, A. Three lyric pieces, op 41 (1863). Chloe Hanslip, vn; Caspar Frantz, pf.

Naxos 8.570800 16 Grechaninov, A. Piano trio no 2 in G, op 128 (1930). Moscow Rachmaninov Trio.

Hyperion CDA67295 18 Fauré, G. Pavane, op 50 (1887; arr.

Lynch). Prudence Davis, fl; Jeffrey Crellin, ob; Peter Lynch, gui.

Move MD 3090 7 Berwald, F. String quartet no 3 in E flat (1849). Yggdrasil Quartet.

BIS CD-759 22

The First Symphony of Norwegian composer Johan Svendsen was composed in 1867 while he was a student at the Leipzig Conservatory. It is described as charming and a ‘resourceful and wonderfully fresh utterance’. Even as a student, Svendsen had a deft orchestral touch that is particularly displayed in the scherzo movement. His finale has been described as ‘inspired, its noble second subject lingering long in the memory’. The symphony so impressed Edvard Grieg, Svendsen’s almost exact contemporary, that Grieg withdrew his own C minor Symphony composed two years earlier, regarding it as inferior to that of Svendsen.

Svendsen had begun violin studies at the Leipzig Conservatory with Ferdinand David but problems with his hand caused him to change to studying composition with Carl Reinecke. So successful was this change that Svendsen received first prize for composition on completion of his studies in 1867.

Nine years after the first, Svendsen wrote an even more successful Second Symphony and also a third, but this manuscript is rumoured to have been destroyed by his wife during a domestic dispute.

Thursday 20 February 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Simon Moore 9:00 DIVERSIONS IN FINE MUSIC The instruments: Winds Prepared by Jennifer Foong Fasch, J. Chalumeau concerto in B flat.

Accademia Daniel/Shalev Ad-El. cpo 999 674-2 11 Salieri, A. Quartets from the opera, Palmira (1796-97). Christoff Ogg, cl; Regula Schneider, bshn; Markus Niederhauser, bshn; Andreas Ramseier, bshn.

Claves CD 50-9212 7 Kozeluch, L. Wind sinfonia in D. Consortium Classicum.

Orfeo 442 981 13 Boccherini, L. Divertimento no 1 in A for flute and strings, op 16 no 3 (1773).

Piccolo Concerto, Vienna/Roberto Sensi.

Accent ACC 24245 17 Beethoven, L. Cor anglais sonata in F, op 17 (1800 arr. Oguey). Alexander Oguey, cora; Neal Peres da Costa, pf.

ABC 481 7026 16 Falla, M. de Concerto for harpsichord, winds and strings (1923-26). Lenka KozderkováSimková, fl; Vladislav Borovka, ob; Karel Dohnal, cl; Adéla Stajnochrová, vn; Tomás Strasil, vc; Monika Knoblochová, hpd.

Supraphon SU 3805-2 14 10:30 CONCERT HALL Prepared by Peter Poole Schumann, R. Overture to Genoveva, op 81 (1847). Vienna PO/Karl Münchinger.

Decca 470 261-2 9 Prokofiev, S. Piano concerto no 3 in C, op 26 (1917-21). Martha Argerich, pf; Swiss-Italian O/Charles Dutoit.

DG 477 9884 29 Brahms, J. Symphony no 1 in C minor, op 68 (1855-76). Gewandhaus O/ Riccardo Chailly.

Decca 478 5344 44 12:00 JAZZ, PURE AND SIMPLE with Maureen Meers 13:00 CELEBRATING YOUNG VIRTUOSI Prepared by Chris Blower

45TH

Beethoven, L. Quintet in E flat for winds and piano, op 16 (1796). Emma Scholl, fl; FEBRUARY 2020

27

Thursday 20 February Shefali Pryor, ob; Matthew Ockended, bn; Euan Harvey, hn; David Rowden, cl.

Fine Music concert recording 25 Handel, G. Rejoice greatly; How beautiful are the feet; I know that my Redeemer liveth, from Messiah, HWV56 (1742).

Emma Moore, sop; Sydney Messiah O/ Tim Chung.

Radio Community Chest HM2015 14 Pasculli, A. Concerto sopra motivi dell’opera La favorita di Donizetti, theme and variations. Ennes Mehmedbasic, ob; Zsuzsanna Giczy, pf.

5MBS recording 7 Popper, D. Hungarian rhapsody, op 68 (pub.

1894). Benett Tsai, vc; Joshua Tsai, pf.

7 Records MLF 351 8

Barber, S. Summer music, op 31 (1956).

Geoffrey Collins, fl; David Nuttall, ob; Nigel Westlake, cl; Gordon Skinner, bn; Robert Johnson, hn.

Fine Music concert recording 11 Glanville-Hicks, P. Etruscan concerto (1954). Caroline Almonte, pf; Tasmanian SO/Richard Mills.

ABC 476 3222 15 Corigliano, J. Poem in October, from A Dylan Thomas trilogy (1960/99). John Tessier, ten; Thomas Allen, bar; Nashville Symphony Ch & O/Leonard Slatkin.

Naxos 8.559394 15 Creston, P. Symphony no 5, op 64 (1956). Seattle SO/Gerard Schwarz.

Naxos 8.559153 26

14:00 LEOPOLD STOKOWSKI CONDUCTS Prepared by Stephen Wilson Falla, M. de Ballet: Love the magician, Andalusian gypsy scenes (1915). Gloria Lane, mezz; BBC SO. BBC BBCL 4005-2 24 Rachmaninov, S. Piano concerto no 2 in C minor, op 18 (1900-01). Sergei Rachmaninov, pf; Philadelphia SO. Fidelio 8819 31 Brahms, J. Symphony no 4 in E minor, op 98 (1884-05). New Philharmonia O. BBC BBCRD 9107 38 Ravel, M. Rhapsodie espagnole (1907).

New Philharmonia O. BBC BBCRD 9107 16 Leopold Stokowski, cond (all above)

22:00 FROM THE FAB FOUR Prepared by Jacky Ternisien Lennon - McCartney. Eleanor Rigby (1966; arr.). Rick Wakeman, pf.

UMC 0255723627 5 Eleanor Rigby (arr.). Joshua Bell, vn; Frankie Moreno, voice & pf.

Sony 88697 527162 4 Eleanor Rigby (arr.). Guitar Trek.

ABC 442 508-2 2 All together now. Barnes Theatre Group, voices; Royal Liverpool PO/Carl Davis.

Carl Davis C011 10 We can work it out. Peter Breiner CO. Naxos International 8-990050 2

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 Creston, P. Saxophone sonata, op 19 (1939). Arno Bornkamp, sax; Ivo Janssen, pf.

Globe GLO 5032 13 Schuman, W. New England triptych (1956). Eastman-Rochester O/Howard Hanson.

Mercury 475 6274 16 Copland, A. Rodeo (1942; arr. Gold, Fizdale). Joshua Pierce, pf; Dorothy Jonas, pf.

Koch 3-7002-2 7 Crawford Seeger, R. Preludes for piano, no 6 (1955). Bengt Forsberg, pf. dB Productions dBCD170 3 28

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22:30 ULTIMA THULE with Jackson Day

Paul Creston’s Sonata for E flat alto saxophone and piano is a standard recital piece for saxophone. This is not surprising because it shows the player’s skill to great advantage.

It is a spectacular work for both saxophonist and pianist; the pianist is given a complex score that is in no way an accompaniment for the saxophone part while the saxophone weaves beautiful and exciting melodies in contrast.

The sonata includes vivacious rhythms and ‘short pointed gestures balanced against long legato lines’ based on Creston’s ‘richly chromatic, thickly harmonized tonal idiom’ as described by Blair Johnston for AllMusic. He notes that the finale is crisp and decisive with a ‘wonderfully greasy central melodic episode (marked ‘smooth’)’ that slows the momentum for a while.

Friday 21 February 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 Janácek, L. Suite from The cunning little vixen (1924). Czech PO/Jirí Belohlávek.

Chandos CHAN 9080 18 Stravinsky, I. Renard the fox (1922).

John Aler, ten; Nigel Robson, ten; David Wilson-Johnson, bar; John Tomlinson, bass; London Sinfonietta/Esa-Pekka Salonen.

Sony SK 45 965 16 Dreyfus, G. The adventures of Sebastian the Fox (1963). Bruce Knappet, narr; Diane Ridell, fl; Marla Swift, cl; Geoffrey Dodd, ob; George Dreyfus, bn; Jochen Schubert, gui.

Move MD 3071 11 Liszt, F. Wilde Jagd (1851). Leslie Howard, pf.

Hyperion CDS44592 16 Mozart, L. Sinfonia da caccia. Hermann Baumann, hn; Radovan Vlatkovic, hn; Timothy Brown, hn; Nicholas Hill, hn; Academy of St Martin in the Fields/Iona Brown.

Philips 416 815-2 11 Raupach, H. Hound, open wide your maw, from Alceste (1758). Cecilia Bartoli, mezz; I Barocchisti/Diego Fasolis.

Decca 478 6767 7 10:30 CONCERT HALL Prepared by Frank Morrison Dvorák, A. Overture: Hussite, op 67 (1883). London SO/István Kertész.

Decca 417 597-2 14 Mozart, W. Violin concerto no 5 in A, K219, Turkish (1775). Joshua Bell, vn; English CO/Peter Maag.

Decca 436 376-2 32 Prokofiev, S. Symphony no 2 in D minor, op 40 (1924). Czech PO/Zdenek Kosler.

Supraphon SU 4093-2 36 12:00 A JAZZ HOUR with Barry O’Sullivan 13:00 EXPLORING CHAMBER Prepared by Brian Drummond Pleyel, I. Oboe quartet in G, op 28 no 1 (c1780). Feit Concertino.

LP Schwann VMS 1043 15

Friday 21 February Haydn, J. String quartet in E flat, op 33 no 2 (1782). Salomon Quartet.

Hyperion CDA66681 19 Mozart, W. Oboe quartet in F, K370 (1781). Members of Australia Ensemble.

Tall Poppies TP029 14 Boccherini, L. Guitar quintet no 4 in D, Fandango. Pepe Romero, gui; Academy of St Martin in the Fields Chamber Ensemble.

Decca 478 5669 17 Mozart, W. Adagio and rondo in C for glass armonica, flute, oboe, viola and cello, K617 (1791). Marc Grauwels, fl; Dennis James, glass armonica; Brussels Virtuosi.

Hyperion CDA66392 13 14:30 FRENCH INSPIRED Prepared by Jacky Ternisien Charpentier, M-A. Prelude to Te Deum (1690s). Les Arts Florissants/William Christie.

Harmonia Mundi HMG 501298 2 Milhaud, D. Suite provençale, op 152b (1936). Boston SO/Charles Munch.

Sony 88875192992 17 Alain, J. Variations on the hymn, Lucis Creator. Eric Lebrun, org.

Naxos 8.553633 4 Lassus, O. de Lectiones sacrae novem, ex libris hiob excerptae (pub. 1582).

Daedalus/Roberto Festa.

Alpha 337 29 Barrière, J-B. Sonata 1 in B minor for cello and basso continuo (pub. 1733).

Les Basses Réunies/Bruno Cocset.

Alpha 330 13 Chaminade, C. Prelude, from Callirhoë, op 37 (1888). BBC Concert O/Martin Yates.

Dutton CDLX 7339 3 Dukas, P. The sorcerer’s apprentice (1897). Boston SO/Charles Munch.

Sony 88875192992 10 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 Beethoven, L. Overture to Leonore, op 72a no 3 (1806). New York PO. CBS MK 42222 13 Gershwin, G. Rhapsody in blue (1924).

Columbia SO. CBS MYK 42611 16

Bernstein, L. Symphonic suite from On the waterfront (1954). Israel PO. DG 415 253-2 22 Ives, C. The unanswered question, from Two contemplations (1906). New York PO. CBS MK 42407 5 Bernstein, L. Chichester Psalms (1965).

Vienna Boys’ Choir; Israel PO. DG 415 965-2 19 Mahler, G. Finale, from Symphony no 6 in A minor, Tragic (1904). New York PO. Sony 88697943332 29 Leonard Bernstein, cond (all above) 22:00 BAROQUE AND BEFORE Celebrating 2MBS / Fine Music recordings Prepared by Elaine Siversen Recordings by Greg Ghavalas, Jayson McBride and Greg Simmons

45TH

Gesualdo, C. Madrigals (pub. 1611): Tu m’uccidi, o crudele; Volan quasi farfalle; Al mio gioir il ciel si fa sereno; Quando ridente e bella. Coro Innominata/Sally Whitwell. 11 Ferrabosco, A. the younger Divisions on O sacra convivium. Elizabeth Rumsey, treble viol; Susan Christie, treble viol; Catherine Upex, tenor viol; Fiona Ziegler, tenor viol; Imogen Granwal, bass viol; Joëlle Morton, bass viol. 7 Philips, P. Filli leggiadra e belle (1598).

Parsons Affayre/Warren Trevelyan-Jones. 26 Schenck, J. Sonata IX, from Le nymphe di Rheno (c1700). Daniel Yeadon, va da gamba; Jennifer Eriksson, va da gamba; Tommie Andersson, theorbo. 9 Allegri, G. Psalm 50/51: Miserere mei Deus. Schola of St Stephen’s Cathedral, Brisbane/James Goldrick. 10 Marais, M. Suite in G for two viole da gamba and continuo, from Premier livre (pub. 1686). Marais Project. 18 Bach, J.S. Singet dem Herrn, BWV225 (1726-27). Sydney Chamber Choir; Anthea Cottee, vc; Chris Cartner, chamber org; Jonathan Grieves-Smith, cond. 13 Roman, J. Sonata (1727). Marais Project 12 Fine Music concert recordings (all above)

Saturday 22 February 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SATURDAY MORNING MUSIC with Stephen Wilson 9:00 WHAT’S ON IN MUSIC Our weekly guide to musical events in and around Sydney 9:05 THE PIANO ALONE Prepared by Jacky Ternisien Boëly, A. Caprice, op 7 (1843).

Stephanie McCallum, pf.

Toccata TOCC 0471 6 Einaudi, L. Discovery at night; Two trees.

Ludovico Einaudi, pf.

Decca 481 0173 11 Schmitt, F. Seven pieces for piano four hands, op15 (1899). Invencia Piano Duo. Grand Piano GP730X 32 10:00 MUSIC OF THE DANCE Prepared by Stephen Wilson Glazunov, A. Mazurka-oberek in D (1917). Chloë Hanslip, vn; Swiss Italian O/Alexander Vedernikov.

Hyperion CDA67940 10 Mozart, W. Six German dances, K571 (1789). Tasmanian SO/Ola Rudner.

ABC 472 826-2 12 Warlock, P. Capriol suite (1926; arr.). Saffire.

ABC 476 5695 9 Fucik, J. Concert waltz: Winter storms.

Czech PO/Vaclav Neumann.

LP Orfeo S 147 861 B 12 Respighi, O. Ancient airs and dances, suite no 1 (1917; arr. van Klaveren).

Alliage Quintett.

Sony 19075818372 14 Boismortier, J. de Premier ballet, from Ballets de village, op 52 (1734). Le Concert Spirituel/Hervé Niquet.

Naxos 8.554295 8 Minkus, L. Pas de deux, from Paquita (1846). London SO/Richard Bonynge.

Decca 452 767-2 12 11:30 ON PARADE Prepared by Chris Blower Goodwin, R. March: Aces high (1969); Those magnificent men in their flying machines (1965). NSW Fire Brigades Brass Band/Mark Reay.

NSW Fire Brigades NSWFBCD01 5 Dreyfus, G. Roaring days (1982). Kew Band/Tom Paulin.

Move MD 3248 12 Grainger, P. Colonial song (1912).

Hawthorn Band/Ken MacDonald.

Walsingham WAL 9000-2 7 FEBRUARY 2020

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Saturday 22 February 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 THE VOICES, THE ROLES Prepared by Angela Cockburn Counter-tenors: How high can I go?

14:30 SATURDAY MATINEE Operetta in the afternoon Prepared by Elaine Siversen Chabrier, E. L’Étoile. Operetta in three acts. Libretto by Eugène Leterrier and Albert Vanloo. First performed Paris, 1877.

KING OUF I: Georges Gautier, ten SIROCO: Gabriel Bacquier, bass HÉRISSON DE PORC-ÉPIC: François le Roux, bar TAPIOCA: Antoine David, ten LAZULI: Colette Alliot-Lugaz, sop PRINCESS LAOULA: Ghyslaine Raphanel, sop ALOÈS: Magali D’Amonte, mezz Lyons Opera Ch & O/John Eliot Gardiner.

EMI 7 47889 8 1:35 King Ouf I roams his city, in disguise, searching for a suitable subject to execute as a birthday treat. Travelling incognito, Hérisson de Porc-Épic, an ambassador, his wife Aloès and his secretary, Tapioca, are accompanied by Laoula, the daughter of a neighboring monarch. Their mission, of which Laoula is unaware, is to marry her to Ouf. Laoula and a poor pedlar, Lazuli, fall in love at first sight. Scolded for flirting, Lazuli insults the disguised king and thus becomes the desired candidate for execution. When Siroco, the king’s astrologer, reveals that the stars predict that the king and the pedlar will die within 24 hours of each other, Lazuli is escorted with honours into the palace.

Lazuli soon grows bored with luxury and longs for Laoula. Ouf, still unaware of the disguises, imprisons Hérisson who was pretending to be Laoula’s husband.

The lovers depart but Hérisson escapes and orders the pedlar to be shot. Gunfire is heard, Laoula is brought in but there is no sign of Lazuli. Ouf bemoans his impending death.

Ouf, desperate to produce an heir to the throne, plans to marry Laoula, even if he only has an hour to live. Lazuli, having escaped harm, reveals himself 30

FEBRUARY 2020

to Laoula and they plan a second elopement. However, Ouf does not die within 24 hours and he declares that the astrologer’s predictions must have been wrong. Lazuli appears and Ouf, glad to be alive, blesses his marriage to Laoula.

Offenbach, J. Excerpts from Orpheus in the Underworld and La vie parisienne (1866). June Bronhill, sop; Eric Shilling, bar; Sadler’s Wells Opera O/Alexander Faris.

EMI 3 89163 2 15 Friml, R. Excerpts from Rose-Marie (1924). Anna Moffo, sop; Rosalind Elias, mezz; Richard Fredericks, bar; William Chapman, voice; Ch & O/Lehman Engel.

LP Reader’s Digest/RCA RDS 40 19 17:00 SOCIETY SPOT Sydney Schubert Society Prepared by Ross Hayes 18:00 MUSIC OF THE SCREEN Music of all kinds featured on the screen, small and large

45TH

19:00 MBS LP AND CD RECORDINGS

Bach, J.S. Concerto no 1 in D, after Vivaldi, BWV972 (1713-14). Nicholas Parle, hpd.

MBS 26 CD 8 Viviani, G. Sonata seconda per trombetta sola. Daniel Mendelow, tpt; David Rumsey, org.

MBS 12 CD 7 Alkan, C-V. Chants V, op 70 (c1873).

Stephanie McCallum, pf.

MBS 24 CD 22 Schubert, F. Rondo in B minor, D895 (1826). Donald Hazelwood, vn; Rachel Valler, pf.

LP MBS 10 16 20:00 THE LIFE OF A COMPOSER Alessandro Scarlatti Prepared by Rodrigo Azaola Scarlatti, A. Cantata: Bella madre de’ fiori. Fiona Campbell, mezz; Giulia Panzeri, vn; Alice Evans, vn; Catherine Jones, vc; Kirsty McCahon, db; Michael Leopold, theorbo, gui; Neal Peres da Costa, hpd.

Fiona Campbell FC 111 26 Miei pensieri, from Il prigioniero fortunato (1698). Max Emanuel Cencic, ct; Il Pomo d’Oro/Maxim Emelyanychev.

Decca 478 8422 5

Sunday 23 February Harpsichord toccata in D minor (1723).

Rinaldo Alessandrini, hpd.

Arcana A3 19 Su le sponde del Tebro. Deborah York, sop; Crispian Steele-Perkins, tpt; King’s Consort/Robert King.

Helios CDH55354 16 Chamber concerto no IX in A minor.

Tempesta di Mare.

Chandos CHAN 0768 9 Figlio! tiranno! O dio, from Griselda (1721). Elizabeth Watts, sop; English Concert/Laurence Cummings.

Harmonia Mundi HMU 807574 2 Salve Regina à 4 voci. Concerto Italiano/ Rinaldo Alessandrini. naïve OP 30505 9 Be silent, fleeting breezes (1686). Vivien Hamilton, sop; Chacona/Rosalind Halton.

ABC 476 6170 18 Miei pensieri, from Il prigioniero fortunato (1698). Max Emanuel Cencic, ct; Il Pomo d’Oro/Maxim Emelyanychev.

Decca 478 8422 5 Esci omai Mitridate Eupatore (1706).

Elizabeth Watts, sop; Huw Daniel, vn; English Concert/Laurence Cummings.

Harmonia Mundi HMU 807574 3 22:00 SATURDAY NIGHT AT HOME Prepared by Rex Burgess Telemann, G. Triple concerto in A, from Tafelmusik I (pub. 1733). Wilbert Hazelzet, fl; Rémy Baudet, vn; Richte van der Meer, vc; Musica Amphion/Pieter-Jan Belder.

Brilliant Classics 94104 26 Cartellieri, A. Clarinet concerto no 3 in E flat (pub. 1797). Dieter Klöcker, cl; Prague CO. MDG 301 0527-2 26 Mozart, W. To joy, K53; Within my soul, K152; In the woods, K308 (1768-78).

Barbara Bonney, sop; Geoffrey Parsons, pf.

Teldec 2292-46334-2 11 Schumann, R. Forest scenes, op 82 (1848-49). Marc-Andre Hamelin, pf.

Hyperion CDA68030 23 Schubert, F. Symphony no 8 in B minor, D759, Unfinished (1822). Tasmanian SO/ Sebastian Lang-Lessing.

ABC 476 4740 25

While at the Weimar court, J.S. Bach transcribed Italian or Italianate concertos for organ or harpsichord including those of the Marcello brothers, Telemann, Prince Johann Ernst, but mostly of Vivaldi.

0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SUNDAY MORNING MUSIC with David Garrett 9:00 MUSICA SACRA Martin, F. Excerpts from Mass for double choir (1922-26). The Sixteen/Harry Christophers.

Collins 14672 17 Charpentier, M-A. Missa Assumpta est Maria (c1699). Les Arts Florissants/ William Christie.

Harmonia Mundi HMC 901298 32 Messiaen, O. Desseins éternels, from La nativité du Seigneur (1935). Naji Hakim, org.

BBC Music BBCMM351 5 10:00 THE CLASSICAL ERA Prepared by Stephen Wilson Haydn, J. Divertimento in A, Hob.X:6 (1775). Haydn Sinfonietta.

Schwann 3-1250-2 13 Mozart, W. Piano trio in B flat, K502 (1786). Florestan Trio.

Hyperion CDA67556 22 Beethoven, L. Violin concerto in D, op 61 (1806). Isabelle Faust, vn; O Mozart/ Claudio Abbado.

Harmonia Mundi HMC902105 49 Schubert, F. Symphony no 5 in B flat, D485 (1816). Northern Sinfonia/Heinrich Schiff.

Chandos CHAN 9136 27 12:00 CLASSIC JAZZ AND RAGTIME with John Buchanan 13:00 WORLD MUSIC: Whirled Wide with Linda Marr 14:00 A MASTER VIOLINIST Prepared by Elaine Siversen Tartini, G. Sonata no 6, Senti lo mare.

Elizabeth Wallfisch, vn.

ABC 465 269-2 6 Cello concerto in A (c1740). Mstislav Rostropovich, vc; Collegium Musicum Zürich/Paul Sacher.

DG 479 2561 15 Sonata in G minor, Devil’s trill (pub.

1734). Nicola Benedetti, vn; Catherine Rimer, vc; Thomas Dunford, theorbo; Christian Curnyn, hpd.

Decca 476 4342 14 Violin concerto in A. Giuliano Carmignola, vn; Venice Baroque O/Andrea Marcon.

Archiv 474 5172 18 15:00 SUNDAY SPECIAL Antonin Reicha 250th Anniversary Prepared by Jennifer Foong Reicha, A. Piano trio in D minor, op 101

no 2 (pub. 1824). Guarneri Trio.

Supraphon SU 3024-2 131 25 Clarinet quintet in B flat, op 89 (c1809).

Ensemble Carl Stamitz.

Pierre Verany PV 789101 23 Capriccio no 7, from Practische Beispiele (1803). Ivan Ilic, pf.

Chandos CHAN 10950 5 18 Variations and a fantasy on Mozart’s Se vuol ballare, op 51 (1804). JeanPierre Rampal, fl; Isaac Stern, vn; Mstislav Rostropovich, vc.

Sony SK 44568 17 Wind quintet in E flat, op 88 no 2 (181117). Academia Wind Quintet of Prague.

Hyperion CDD22006 16 Symphony in C minor. Beethoven Academie/Jan Caeyers.

Audivis-Valois V 4834 22 17:00 HOSANNA Blow, J. I was glad when they said unto me. Choir of St Paul’s Cathedral; Parley of Instruments/John Scott.

Hyperion CDH55359 5 Hymn: Christ is made the sure foundation.

Choir of Westminster Abbey; Robert Quinney, org; James O’Donnell, cond.

Hyperion CDA68013 3 Humfrey, P. Magnificat and Nunc dimittis in E minor. Choir of St John’s College, Cambridge/Andrew Nethsingha.

Chandos CHAN 0790 6 Purcell, H. O sing unto the Lord. Choir of Christ Church, Oxford; English Concert/ Simon Preston.

Archiv Produktion 0289 459 4872 0 12 Blow, J. O pray for the peace of Jerusalem. George Bartle, treb; Choir of Ely Cathedral; David Price, org; Paul Trepte, cond.

Herald HAVP 159 3 Handel, G. I know that my Redeemer liveth. Robert Brooks, treb; Academy of Ancient Music/Edward Higginbottom.

Naxos B000I2IUWO 6 Gjeilo, O. Ubi caritas. Phoenix Chorale/ Charles Bruffy.

Chandos CHSA 5100 3 Esenvalds, E. O salutaris hostia. Choir of Trinity College, Cambridge/Stephen Layton.

Hyperion CDA68083 3 Hymn: Rejoice, the Lord is king! Choir of Westminster Abbey; Robert Quinney, org; James O’Donnell, cond.

Hyperion CDA68013 2 Bach, J.S. Prelude and fugue in C, BWV545. Gerald Gifford, org.

Cantoris 6

18:00 SMALL FORCES Prepared by Anne Irish Schumann, R. Piano quartet in E flat, op 47 (1842). Robert Mann, vn; Raphael Hillyer, va; Claus Adam, vc; Glenn Gould, pf.

Portrait CBS MPK 44848 28 Beethoven, L. Der treue Johnie, from 25 Scottish songs, op 108 (1818); Kommt, schliesst mir einen frohen Kreis, from 25 Irish songs, WoO 152 (1814). Dietrich Fischer-Dieskau, bar; Helmut Heller, vn; Irmgard Poppen, vc; Karl Engel, pf.

DG 480 0385 5 Hill, A. String quartet no 10 in E (1935).

Harry Curby, vn; Wojtech Hlinka, vn; Alexandru Todicescu, va; Georg Pedersen, vc.

ABC 426 992-2 19 19:00 SUNDAY NIGHT CONCERT Prepared by Rex Burgess Beethoven, L. Overture to Leonore, op 72a no 3 (1806). Berlin PO/Claudio Abbado.

DG 435 617-2 15 Strauss, R. Four last songs (1948).

Ricarda Merbeth, sop; Sydney SO/ Gianluigi Gelmetti.

Sydney Symphony SSO 200803 24 Diamond, D. Symphony no 2 (1943).

Seattle SO/Gerard Schwarz.

Delos DE 3093 43 20:30 NEW HORIZONS Prepared by James Nightingale Tempany, K. The promise of water (2003). Michael Kieran Harvey, pf.

Move MD 3288 9 Holley, A. Rosella (1999). Christine Draeger, fl. www.aim.com.au 3 Auric. Gregory van der Struik, tb.

Hammerings Records HR2015-1 8 Take flight (2014). Stan Kornel, vn; Chris Pidcock, vc.

Hammerings Records HR2015-2 11 Shaw, C. Ritornello 2.SQ.2.J.A. Attacca Quartet.

New Amsterdam/Nonesuch 755979260-9 17 Bingham, J. Missa brevis, Awake my soul (2007). Choir of Wells Cathedral; Jonathan Vaughn, org; Matthew Owens, cond.

Hyperion CDA67909 10 Eötvös, P. Alle vittime senza nome (2016). Frankfurt RSO/Peter Eötvös.

BMC Records BMC 284 24 22:00 JAZZ AFTER HOURS FEBRUARY 2020

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Monday 24 February 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: 1886 Prepared by Derek Parker Debussy, C. Petite suite (1886-89).

Detroit SO/Paul Paray.

Mercury 478 5092 11 Saint-Saëns, C. The carnival of the animals (1886). Ircam Soloists.

Virgin 5 45602 2 22 Tchaikovsky, P. The nightingale, op 60 no 4 (1886). Elisabeth Söderström, sop; Vladimir Ashkenazy, pf.

Decca 436 204-2 3 Grieg, E. Lyric pieces, bk 3, op 43 (1886). Gerard Willems, pf.

ABC 481 1702 11 Albéniz, I. Asturias; Sevilla, op 47 no 3 (1886). John Williams, gui.

CBS MK4494 11 Brahms, J. Violin sonata no 2 in A, op 100 (1886). Anne-Sophie Mutter, vn; Lambert Orkis, pf.

DG 477 8767 19 10:30 CONCERT HALL Prepared by Derek Parker Wagner, R. Overture to Tannhäuser (1845). Gewandhaus O/Andris Nelsons.

DG 479 7208 15 Rodrigo, J. Madrigal concerto (1969).

Narciso Yepes, gui; Godelieve Monden, gui; Philharmonia O/Garcia Navarro.

DG 439 526-2 31 Borodin, A. Symphony no 2 in B minor (1869-76). Bolshoi Theatre SO/Mark Ermler.

Brilliant Classics 94410 30 12:00 SWING SESSIONS with John Buchanan 13:00 GOING DUTCH Prepared by Jacky Ternisien Wagenaar, J. Overture: Twelfth night, op 36 (1928). Royal Concertgebouw O/ Riccardo Chailly.

Decca 425 833-2 10 Lentz, N. Violin concerto no 1 in B flat. O Van Wassenaer/Makoto Akatsu, vn & dir.

BIS CD-984 12 Sweelinck, J. Ballet of the grand duke.

Kurt Ison, org.

KJI KJ001 5 32

FEBRUARY 2020

Schenck, J. Sonata in G minor, op 3 no 3 (1691). La Suave Melodia.

Etcetera KTC 1356 11 Fesch, W. de Concerto grosso in D, op 10 no 4 (1741). Gordan Nikolitch, vn; Auvergne O/Arie van Beek.

Olympia OCD 450 12 14:00 SIMPLY ROMANTIC Prepared by Michael Morton-Evans Strauss, E. The subscribers, waltz, op 116 (1874). Johann Strauss O/Jack Rothstein.

Chandos CHAN 8527 8 Verdi, G. Ballet music from Jerusalem (1847). BBC PO/Edward Downes.

Chandos CHAN 9594 23 Chopin, F. Nocturne in B, op 62 no 1 (1846). Louis Lortie, pf.

Chandos CHAN 10588 7 Fauré, G. Piano quartet no 1 in C minor, op 15 (1876-79/83). Augustin Dumay, vn; Bruno Pasquier, va; Frédéric Lodéon, vc; Jean-Phillipe Collard, pf.

EMI CMS 7 62548 2 32 Gounod, C. Symphony no 2 in E flat (1856). Sinfonia Finlandia/Patrick Gallois.

Naxos 8.557463 40 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm 19:00 JAZZ STARS AND STRIPES with Peter Mitchell 19:00 JAZZ PULSE with Chris Wetherall 20:00 STORMY MONDAY with Austin Harrison and Garth Sundberg 22:00 JAZZ AFTER HOURS

An anonymous Renaissance madrigal Felices ojos mios (Happy eyes of mine) was the thematic source for Joaquín Rodrigo’s Concierto madrigal for two guitars and orchestra. With ten movements it is more of a suite than a traditional concerto. The composer wrote: “The element that sustains [the work] is the variation. Each of the variations or episodes is indicated by the title, which gives a clue to its atmosphere or scenario, a delicate poetic sketching that imbues the whole score. At times, because of the origin of the theme, the episodes have a modal or archaic character; at other times, the melody that acts as a thread through the whole work is permeated by a much more popular feeling.”

Tuesday 25 February 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Julie Simonds 9:00 DIVERSIONS IN FINE MUSIC Colours of the keyboard Prepared by Elaine Siversen Liszt, F. Réminiscences de Don Juan (1841). Ignaz Friedman, reproducing pf.

Nimbus NI 8801 10 Ravel, M. Tzigane (1922-4). Tasmin Little, vn; Piers Lane, pf.

EMI 5 73115 2 11 Stanley, J. Voluntary in C, op 5 no 1 (pub. 1748). David Kinsela, org.

Walsingham WAL 8030-2 8 Boccherini, L. Piano quintet in E minor, op 57 no 3 (1799). Ilario Gregoletto, fp; Ensemble Claviere.

Brilliant Classics 94386 19 Albinoni, T. Concerto in B flat minor, op 10 no 1. Jörg Ewald Dähler, hpd; Accademia Instrumentalis Claudio Monteverdi/Hans Ludwig Hirsch.

Claves 50-602 9 Schubert, F. Fantasy in C, D760, Wanderer (c1823). Kathryn Selby, pf.

ABC 432 700-2 23 10:30 CONCERT HALL Prepared by Frank Morrison Rossini, G. Overture to Semiramide (1823). New York PO/Leonard Bernstein.

CBS MYK 44719 12 Haydn, J. Cello concerto no 1 in C, Hob. VII:1 (c1761-65). Jacqueline du Pré, vc; English CO/Daniel Barenboim.

EMI CZS 5 68132 2 26 Martucci, G. Symphony no 2 in F, op 81 (1904). Philharmonia O/Francesco d’Avalos.

ASV DCA 689 44 12:00 JAZZ RHYTHM with Jeannie McInnes 13:00 GOING DUTCH Prepared by Jacky Ternisien Wagenaar, J. Overture: Cyrano de Bergerac, op 23 (1905). Royal Concertgebouw O/Riccardo Chailly.

Decca 425 833-2 14 Wassenaer, U. Concerto no 1 in G, from Concerti armonici (pub. 1740).

Brandenburg Consort/Roy Goodman.

Hyperion CDA66670 11

Tuesday 25 February Fesch, W. de Concerto grosso in D, op 10 no 4 (1741). Musici Academici/Dejan Mijajev.

LP Alpha BNB5-6 13 Andriessen, H. Variations and fugue on a theme by Johann Kuhnau (1935). The Hague Residency O/Ferdinand Leitner.

Olympia OCD 504 12 14:00 WATER MUSIC Prepared by Ron Walledge Rachmaninov, S. The sea and seagulls, from Five études-tableaux (1917; orch.

Respighi 1929). Sydney SO/Vladimir Ashkenazy.

Exton EXCL-00018 7 Elgar, E. Sea pictures, op 37 (1897-99).

Janet Baker, mezz; London SO/John Barbirolli.

EMI CDC 7 47329 2 24 Glazunov, A. Orchestral fantasy in E, op 28, The sea (1890). Royal Scottish NO/ Neeme Järvi.

Chandos CHAN 7049 16 Xianghai, X. Yellow River concerto (1940; arr. Central Philharmonic Society 1970).

Shen Shucheng, pf; Central Philharmonic Society of China/Han Zhongjie.

Olympia OCD 701 22 Fuchs, K. Atlantic rhapsody (2008).

Paul Silverthorne, vn; London SO/JoAnn Falletta.

Naxos 8.559723 12 Hill, A. The sea (c1943). Sydney SO/ Willem van Otterloo.

LP RCA VRL1 0191 6

Coates, E. March: The seven seas.

Sydney SO/John Lanchbery.

ABC 446 279-2 4 Respighi, O. Fountains of Rome (1916).

London SO/István Kertész.

Decca 478 6420 15 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 Howells, H. Rhapsodic quintet, op 31 (1917). Thea King, cl; Britten String Quartet.

Hyperion CDA66428 11 Paganini, N. Guitar quartet no 13 in F (1818-20). Bruno Pignata, vn; Lorenzo Lugli, va; Paolo Mosca, vc; Pino Briasco, gui.

Dynamic CDS 17/1-2 20 Gade, N. Violin sonata no 2 in D minor, op 21 (1849). Christina Åstrand, vn; Per Salo, pf.

Dacapo 8.226066 21 Respighi, O. Doric quartet (1924). New Hellenic Quartet.

BIS 1454 21 Rubinstein, A. Piano quartet in C, op 66 (1864). Rita Manning, vn; Morgan Goff, va; Justin Pearson, vc; Leslie Howard, pf.

Hyperion CDA68018 39

The story is told that Xian Xinghai wrote his Yellow River cantata in six days in 1939 while sitting in a cave during the Sino-Japanese War. With the intent of providing a symbol of defiance against the Japanese invaders, he used traditional Chinese melodies that evoked images of the Yellow River. The river has a long history associated with the struggles of the Chinese people.

The history of the piano concerto, arranged 30 years later from this cantata, is also interesting. With the establishment of the Peoples Republic of China, Xian Xinghai was highly honoured and was declared a ‘people’s musician’. Despite this, the Yellow River cantata was banned during the Cultural Revolution along with all Western-style music, leaving the musicians of Central Philharmonic Orchestra with no work.

The pianist Yin Chengzong loaded his piano onto a truck and drove to Tiananmen Square where he accompanied revolutionary songs that were being sung there at the time. Madame Mao (Jiang Qing) was impressed and a piano-accompanied version of the opera, The legend of the red lantern, was commissioned from Yin Chengzong. After its success, Madame Mao ordered a collective of musicians from the Central Philharmonic Society, including Yin Chengzong, to arrange the Yellow River cantata into a four-movement piano concerto. The resulting concerto epitomises the fighting spirit of the Chinese people and is an anthem to the new China. In 1969, despite the ban on Western-style music, the concerto premiered to a very appreciative audience during the Cultural Revolution. Of course, it helped that it was a project of Chairman Mao’s wife! However, when the Yellow River concerto reached audiences in the West, it was also favourably received.

Wednesday 26 February 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Troy Fil 9:00 DIVERSIONS IN FINE MUSIC Inspired by literature Prepared by Jacky Ternisien Offenbach, J. Overture for large orchestra; Y’a des bergères dans le village, from Barbe-bleue (1866). Anne Sofie von Otter, sop; Les Musiciens du Louvre/Marc Minkowski.

DG 471 501-2 15 Ravel, M. Ma mère l’oye (1908-10; arr.

Linckelmann). New Sydney Wind Quintet. www.nswq.com.au 16 Humperdinck, E. Excerpts from The sleeping beauty (1902). Bamberg SO/ Karl Anton Rickenbacher.

Virgin VC 7 91494-2 20 Prokofiev, S. Adagio, from Cinderella, op 97 bis (1943-44; arr.). Sonia WiederAtherton, vc; Laurent Cabasso, pf. naïve V 4666 5 Massenet, J. Suite from Cendrillon (1899). Hong Kong PO/Kenneth Jean.

Naxos 8.555986 10 Prokofiev, S. Five piano pieces from Cinderella (1942/44). Sviatoslav Richter, pf.

Divox CDX-25252/3-2 14 10:30 CONCERT HALL Prepared by Dan Bickel Janácek, L. Symphonic poem: The Danube (1923-28). Karolina Dvoráková, sop; Jirí Benes, va; Brno PO/Frántisek Jílek.

Supraphon SU 3888-2 16 Mozart, W. Piano concerto no 17 in G, K453 (1784). Howard Shelley, pf; London Mozart Players.

Chandos CHAN 9068 29 Kalinnikov, Vasily. Symphony no 1 in G minor (1895). Ukraine NSO/Theodore Kuchar.

Naxos 8.553417 39 12:00 JAZZ SKETCHES with Robert Vale 13:00 IN CONVERSATION with Christopher Waterhouse 14:00 MOZART WITH STRINGS Prepared by Paul Hopwood Mozart, W. Violin sonata in E flat, K481 (1785). Leonard Dommett, vn; Max Cooke, pf.

Move MCD 046 20 FEBRUARY 2020

33

Wednesday 26 February Mozart, W. Sinfonia concertante in E flat, K364 (1779). Charmian Gadd, vn; Glenn Donnelly, va; Concertante Ensemble/ Christopher Bearman.

Fine Music concert recording 33 15:00 CLASSICAL SAMPLER Prepared by Brian Drummond Beethoven, L. Overture to Leonore, op 72a no 3 (1814). Philharmonia O/Herbert von Karajan.

EMI CDM 1 66426 2 15 Haydn, J. String quartet in D minor, op 42 (1785). The Lindsays.

ASV QS 6145 14 Mozart, W. Piano concerto no 21 in C, K467 (1785). Camerata Salzburg/Stefan Vladar, pf & dir.

Harmonia Mundi HMX 2908601.30 25 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm 20:00 AT THE OPERA Prepared by Elaine Siversen Dietsch, P-L. The phantom ship. Opera in two acts and three tableaux. Libretto by Paul Foucher and Bénédict-Henri Révoil.

First performed Paris, 1842.

TROIL: Russell Braun, bar MINNA: Sally Matthews, sop MAGNUS: Bernard Richter, ten BARLOW: Ugo Rabec, bass Eesti Philharmonic Chamber Choir; Les Musiciens du Louvre/Marc Minkowski. naïve V 5349 1:35 Captain Troill has ventured into a sea forbidden to mortals and is condemned to sail the seas until he finds a woman who will love him unto death. Once every seven years he is allowed to come ashore. During festivities on Shetland, Minna, daughter of the rich merchant Barlow, sings The ballad of the ghost ship. Despite this, she is happy because

she is to marry Magnus. Barlow has been rescued at sea during a storm and in gratitude he promises his daughter to Troill, the captain of the ship. Minna submits to her father’s will and Troill, in seductive tones, asks Minna whether she would follow him to the death. She answers, ‘If I had to’.

Magnus, having resigned himself to losing Minna, has become a priest and prepares to officiate at the wedding. He recognizes the ‘Accursed Seaman’ by an open wound on his hand that will not heal, and as the man who had murdered his father. Troill calls on the forces of hell to come to his aid but Minna declares that she will end his suffering. She throws herself into the sea, the ghost ship sinks and the clouds part to reveal a radiant vision of Minna leading the pardoned ‘Accursed Seaman’ to the foot of God’s throne.

Offenbach, J. Overture for large orchestra. Les Musiciens du Louvre/Marc Minkowski.

DG 471 501-2 13 22:00 ON POLISH THEMES Prepared by Elaine Siversen Scharwenka, X. Excerpts from Polish national dances, op 3 (1869). François Xavier Poizat, pf.

Naxos 8.572637 11 Chopin, F. Fantasy on Polish airs, op 13 (1828). Kun-Woo Paik, pf; Warsaw PO/ Antoni Wit. Decca 475 169-2 15 Szymanowski, K. Four Polish pieces (1926). Martin Jones, pf.

Nimbus NI 5435/6 9 Paderewski, I. Symphony in B minor, op 24, Polonia (1903-08). BBC Scottish SO/ Jerzy Maksymiuk.

Hyperion CDA67056 1:14

Polonia, the subtitle of Ignacy Paderewski’s last symphony, refers to the inclusion of the Polish national anthem although less prominently than in Elgar’s Overture, Polonia where it is directly quoted. The plight of Poland, under Russian occupation since the 1790s, inspired Paderewski to compose this work with individual pictures such as Forging the scythes and After the enemy has withdrawn. He began composing it in the year of the 40th anniversary of a failed uprising of 1863-64.

Paderewski, a virtuoso pianist, had a similarly brilliant concert career to that of Franz Liszt, being idolised wherever he played. He began composing while still performing and his works were highly regarded. The Polonia symphony, completed in 1908, received performances in the United States and throughout Europe. During World War I, Paderewski worked tirelessly giving concerts in the United States to raise funds for Poland, and he organised The Polish Victims relief Fund in Britain. In 1919, Paderewski’s strong nationalist sentiments led to his appointment as Prime Minister of the newly-independent Poland.

34

FEBRUARY 2020

Thursday 27 February

Thursday 27 February 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Simon Moore 9:00 DIVERSIONS IN FINE MUSIC The instruments: Woodwinds Prepared by Frank Morrison Danzi, F. Wind quintet in G minor, op 56 no 2 (pub. 1821). Vienna-Berlin Ensemble.

DG 423 591-2 14 Benjamin, A. Oboe concerto in C minor, after Cimarosa (1942). John Anderson, ob; Philharmonia O/Simon Wright.

Nimbus NI 7027 11 David, Ferdinand. Bassoon concertino in B flat, op 12. Klaus Thunemann, bn; Academy of St Martin in the Fields/Neville Marriner.

Philips 446 096-2 9 Poulenc, F. Sonata (1962). Thomas Friedli, cl; Ulrich Koella, pf.

Claves 50-9322 13 Hindemith, P. Sonata (1938). Knut Sønstevold, bn; Eva Knardahl, pf.

BIS CD-159 8 Ries, F. Trio in B flat, op 28. Jürgen Demmler, cl; Markus Tillier, vc; Peter Grabinger, pf.

Naxos 8.553389 23 10:30 CONCERT HALL Prepared by Jacky Ternisien Suppé, F. Overture to Light Cavalry (1866). New York PO/Leonard Bernstein.

CBS MYK 44719 7 Kraus, J.M. Incidental music to Olympie (1792). New Zealand SO/Uwe Grodd.

Naxos 8.570334 21 Bach, J.S. Brandenburg concerto no 1 in F, BWV1046 (1720). O of the Antipodes/ Antony Walker.

ABC 476 1923 19 Haydn, J. Symphony no 45 in F sharp minor, Hob.I:45, Farewell (1772). St Luke’s O/Charles Mackerras.

Telarc 80156 34 12:00 JAZZ, PURE AND SIMPLE with Maureen Meers 13:00 THE MONTEUX LEGACY Prepared by Ray Lemond Debussy, C. The martyrdom of Saint Sebastian: Fragments symphoniques (1911). London SO. Decca 480 6567 22

Gruenberg, L. Violin concerto, op 47 (1944). Jascha Heifetz, vn; San Francisco SO. Naxos 8.110942 38 Ravel, M. Ballet: Daphnis et Chloé (1912). Royal Opera House Ch; London SO. Decca 478 2826 52 Pierre Monteux, cond (all above) 15:00 CAMELOT Prepared by Chris Blower Purcell, H. Overture; Chaconne, from King Arthur (1691). Parley of Instruments/ Roy Goodman.

Hyperion CDA67001/3 7 Gram, P. Avalon, op 16 (1917). Andrea Pellegrini, mezz; Danish PO/Matthias Aeschenbacher.

Dacapo 8.224718 6 Elgar, E. Suite from King Arthur (1923).

Bournemouth Sinfonietta/George Hurst.

Chandos CHAN 6582 23 Houghton, P. Guinevere’s dream (1976).

Saffire.

ABC 476 5695 2 Bax, A. Tone poem: Tintagel (1919).

Royal Scottish NO/David Lloyd-Jones.

Naxos 8.557599 15 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 Glière, R. Heroic march for the BuriyatMongolian ASSR, op 71 (1936). BBC PO/ Vassily Sinaisky.

Chandos CHAN 9518 11 Prokofiev, S. Songs of our days, op 76 (1937). Victoria Smolnikova, mezz; Igor Tarasov, bar; Russian State Symphonic Cappella & SO/Valery Polyansky.

Chandos CHAN 10044 26 Kabalevsky, D. Suite from Colas Breugnon, op 24a (1938). Moscow SO/ Vasily Jelvakov.

Naxos 8.553411 21 Shostakovich, D. Time for bed, the day is over; The foal runs after the filly, from Lady Macbeth of Mtsensk, op 29 (1934).

Galina Vishnevskaya, sop; London PO/ Mstislav Rostropovich.

EMI 5 62829 2 9 Symphony no 5 in D minor, op 47 (1937).

Philharmonia O/Vladimir Ashkenazy.

Signum SIGCD135 44 22:00 CHAMBER SONATAS Dussek, J. Trio sonata in F, op 20 no 3 (1793). Trio 1790. cpo 999 583-2 13 Bach, J.S. Trio sonata in F, BWV529 (c1730). Palladian Ensemble.

Linn CKD 036 13 22:30 ULTIMA THULE with George Cruickshank

CD REVIEW MELODIES OF MY YOUTH

Lisa Gerrard, voice; Dominik Wania, piano Preisner Productions 776 653 9 HHHHH With pianist Dominik Wania and the distinctive voice of Australian Lisa Gerrard, this is a recording of music by Polish composer, Zbigniew Preisner. From the very first notes on this disc, I was captivated! Sung in Polish, and in Gerrard’s strange made-up language that she calls metaphysical, it hardly seems to matter that we don’t understand the lyrics. As the songs flow and weave, they leave listeners painting their own pictures in their minds. I found a translation of a song on a website but, to be honest, I really don’t want to know what she is singing, and what it all means, I just want to enjoy the moment and the simplicity of the piano and voice performing together.

With music written especially for Gerrard, the nine tracks are a delight in this world of predictable compositions and safe-sounding music. Production is supreme with the vocals given the etherial echo and reverb which make Gerrard’s work so very haunting. Gerrard also co-wrote the two pieces, America and Australia, with Preisner. America is my least favourite track as Gerrard really seems to get carried away with the bombastic side of the music, obviously enjoying the moment very much!! While the songs remind me of Mahler’s Songs of a wayfarer, this is modern classical music that is refreshing and bright, giving credence to Australia’s very own well-kept secret in Lisa Gerrard.

Nev Dorrington

Friday 28 February 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 Frank Morrison Kodály, Z. Dances of Galánta (1933).

Hungarian State SO/Adám Fischer.

Nimbus NI 5284 17 Jaubert, M. Three serenades (1928).

Felicity Lott, sop; Paris Chamber Ensemble/Armin Jordan.

Virgin 5 22128 2 5 Nordgren, E. Wild strawberries, from The Bergman suites (1957). Slovak RSO/ Adriano.

Naxos 8.573370 8 Liszt, F. Tarantella. Stephen Hough, pf.

Virgin 5 61129 2 8 Strauss, J. II Waltz: On the beautiful blue Danube, op 314 (1867). Vienna PO/ Carlos Kleiber.

CBS M2XK 45564 10 Mozart, L. Peasant wedding. Eduard Melkus Ensemble.

Archiv 427 122-2 13 Beethoven, L. Three marches, op 45 (1804). Cullan Bryant, Dmitry Rachmanov, pf.

Naxos 8.572519-20 17 10:30 CONCERT HALL Prepared by Michael Field Prokofiev, S. Suite no 3, from Cinderella, op 109 (1944). Ukranian State SO/ Theodore Kuchar.

Naxos 8.550968-9 27 Dvorák, A. Violin concerto in A minor, op 53 (1879). Anne-Sophie Mutter, vn; Berlin PO/Manfred Honeck.

DG 479 1060 34 Mozart, W. Symphony no 35 in D, K385, Haffner (1782). Scottish CO/Jukka-Pekka Saraste.

Virgin VJ 791572-2 23 12:00 A JAZZ HOUR with Barry O’Sullivan 13:00 FLUTE PLUS Mozart, W. Flute sonata in B flat, K10 (1764). Marc Grauwels, fl; Guy Penson, pf.

Hyperion CDA66391 10 Hotteterre, J-M. Suite in G. Barthold Kuijken, fl; Franc Brüggen, fl.

LP RCA RL 30425 18 FEBRUARY 2020

35

Friday 28 February Bach, C.P.E. Flute quartet no 1 in A minor, Wq93 (1788). Les Adieux.

DHM GD 77052 17 Telemann, G. Concerto in B for two flutes and two oboes. Aurèle Nicolet, fl; Christiane Nicolet, fl; Heinz Holliger, ob; Louise Pellerin, ob; Jörg Ewald Dähler, hpd; Camerata Bern/Thomas Füri.

Archiv 00289 477 5002 11 Beethoven, L. Serenade in D, op 25 (1801). Susan Milan, fl; Levon Chilingirian, vn; Louise Williams, va.

Chandos CHAN 9108 24

Wagner, R. In fernem Land, unnahbar euren Schritten, from Lohengrin (1848).

Siegfried Jerusalem, ten; Kurt Moll, bass; Vienna State Opera Choir; Claudio Abbado, cond.

DG 459 362-2 6 Weber, C.M. Invitation to the dance (1819; orch. Berlioz). Willi Boskovsky, cond.

Decca 436 781-2 9 Tchaikovsky, P. Suite no 3 in G, op 55 (1884). Lorin Maazel, cond.

Decca 476 2723 41 Vienna PO (all above)

14:30 THE BRAHMS CONCERTOS Prepared by Ron Walledge Brahms, J. Tragic overture, op 81 (1880/81). Gewandhaus O/Riccardo Chailly.

Decca 478 5344 13 Serenade no 2 in A, op 16 (1858-59).

London SO/István Kertész.

Decca 466 459-2 30 Violin concerto in D, op 77 (1878).

Joshua Bell, vn; Cleveland O/Christoph von Dohnányi.

Decca 444 811-2 40

22:00 BAROQUE AND BEFORE The baton and the pen Prepared by Rodrigo Azaola Lully, J-B. Le bourgeois gentilhomme (1670). Tölz Boys Choir; La Petite Bande/ Gustav Leonhardt.

Harmonia Mundi GD 77059 43 Excerpts from Monsieur de Pourceaugnac (1669). Gilles Ragon, high ten; Phillipe Cantor, ten; Michel Verschaeve ten; Bernard Delétré, bass. 4 Excerpts from Les amants magnifiques (1670). Isabelle Poulenard, sop; Agnes Mellon, sop; Gilles Ragon, high ten; Michel Laplénie, ten; Michel Verschaeve, bar. 20 Excerpts from L’Amour médecin, comédie-ballet (1665). Isabelle Poulenard, sop; Agnès Mellon, sop; Bernard Delétré, bass. 11 Les Musiciens du Louvre/Marc Minkowski (3 above) Erato 245 286-2 Charpentier, M-A. Premier intermède; Zerbinetti, from Le malade imaginaire (1672). Dominique Visse, ct; Les Arts Florissants Ch & O/William Christie.

Harmonia Mundi HMX 290605.07 3 Rameau, J-P. Suite from Daphnis et Eglé (1753). Capella Savaria; Mary TéreySmith.

Naxos 8.553746 29

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 Di Cox Mendelssohn, F. Overture: Calm sea and prosperous voyage, op 27 (1828).

Christoph von Dohnányi, cond.

Decca 460 239-2 12 Brahms, J. Variations on a theme by J. Haydn, op 56a, St Antoni chorale (1873).

István Kertész, cond.

Decca 448 197-2 19 Strauss, R. Suite from Der Rosenkavalier (1911). André Previn, cond.

DG 437 790-2 22

After the premiere of Tchaikovsky’s opera Mazeppa in February 1884, he had conflicting ideas running through his mind about his next work. In early March he wrote to his brother Modeste: “I think that … I will be engaged in writing a symphony”. In April he wrote in his diary: “Hit upon an idea for a concerto for piano, but it still sounded too poor and unoriginal.” Three days later, he noted: “Walked around the garden and came up with the seed not of a future symphony, but of a suite.” Sergei Taneyev received a letter in July with these words about the Suite no 3. “I wanted to do a symphony, but it wouldn’t come off … I’ve written a large symphonic work in four movements … I am working very painstakingly and diligently.”

36

FEBRUARY 2020

Saturday 29 February

Saturday 29 February 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SATURDAY MORNING MUSIC 9:00 WHAT’S ON IN MUSIC Our weekly guide to musical events in and around Sydney 9:05 THE PIANO ALONE Prepared by Di Cox Schubert, F. Impromptus, D899: no 3 in G flat; no 2 in E flat (1827). Dinu Lipatti, pf.

EMI CDH 5 65166 2 9 Chopin, F. Andante spianato and grande polonaise brillante in E flat, op 22 (1834).

Martha Argerich, pf.

DG 477 5430 13 Beethoven, L. 15 Variations and a fugue in E flat on an original theme, op 35, Eroica (1802). Jenö Jandó, pf.

Naxos 8.550676 25 10:00 MUSIC OF THE DANCE Prepared by Gerald Holder Monteverdi, C. Introduction and dance, from Eighth book of madrigals (pub.

1638). Joachim Calaminus, ten; Cologne Chamber Choir; Juliane Heuser, vn; Martin Sonneveld, vn; Gerhart Darmstadt, vc; Jürgen Fichtner, va; Christoph Lehmann, hpd; Peter Neumann, cond.

MD+G L 3081 11 Dieupart, C. Sarabande, gavotte, menuet en rondeau. David Munrow, rec; Robert Spencer, theorbo.

Decca 440 079-2 5 Hammerschmidt, A. Dance suite.

Edward Tarr Brass Ensemble.

Christophorus CHR 74562 12 Farina, C. Suite of dances (pub. 1626).

La Fontegara Amsterdam.

Globe GLO 5065 12 Gaultier, J. Courante sur J’avois brisé mes fers, from Lord Herbert of Cherbury’s lute book. Paul O’Dette, lute.

Harmonia Mundi HMU 907068 1 Starzer, J. Ten dances. Eduard Melkus Ensemble.

Archiv 427 122-2 19 Bach, J.S. Allemande, from Cello suite no 3 in C, BWV1009 (c1720). Umberto Clerici, vc.

ABC 481 5408 4 Purcell, H. Ayres and dances, from Dido and Aeneas (1689). Tasmanian Symphony Chamber Players/Geoffrey Lancaster.

ABC 456 667-2 17

11:30 ON PARADE Prepared by Robert Small Respighi, O. The jubilee, from Roman festivals (1928-29; transcr. Patterson). 7 Reed, H. Carnival, from La fiesta mexicana (1949). 6 Chabrier, E. Fête polonaise, from Le roi malgré lui (1887; transcr. Patterson). 8 Respighi, O. Circenses, from Roman festivals (1928-29; transcr. Patterson). 4 President’s Own United States Marine Band/Michael Colburn (all above) Altissimo ALT63132 12:00 FINE MUSIC LIVE Jazz and classical music brought to you live from the Founders’ Studio 16:00 RHAPSODY Alfvén, H. Swedish rhapsody no 1, op 19, Midsummer vigil (1903). Stockholm PO/Neeme Järvi.

BIS CD-385 14 Brahms, J. Alto rhapsody, op 53 (1869). Kathleen Ferrier, cont; London Philharmonic Ch & O/Clemens Krauss.

Decca 421 299-2 16 Chabrier, E. Rhapsody: España (1883).

Montreal SO/Charles Dutoit.

Decca 421 527-2 6 Evans, L. Rhapsody (1927). TamaraAnna Cislowska, pf.

Artworks AW023 6 Enescu, G. Rumanian rhapsody in A, op 11 no 1 (1901). BBC PO/Gennady Rozhdestvensky.

Chandos CHAN 9633 13 Dvorák, A. Slavonic rhapsody in A flat, op 45 no 3 (1878). Scottish NO/Neeme Järvi.

Chandos CHAN 9002 12

Gershwin, G. Rhapsody in blue (1924).

Columbia SO/Leonard Bernstein, pf & dir.

CBS MYK 42611 16 Rachmaninov, S. Rhapsody on a theme of Paganini, op 43 (1934). Mikhail Pletnev, pf; Philharmonia O/Libor Pesek.

Virgin VC 7 90724-2 24 18:00 MUSIC OF THE SCREEN Music of all kinds featured on the screen, small and large

45TH

19:00 MBS LP AND CD RECORDINGS

Bach, J.S. Singet dem Herrn ein neues Lied, BWV225 (c1727).

Sydney Philharmonia Motet Choir & instrumentalists/David Willcocks.

LP MBS 10 13 Siciliano, from Flute sonata no 2, BWV1031 (arr. Kempf). Gerard Willems, pf.

MBS 40 CD 4 Schubert, F. Soirées de Vienne, D427 (1816); Hungarian rhapsody in B minor, D817 (1824). Gerard Willems, pf.

MBS 40 CD 11 Dvorák, A. Serenade in D minor, op 44 (1878). Amadeus Wind Players/John Gray.

LP MBS 8 27 20:00 THE LIFE OF A COMPOSER Leonard Bernstein Prepared by Frank Morrison Bernstein, L. Overture to Candide (1956). New York PO/Leonard Bernstein.

CBS MYK 44773 4

Divertimento (1980). Israel PO/Leonard Bernstein.

DG 415 966-2 15 Suite from On the town (1944; arr.

DiLorenzo). Center City Brass Quintet.

Chandos CHAN 4554 15 Sonata (1941). Alan Vivian, cl; Susanne Powell, pf.

Revolve AJM 1314 11 Somewhere, from West Side story.

Frederica von Stade, sop; Mormon Tabernacle Choir; Utah SO/Joseph Silverstein.

ABC 480 2944 5 Halil (1980-81). Sharon Bezaly, fl; São Paulo SO/John Neschling.

BIS CD-1799 15 Three meditations, from Mass (1971).

Mstislav Rostropovich, vc; Israel PO/ Leonard Bernstein.

DG 415 966-2 17 Suite from West Side story (1960; arr.

Crees). Netherlands Wind Ensemble/ Richard Dufallo.

Chandos CHAN 9210 24 22:00 SATURDAY NIGHT AT HOME Prepared by Di Cox Martinu, B. La revue de cuisine (1927).

Karel Dlouhy, cl; Jirí Formácek, bn; Václav Junek, tpt; Bruno Belcík, vn; Milos Sádlo, vc; Frantisek Rauch, pf.

Supraphon SU 3058-2 011 13 Suk, J. Symphony in C minor, op 27, Asrael (1905-06). Royal Liverpool PO/Libor Pesek.

Virgin VC 7 91221-2 1:02 Schumann, R. Piano sonata in F sharp minor, op 11 (1832-35). Nikolai Demidenko, pf.

Hyperion CDA66864 34

CD REVIEW GALATEA

Apsara Foghorn Records HHH

The ensemble Apsara is formed around the voice of Michaele Archer, an opera singer who grew up in Sydney. She has composed all of the pieces on the CD, settings of ancient texts ranging from the Carmina Burana, the Roman poets Sulpicia and Virgil and the Indian poet Siddharta Gautama. The accompanying ensemble of harmonium, cello, guitar and violin assists to create a mood of meditative but emotionally-charged tracks. In particular, the unusual sound of the harmonium creates an otherworldly timbre that melds with the voice in a way that evokes the worlds of the medieval texts.

The music is based within a modern songwriting tradition, one that will make immediate sense to listeners whose ears

are used to contemporary ‘pop’ song. There are only five tracks on the CD so it is quite a short journey, but a journey that many will find enjoyable. There is a unity of tempo about the entire recording with an emphasis on a slow unfolding, which left this listener constantly hoping for a sense of dance or even just a bit more forward momentum to complement the beautiful wash of Archer’s voice. This is crossover music that brings together elements of ancient texts, classical instruments and contemporary harmony and structures. It is perhaps perfectly placed to capture the imagination of a modern public infatuated with the tales of Harry Potter and the Game of Thrones.

James Nightingale FEBRUARY 2020

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The following composers have works of at least five minutes on the February dates listed Albéniz, I. 1860-1909 4,16,24 Albinoni, T. 1671-1751 25 Alfvén, H. 1872-1960 9,29 Alkan, C-V. 1813-1888 22 Allegri, G. 1582-1652 21 André, J. 1775-1842 17 Andriessen, H. 1892-1981 25 Antheil, G. 1900-1959 1,19 Arnold, M. 1921-2006 10 Arriaga, J. 1806-1826 5 Auber, D-F-E. 1782-1871 10 Auric, G. 1899-1983 16

Cherubini, L. 1760-1842 9,18 Chopin, F. 1810-1849 4,17,24,26,29 Clementi, M. 1752-1832 9,15 Colbran, I. 1785-1845 9 Coleridge-Taylor, S. 1875-1912 8 Copland, A. 1900-1990 5,20 Corigliano, J. b1938 20 Cras, J-E. 1879-1934 10 Creston, P. 1906-1985 20 Czerny, C. 1791-1857 12

Bach, C.P.E. 1714-1788 18,28 Bach, J. Christian 1735-1782 5 Bach, J.S. 1685-1750 2,6,7,11,14,21,22,23,27,29 Bach, W.F. 1710-1784 14,17 Barber, S. 1910-1981 20 Barrière, J-B. 1705-1747 21 Bartók, B. 1881-1945 4,8,11,15 Bauer, M. 1855-1955 6 Bax, A. 1883-1953 3,7,27 Bazzini, A. 1818-1897 16,19 Beethoven, L. 1770-1827 2,5,6, 7,10,11,12,13,14,16,17,20,21,2 3,26,28,29 Bellini, V. 1801-1835 19 Benjamin, A. 1893-1960 1,17,27 Bennett, Robert. 1894-1981 15 Berlioz, H. 1803-1869 1,11,12,15 Bernstein, L. 1918-1990 21 Berwald, F. 1796-1868 14,19 Biber, H. 1644-1704 9 Bingham, J. b1952 23 Blake, H. b1938 18 Boccherini, L. 1743-1805 9,14,19,20,21,25 Bochsa, N. 1789-1856 12 Boëly, A. 1785-1858 22 Boismortier, J. de 1689-1755 22 Bononcini, G. 1670-1747 14 Borodin, A. 1833-1887 4,24 Bortkiewicz, S. 1877-1952 10 Boulanger, N. 1887-1979 11 Brahms, J. 1833-1897 1,2,6,14,18,19,20,24,28,29 Bridge, F. 1879-1941 14 Britten, B. 1913-1976 13 Bruch, M. 1838-1920 3 Bruckner, A. 1824-1896 6 Buxtehude, D. 1637-1707 18

Danzi, F. 1763-1826 1,4,27 David, Ferdinand. 1810-1873 27 Debussy, C. 1862-1918 3,6,14,15,18,24,27 Delibes, L. 1836-1891 6 Diabelli, A. 1781-1858 13 Diamond, D. 1915-2005 23 Dietsch, P-L. 1808-1865 26 Dieupart, C. c1667-c1740 29 Dohnányi, E. 1877-1960 6 Donizetti, G. 1797-1848 5,9 Dreyfus, G. b1928 21,22 Drouet, L. 1792-1873 17 Dukas, P. 1865-1935 6,21 Dussek, J. 1760-1812 27 Dvorák, A. 1841-1904 6,12,13,18,21,28,29

Campra, A. 1660-1744 14 Cannabich, C. 1731-1798 8 Caplet, A. 1878-1925 5 Cartellieri, A. 1772-1807 22 Carulli, F. 1770-1841 9,17 Carwithen, D. 1922-2003 14 Catoire, G. 1861-1926 4 Cavalli, F. 1602-1676 7 Chabrier, E. 1841-1894 8,22,29 Charpentier, M-A. 1635-1704 16,23

Einaudi, L. b1955 22 Elgar, E. 1857-1934 5,7,25,27 Enescu, G. 1881-1955 29 Eötvös, P. b1944 23 Eustáquio, A. b1961 13 Evans, L. 1895-1982 29 Falla, M. de 1876-1946 20 Farina, C. c1600-c1640 29 Farrenc, L. 1804-1875 1 Fasch, J. 1688-1758 13,20 Fauré, G. 1845-1924 19,24 Ferrabosco, A. the younger c1575-1628 21 Fesch, W. de 1687-1757 24,25 Festa, C. c1490-1545 12 Field, J. 1782-1837 19 Finzi, G. 1901-1956 6,13 Fiorenza, N. 1700-1764 13 Françaix, J. 1912-1997 10 Friml, R. 1879-1972 22 Fuchs, K. b1956 25 Fucik, J. 1872-1916 22 Gade, N. 1817-1890 14,25 Gershwin, G. 1898-1937 11,21,29 Gesualdo, C. c1561-1613 21 Giannini, V. 1903-1966 8 Ginastera, A. 1916-1983 5 Giuliani, M. 1781-1829 9,16 Glanville-Hicks, P. 1912-1990 20

Glass, P. b1937 11 Glazunov, A. 1865-1936 22,25 Glière, R. 1875-1976 27 Godowsky, L. 1870-1938 2 Goldmark, K. 1830-1915 12 Golijov, O. b1960 9 Goodwin, R. 1925-2003 22 Goossens, E. 1893-1962 7 Górecki, H. b1933 17 Gounod, C. 1818-1893 12,24 Grainger, P. 1882-1961 22 Gram, P. 1881-1956 27 Granados, E. 1867-1916 18 Graupner, C. 1683-1760 2 Grechaninov, A. 1864-1956 19 Greenbaum, S. b1966 9 Greene, M. 1696-1755 2 Grétry, A-E-M. 1741-1813 4 Grieg, E. 1843-1907 17,24 Grigny, N. de 1672-1703 10 Grofé, F. 1892-1972 19 Gruenberg, L. 1884-1964 27

Koster, L. 1889-1973 8 Kozeluch, L. 1747-1818 14,20 Kraus, J.M. 1756-1792 27 Kreutzer, J. 1778-1832 4 Kreutzer, R. 1766-1831 4 Lalo, E. 1823-1892 10 Lassus, O. de c1530-1594 21 Le Roux, G. c 1650-1705 18 Lecce, F. 18th c 13 Lentz, N. c1720-1782 24 Lilburn, D. 1915-2001 3 Liszt, F. 1811-1886 1,5,8,10,11,18,21,25,28 Lully, J-B. 1632-1687 28

Mahler, G. 1860-1911 2,21 Man, K. 20th c 18 Marais, M. 1656-1728 7,21 Martin, F. 1890-1974 6,23 Martinez-Parada, V. b1947 1 Martinu, B. 1890-1959 7,29 Martucci, G. 1856-1909 25 Hahn, R. 1875-1947 5 Massenet, J. 1842-1912 26 Hammerschmidt, A. c1612Mayr, S. 1763-1845 17 1675 29 Medtner, N. 1880-1951 8 Handel, G. 1685-1759 Mendelssohn, F. 1809-1847 7,9,14,16,20,23 1,6,7,13,14,15,28 Hanmer, R. 1917-1994 7 Mercadante, S. 1795-1870 7 Haydn, J. 1732-1809 1,4,6,7,11, Meyerbeer, G. 1791-1864 10 12,13,15,18,21,23,25,26,27 Milhaud, D. 1892-1974 16,21 Henze, H. 1926-2012 15 Minkus, L. 1826-1917 22 Higdon, J. b1962 9 Monteverdi, C. 1567-1643 1,29 Hill, A. 1870-1960 23,25 Moscheles, I. 1794-1870 17 Hindemith, P. 1895-1963 27 Mozart, L. 1719-1787 21,28 Hoàng, T. b1956 3 Mozart, W. 1756-1791 1,2,4, Hoffmeister, F. 1754-1812 16 6,9,10,11,12,13,16,17,21,22, Holst, G. 1874-1934 3,7,15 23,26,28 Hotteterre, J-M. 1674-1763 7,28 Munro, I. b1963 14 Howard, L. b1978 16 Mussorgsky, M. 1839-1881 1 Howells, H. 1892-1983 25 Myslivecek, J. 1737-1781 1 Hubay, J. 1858-1937 16 Humfrey, P. 1647-1674 23 Hummel, J. 1778-1837 1,3,6,15 Nagasawa, K. b1933 14 Humperdinck, E. 1854-1921 26 Nazareth, E. 1863-1934 16 Nielsen, C. 1865-1931 19 Nordgren, E. 1913-1992 28 Ibert, J. 1890-1962 17 Norgård, P. b1932 2 Ireland, J. 1879-1962 16 Novák, V. 1870-1949 3 Isaac, H. c1450-1517 18 Ives, C. 1874-1954 3,21

Ockeghem, J. 1430-1497 12 Jadin, H. 1769-1802 4 Offenbach, J. 1819-1880 Jadin, L. 1768-1853 4 4,22,26 Janácek, L. 1854-1928 1,21,26 Josquin Desprez. c1440-1521 8 Pachelbel, J. 1653-1706 7,14,15 Kabalevsky, D. 1904-1987 27 Paderewski, I. 1860-1941 26 Kalinnikov, Vasily. 1866-1901 26 Paganini, N. 1782-1840 9,25 Kálmán, E. 1882-1953 8 Palestrina, G. da c1525-1594 Kats-Chernin, E. b1957 3,11 16 Kern, J. 1885-1945 19 Pärt, A. b1935 4 Klughardt, A. 1847-1902 13 Pasculli, A. 1842-1924 20 Kodály, Z. 1882-1967 28 Pergolesi, G. 1710-1736 7 Koehne, G. b1956 8,12 Perry, W. b1930 19

Peterson-Berger, W. 1867-1942 15 Philips, P. c1561-1628 21 Piazzolla, A. 1922-1992 1,5,18 Pierson, H. 1815-1873 5 Plaetner, J. 1930-2002 9 Pleyel, I. 1757-1831 21 Ponce, M. 1882-1948 7 Popper, D. 1843-1913 20 Poulenc, F. 1899-1963 1,14,16,27 Prokofiev, S. 1891-1953 1,3,8,20,21,26,27,28 Purcell, D. c1660-1717 18 Purcell, H. 1659-1695 18,23,27,29 Rachmaninov, S. 1873-1943 1,4,16,20,25,29 Rameau, J-P. 1683-1764 7,8,11,14, 28 Raupach, H. 1728-1778 21 Ravel, M. 1875-1937 3,18,20,25,26,27 Reed, H. 1910-2002 29 Reicha, A. 1770-1836 1,16,23 Reinecke, C. 1824-1910 7 Respighi, O. 1879-1936 3,11,22,25,29 Ries, F. 1784-1838 27 Rihm, W. b1952 2 Rimsky-Korsakov, N. 1844-1908 1,5,6,8 Rode, P. 1774-1830 10 Rodrigo, J. 1901-1999 24 Roman, J. 1694-1758 19,21 Rossini, G. 1792-1868 9,17,25 Rouget de Lisle, C-J. 1760-1836 13 Rubinstein, A. 1829-1894 25 Saint-Saëns, C. 1835-1921 6,7,9,10,11,13,15,17,24 Salieri, A. 1750-1825 5,9,20 Satie, E. 1866-1925 1,6 Scarlatti, A. 1659-1725 14,22 Scharwenka, X. 1850-1924 26 Schenck, J. 1660-1712 21,24 Schikele, P. b1935 6 Schmitt, F. 1870-1958 22 Schubert, F. 1797-1828 2,5,15,17,22,23,25,29 Schuman, W. 1910-1992 20 Schumann, R. 1810-1856 11,12,20,22,23,29 Sculthorpe, P. 1929-2014 15 Shankar, R. b 1920 3 Shaw, C. b1983 23 Shostakovich, D. 1906-1975 2,14,27 Sibelius, J. 1865-1957 5,6,19 Sinding, C. 1856-1941 2 Skryabin, A. 1872-1915 14,19 Smetana, B. 1824-1884 18 Sor, F. 1778-1839 13

Sperger, J. 1750-1812 16 Spohr, L. 1784-1859 2,6,10 Stamitz, A. 1750-c1789 8 Stamitz, C. 1745-1801 2,8 Stamitz, J. 1717-1757 8 Stanhope, P. b 1969 18 Stanley, J. 1712-1786 25 Starzer, J. 1726-1787 29 Still, W. 1895-1978 15 Strauss, E. 1835-1916 24 Strauss, J. II 1825-1899 28 Strauss, R. 1864-1949 7,11,23,28 Stravinsky, I. 1882-1971 1,6,21 Suk, J. 1874-1935 29 Sullivan, A. 1842-1900 15 Suppé, F. 1819-1895 3,27 Svendsen, J. 1840-1911 19 Sweelinck, J. 1562-1621 24 Szymanowski, K. 1882-1937 26 Tartini, G. 1692-1770 23 Taverner, J. c1490-1545 12

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

ROBERT GILCHRIST CONSIDERS TARTINI AND REICHA In addition, Tartini became increasingly interested in theories of acoustics and harmony. His treatise, Trattato di musica secondo la vera scienza dell’armonia, attempted to account for contemporary harmonic thinking. Despite its lofty intentions, the Trattato is not a particularly accurate text but it does provide great insight into the mind of this remarkable musician of the later Baroque.

Because he didn’t seek fame as a composer, very little of Tartini’s music was published during his lifetime but his Devil’s trill Sonata, replete with not just double-stops but also trills, runs and rapid pitch changes, ensured him a place in the history books. A mild stroke in 1768 incapacitated Tartini and ultimately led to his death on 26 February 1770, the very day when Antonin Reicha was born.

Tchaikovsky, P. 1840-1893 2,6,8,11,15,18,28 Tcherepnin, A. 1899-1977 13 Telemann, G. 1681-1767 4,7,9,10,14,18,22,28 Tempany, K. b1967 23 Thomson, V. 1896-1989 19 Turina, J. 1882-1949 9 Vasks, P. b1946 4 Vaughan Williams, R. 1872-1958 3,16 Verdi, G. 1813-1901 8,12,24 Vieuxtemps, H. 1820-1881 16 Villa-Lobos, H. 1887-1959 3,5 Viotti, G. 1755-1824 2 Vivaldi, A. 1678-1741 12,19 Viviani, G. 1638-c1692 22 Wagenaar, J. 1894-1971 24,25 Wagner, R. 1813-1883 6,10,14,24,28 Walton, W. 1902-1983 4,16 Warlock, P. 1894-1930 22 Wassenaer, U. 1692-1766 25 Weber, C.M. 1786-1826 10,14,17,28 Weelkes, T. 1576-1623 2 Weill, K. 1900-1950 8 Wesley, S.S. 1810-1876 16 Widor, C-M. 1844-1937 16 Williamson, M. 1931-2003 9,15 Winding, A. 1835-1899 7 Wirén, D. 1905-1986 1 Wranitzky, P. 1756-1808 13 Xianghai, X. 1905-1945 25 Ysaÿe, E. 1858-1931 16 Zelenka, J. 1679-1745 2 Zemlinsky, A. 1871-1942 14,15

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

CONSECUTIVE LIVES, TWO ERAS

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

Giuseppe Tartini

Image: Alamy

Have you ever been woken by a dream in which the Devil comes to visit and plays a violin concerto with ferocious virtuosity? This was a dream of Giuseppe Tartini who, as the legend tells, was so inspired that he composed his magnificent Devil’s trill Sonata using the themes that he had heard played by the Devil.

Tartini died at the end of the Baroque Era as it transitioned into the Classical Era where we find another outstanding composer whom we are celebrating this month.

Tartini’s parents selected a monastic life for Giuseppe, who was born in 1692 in the Italian city of Pirano. Tartini studied divinity and law at Padua, meanwhile establishing a reputation as a swordsman and dueller. Before the age of 20, he had secretly married a protégée of the Archbishop of Padua, resulting in Tartini’s arrest. Disguised as a monk, he fled from Padua finding refuge in a monastery at Assisi.

There, his violin playing attracted attention ultimately influencing the Archbishop to allow Tartini to return to his wife in Padua.

Tartini’s playing was remarkable for its combination of technical and poetic qualities.

His bowing became a model for later schools of violinists, one of which he founded. His concert career ended early due to an accident to his right arm, which allowed him more time to compose. Both Corelli and Vivaldi influenced his compositional skills, which yielded some 130 concertos and over 170 sonatas for the violin. A smattering of sacred vocal works, some symphonies and trio sonatas round off Tartini’s considerable output.

chose those few that he found to be the most promising. He spent the rest of his life refining them with meticulous care and dedication on the narrower musical path he had so carefully chosen.

Around 1812, at the behest of the Paris Conservatoire where he was a professor, Reicha began his series of 25 wind quintets that would make him famous. He systematically explored the permutations of wind quintet sonority, simultaneously perfecting large-scale sonata structures that could accommodate as many as five principle themes. The fame brought by these quintets made it easy to have his work, both old and new, published including his 1822 opera Sapho which he felt to be among his greatest achievements.

Although Reicha outlived Beethoven by nine years, he ceased writing large-scale musical compositions after 1826. Instead, he concentrated on finishing his last great treatise, Art du Compositeur Dramatique, published in 1833. Among his many students Reicha counted Liszt, Berlioz, Gounod, Franck, Adam, Onslow, Farrenc and Arriaga.

Indeed, Reicha’s influence on the Romantic generation of composers was so extensive and so varied that one modern scholar describes him as the secret pivot-point of the Romantic Era.

Reicha, later known as Anton, is best known today for his 25 much admired wind quintets, written during the burgeoning Romantic era. Born in Prague, Reicha was adopted by his uncle Josef, who was a composer and the principal cellist in a celebrated orchestra. In 1785, Josef Reicha was appointed Kapellmeister to the court in Bonn of Maximillian, the German king’s younger brother. Young Anton joined the orchestra playing flute and befriending another youngster, a 15-year-old violist named Ludwig The music of these two composers can be van Beethoven. Their friendship would last heard between 2pm and 5pm on Sunday a lifetime. Anton took music lessons from 23 February: music of Giuseppe Tartini at Ludwig’s teacher, Christian Gottlob Neefe 2pm and of Anton Reicha in Sunday Special at 3pm. and started composing at his own initiative. Along with Beethoven, he enrolled at the University of Bonn, and pursued his studies in philosophy, mathematics and logic with passion.

In his memoirs, he wrote that he and Beethoven ‘were inseparable companions’ during the Bonn years.

The Franco-German wars led him to move to Paris where he later settled permanently.

Reicha’s path was the opposite to that of Beethoven whose experiments grew bolder with time as he staked out increasingly rarefied musical territory. Reicha was, by contrast, highly experimental in his early years but more conservative later. Although he continued to experiment, most notably in the Études de piano, the music of Reicha’s Paris years was relatively conservative. Out of the Portrait of the composer Anton Reicha, Museum many new structural and expressive Philharmonie de Paris. Photo Eléonore Anne Steuben

Image: Alamy possibilities he had explored, he FEBRUARY 2020

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THE RISE OF GUITAROMANIE

FROM VENETIAN CANALS TO THE SEA

DAVID OGILVIE FOLLOWS AN OBSCURE CELLIST’S SUCCESS

ELAINE SIVERSEN DELVES INTO OPERA ORIGINS

period from Сlassical to RomanFew people outside the world of tic. Between them, they improved Romantic classical guitar music the design and sound of the would have heard of Ferdinando classic six-string guitar, and also Carulli, yet by any standards the constructed multi-stringed instrustory of his journey from obscure ments like the décacorde for which Neapolitan cellist to creator of Carulli also wrote a textbook. an international guitar craze in Paris, then the music capital of Many of the pieces now regarded Europe, is an astonishing one. as Carulli’s greatest were Along the way, he became a initially turned down by music guitar virtuoso, teacher, publisher, publishers due to lack of demand and instrument maker, and his for such technically complex over 400 compositions for the music and perceptions that they newly fashionable six-string guitar were too hard for the average would make him the most prolific player. Undeterred, he made the published composer in the history Guitaromanie Discussion Image: Alamy decision to self-publish and in of the instrument. addition printed the works of other prominent guitarists. pour guitare ou lyre, op 27, a runaway success Born into an affluent Neapolitan family in February 1770, Ferdinando Carulli learned which contains music still used by student By now, Carulli had achieved one of his music theory from a priest, as was common guitarists today. life’s ambitions: to develop the guitar as a at the time. Having mastered the cello, he took Carulli was so popular in Naples that he began classical instrument and elevate its lowly up the guitar, which at that time resembled a touring Europe, eventually moving to Paris status to the popular and fashionable. In fact, lute with five or six pairs of strings. As there in 1808 after a series of successful concerts so fashionable had it become, composer and were no professional guitar teachers in Naples there. He became an acclaimed musician and music publisher Charles de Marescot coined at the time, he adapted some cello skills for teacher, and began a fruitful collaboration the term Guitaromanie to describe the frenzy for all things guitar. the classical guitar. A significant part of his with renowned French luthier René François legacy was born from that experience and Lacôte, their partnership playing a vital role Celebrating 250 years since the birth of published as the influential Méthode complète in promoting the guitar during the transition Ferdinando Carulli, we present his music on Sunday 9 February at 2pm.

According to the many tragedy Bertram, or the Castle of St Aldobrand tradition the Carnival exquisite arias by Charles Maturin was produced in London. of Venice began in and ensemble Ten years later it was translated into French 1162. The Italian pieces in by Charles Nodier and Isidore Justin Séverin word carnevale the opera, Taylor as a three-act melodrama, Bertram ou derives from the La verità in le Pirate. It was from this that Felice Romani Latin carne for meat cimento does wrote the Italian libretto for Il pirata. Although and vale meaning not seem to Bellini did some recycling of previous material, farewell. Through have had his compositional style in this opera was more the centuries it the same innovative than in previous operas and the has marked the popularity as premiere was a resounding success. A 19th beginning of Lent, Armida but century commentary mentions the musical the period leading neither of influence of Il pirata on Wagner’s 1836 comic up to Easter and these operas opera Das Liebesverbot. hence a time of are well-known The marine theme continues in the following fasting from meat. today. week with an opera based on the same story as The Carnival was Wagner’s The flying Dutchman, this by a littleLindsay Kemp, originally held over known French composer Pierre-Louis Dietsch. reviewing the a period of two The novel in common is Captain Frederick recording for months ending on Marryat’s The Phantom Ship but Dietsch’s Gramophone, Shrove Tuesday librettists Paul Foucher and Bénédict-Henry wrote: There or Martedì grasso, Antonio Vivaldi, portrait by Peter La Cave, 1725 Révoil also took material from Walter Scott’s is a comic the day before Image: Alamy The Pirate as well as from stories of Heinrich element in the Ash Wednesday.

Heine, James Fennimore Cooper and Wilhelm Abstaining from meat was not the only 13th of Vivaldi’s 40-or-so surviving operas Hauff, so it is something of a potpourri of deprivation in Lent. In his Erotic Writings Zorzi that would be hard to ignore in a staged ideas. It had 11 more performances after its Baffo, a Venetian contemporary of Vivaldi, performance: the flighty Rosane, the slowpremiere in 1842 by the Paris Opéra. The comments on the start of Lent in Venice: witted Rustena and the ineffectual Mamud interesting fact is that Wagner had originally “Oh! What a strange change from evening could almost find a place in a Jane Austen submitted a French version of his libretto for till morning! It would seem that a whirlwind novel … All the characters, furthermore, are The flying Dutchman to the Director of the confused everything. All holidays are finished; strongly drawn and believably human: Zelim, Paris Opéra but he rejected it in favour of the joy disappeared, as though plague had noble and generous, and Damira, a woman libretto written for Dietsch. How that decision destroyed everything. No music, no singing; whose machinations are driven by selfless must have haunted him later! theatres are closed; dancers and musicians maternal love, are especially memorable.” He goes on to say that this opera is one of the These are the operas being featured this are changed into dormouse.” most enjoyable of opera rarities. month at 8pm on each Wednesday night in Opera was one of the entertainments that was February. banned during the 40 days of Lent. Venice in Much better known is Gaetano Donizetti’s Anna the 17th century was a major centre for opera Bolena, the tragic story of Henry VIII’s so, with the many visitors flocking to Venice second wife Anne Boleyn, the mother for Carnival, this was the major opera season of Elizabeth I. This is our second of the year with new operas in great demand. offering on the first week of the month Tommaso Albinoni and Antonio Vivaldi were in which we feature historical persons the foremost opera composers of the time or events. Donizetti wrote four operas employing the finest singers who enraptured based on the Tudor period in England: the public with their exquisite voices. One of Il castello di Kenilworth, Anna Bolena, these was the famous Farinelli who demanded Maria Stuarda and Roberto Devereux.

The premiere of Anna Bolena in a high salary for his performances.

December 1826 was such a success Vivaldi’s opera, La verità in cimento (Truth in that Donizetti began to be known as contention), premiered in Venice 300 years one of the most illustrious composers ago during the 1720 Carnival. The opera was of Italian opera alongside Bellini and dedicated to the Russian legate to Venice, Rossini.

Count Sava Vladislavich, and the libretto was written by Giovanni Palazzi, who also wrote the Vincenzo Bellini’s opera Il pirata is libretto for another of Vivaldi’s most performed thought to have been an influence operas during carnival season. Armida on Donizetti when he was composing al campo d’Egitto was first staged during Lucia di Lammermoor. Il pirata (The carnival in 1717 and was revived many times pirate) is this month’s opera based in following years during the carnival season in on literature and it has a complicated other Italian cities as well as in Venice. Despite provenance. In 1816, a five-act verse Vincenzo Bellini Image: Alamy

‘CLIMBING EVEREST WITHOUT OXYGEN’ DEREK PARKER REVEALS AN EXTRAORDINARY TALENT Most of the professional contemporaries of the pianist Leopold Godowsky (including the not-always-generous Busoni) agreed that some of his compositions contain the greatest challenges to piano technique ever put on paper.

Without, it seems, ever receiving a lesson, Godowsky was already playing the piano at the age of four, and gave his first recital when he was nine. During his 14th year he toured the United States and Canada, before studying for a while in Paris with Saint-Saëns (whose lessons, Godowsky said later, consisted mainly of simply listening to Saint-Saëns play). Godowsky had clearly loved America, and after returning there in 1890, when he was 20, he became an American citizen, married, and did some teaching of piano technique (although, he said, ‘no-one had taught me the value and meaning of the notes or the use of the fingers on the keyboard’). Europe pulled him back, however, and he settled in Berlin.

With his reputation as a performer having preceded him, his first recital was attended by everyone who was interested in pianism.

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One of the reasons his contemporaries did not dismiss Godowsky as a simple show-off was that the difficulties of his works for the piano were designed not only to tax the performer but to indicate how they could be overcome.

He composed several original pieces, but most celebrated are his paraphrases of Strauss waltzes and the Chopin études, 53 of them. He recorded a few, and his son-inlaw, David Saperton (the teacher of Bolet and Cherkassky) recorded them all. Before they were to be issued, RCA contributed the masters to be melted down for shell casings to be used in World War II. Leopold Godowsky photographed by Alexander Eddy Image: Alamy

Godowsky was clearly a nice man, admired, even loved, not only by his audiences but also by his contemporaries on the performing circuit, who called him ‘Popsy’. After a recital which would have taxed the physique of any of his friends, he would join them for a ‘shindig’, showing off even more extraordinary pianistic feats than at his public performances.

Godowsky played on until a stroke disabled his right arm. He died in 1938, leaving to posterity for eager pianists the prospect of proving themselves by playing his works: a task, some have said, next to which ‘climbing Everest without oxygen is a doddle’.

To celebrate the 150th anniversary of Godowsky’s birth on 13 February 1870 we broadcast some of his music at 2pm on Sunday 2 February.

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PARIS IN THE 1920s

MUSICAL FAMILIES

NICKY GLUCH CELEBRATES A BALLET PREMIERE Woody Allen’s film Midnight in Paris, goes some way to capturing the remarkable milieu that was Paris in the 1920s. Transported back in time the protagonist, Gil, finds himself at a party for Jean Cocteau. Gil’s interest in Cocteau is that he is a fellow writer, but what makes the period so unique is the degree of cross-influence.

Painters, musicians, choreographers all worked together, united, perhaps, by their perceived deviance, but utterly altering the artistic world.

and the piece cycles through 24 tonal areas. The sonic inspiration, however, is more earnest. Milhaud spent two years in Brazil working as the secretary for the French ambassador, Paul Claudel. Aside from being a diplomat, Claudel was also a poet and dramatist and he and Milhaud collaborated on a ballet, L’homme et son désir. When Milhaud returned to France, he brought with him the sounds of Rio. Le boeuf makes specific reference to the Brazilian composer Ernesto Nazareth, whose original tangos can be heard in the anniversary program to celebrate the centenary of the ballet’s premiere.

On 20 February 1920, Darius Milhaud’s ballet, Le boeuf sur le toit (The ox on the roof), was first Caricature by John Minnion of Milhaud’s Le boeuf sur le toit Image: Alamy performed. The title is derived from one of the Brazilian tangos quoted within deliberate contrast to the tempo, and the music The other pieces on the program pay homage the work. If it sounds familiar, however, it’s just keeps playing on, with tunes sometimes to the premiere, with music by Georges Auric, because it was later bestowed on a Parisian overlapping as if one were out walking, the air Francis Poulenc and Eric Satie. The 1920s … cabaret frequented by Milhaud and his friends. filled by the sounds of street musicians. a time when music played and the champagne Le boeuf is wonderfully satirical. Subtitled The flowed; when halls rang out with sounds Nothing-Doing Bar, the ballet is set in a bar/ Satire, too, resounds in Milhaud’s never-before heard in Europe and artists held cabaret with the plot just a series of scenes, compositional devices. Mocking the German up a mirror to the world! as the audience is introduced to a number of didactic tradition of having composers write characters: a bookmaker, a dwarf, a boxer and pieces which modulate to each key, Milhaud You can be transported back to the sounds of a policeman. The choreography is slow, in has his theme stated in all 12 major keys Paris in the 1920s at 2pm on 16 February.

FOUR BRILLIANT CONCERTOS ELAINE SIVERSEN INTRODUCES A NEW SERIES concertos had become due to the influence of Paganini. The finale with its Hungarian influence and great energy is, however, a tribute to Joachim and his Hungarian heritage.

He began his career as a pianist playing in cafes and dance halls but, at the age of 20, Johannes Brahms began touring with the Hungarian violinist, Ede Remény. During the tour, Remény introduced Brahms to the great virtuoso violinist Joseph Joachim who, as well as becoming a friend, was influential in furthering the career of the younger composer.

For a time, Brahms’ compositions followed the so-called neo-German school, a major one being his First Piano Concerto which took him five years to write. It began as a sonata for two pianos but, after he found that his writing for the piano was virtuosic, he decided that it had to be a concerto for one piano with orchestra. The air of tragedy permeating the work is probably due to the traumatic time experienced during its composition when his friend Robert Schumann suffered a nervous breakdown, attempted suicide, was confined to a mental institution and eventually died.

Brahms turned away from the neo-German school and looked back to the late classical style of Beethoven. As a result, the next concerto composed by Brahms, for the 42

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The close friendship between Joachim and Brahms was fractured when Brahms seemed to support Joachim’s wife during their divorce.

As a means to end this estrangement, Brahms decided to compose a double concerto for violin and cello. He used the subterfuge of writing it for the cellist of the Joachim Quartet, Robert Hausman, with the hope that Joachim would accept the offer to premiere the work with his quartet colleague. Joachim accepted, gave advice on technical matters, restoring the friendship and making the solo writing more brilliant for both instruments.

Johannes Brahms sculpture Image: Shutterstock

violin, was influenced by both Beethoven and Joachim but, while Joachim advised, Brahms did not always accept the advice. He reverted to the symphonic form for solo and orchestra rather than composing a display piece with orchestral accompaniment as most romantic

ELAINE SIVERSEN COMPARES TALENTED BROTHERS Musical talent often runs in families, but sometimes one individual stands out as approaching genius, or actually achieving this status through the critical review of later generations. This difference in talent within a family is shown by the three sets of brothers being showcased this month.

The Jadin brothers, Hyacinthe and LouisEmmanuel, were born at Versailles where their father Jean played bassoon in the orchestra and their uncle Georges was a composer.

Hyacinthe and Louis-Emmanuel, as well as their three brothers, became musicians. LouisEmmanuel was a famed harpsichordist and pianist who taught at the Paris Conservatoire after many years as a prolific theatre composer with his first opera staged at Versailles in 1788.

Many of his works were published in Paris and he was so respected that he was made a Chevalier of the Légion d’honneur.

Louis-Emmanuel had learned the piano from his elder brother Hyacinthe, who is betterknown today but is still in the shadow of many French composers. Hyacinthe’s first composition was published when he was nine and, by the age of 13, he had a work premiered at the Concert Spirituel. While he taught at the Paris Conservatoire, he did not have as successful a career as Louis-Emmanuel; he suffered from tuberculosis for five years before his death at 30. Yet Hyacinthe’s music is more successful today. This may be attributed to his progressive style of piano composition, works that anticipated the style of Schubert.

The sonatas in particular display some early romanticism.

Like the Jadin brothers, Rodolphe Kreutzer was born at Versailles, but his little-known

Brahms’ final concerto was for piano but it has sometimes been called a symphony with piano obbligato. Once again, the piano does not dominate the orchestra and, while the work can be described as epic, it is not pretentious.

The four Brahms concertos will be broadcast on Fridays at 2.30pm on 14 and 28 February, 13 and 27 March.

Rodolphe Kreutzer

younger brother, Jean-Nicolas, was born in Paris. Their German-born father, a musician of the royal chapel at Versailles taught the violin to his sons.

Rodolphe became one of the foremost violin virtuosos of the day and was a conductor and the composer of over 40 operas and 19 violin concertos.

He taught at the Paris Conservatoire from its foundation in 1795 until his retirement in 1826. He was co-author of the Conservatoire’s violin method with Pierre Rode and Pierre Baillot, a method that became the basis of the French violin school. Rodolphe Kreutzer’s best-known works are student studies, 42 Études ou caprices (1796) but his name lives on in the Kreutzer Violin Sonata dedicated to him by Beethoven.

After Rodolphe’s retirement, JeanNicolas took over the teaching of Rodolphe’s class at the Conservatoire where he was already on the staff.

Rodolphe had given Jean-Nicolas Henry Purcell, portrait by John Chesterman 1695 his first lessons on the violin which Image: Alamy Jean-Nicolas continued at the Conservatoire, streaking across the sky, burning out before where he won the Premier Prix for violin. He our eyes with his death at 36. It is said that worked as a musician in various orchestras his wife Frances locked him out when he and composed mainly violin music, sonatas, came home late; he caught a chill and died duos and concertos, but very little was soon after. Nevertheless, before she died published. His style was not as brilliant as that seven years later, she published many of his of Rodolphe although it was noted as being compositions including the famous collection expressive and stylish.

Orpheus Britannicus containing songs and The most illustrious of the featured brothers is, without a doubt, Henry Purcell who, although he died in his 30s, made an impact on contemporary society and gained a reputation that is undimmed today. His brother Daniel, five years younger, did not come to prominence until after Henry’s death in 1695, firstly by completing the Act V masque for Henry’s semi-opera The Indian Queen. He went on to compose music for more than 40 plays but little of this is recognised or recorded today.

However, Daniel’s Masque of Hymen survives and also some instrumental compositions published in 1710: sets of sonatas and trio sonatas for recorder, and works for violin. His most frequently performed compositions are probably Magnificat and Nunc dimittis in E minor, liturgical pieces for the Anglican service of Evensong.

Image: Alamy

In comparison, Henry Purcell was, metaphorically, a shining star in the heavens, or perhaps a brilliant comet

instrumental pieces. Purcell wrote music to accompany seven plays, composed six semioperas and one opera, Dido and Aeneas, that is still performed today, Deemed to be the greatest English composer until the advent of Ralph Vaughan Williams and Edward Elgar, Henry Purcell began composing as a child, reputedly at nine years, but the earliest identified work is an ode for the King’s birthday of 1670 composed when Henry was 11. Some of Purcell’s best-known works are the six odes that he wrote for Queen Mary II’s birthday each year until her death in 1695.

The music that he wrote for her funeral that year was used again at Purcell’s funeral later in the same year. The officials at Westminster honoured him by unanimously voting that he be buried with no expense in the north aisle of the Abbey. His epitaph reads: “Here lyes Henry Purcell Esq., who left this life and is gone to that Blessed Place where only His harmony can be exceeded.”

Music of these six composers will be broadcast on Tuesdays 4 and 18 February at 2pm.

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WHAT’S ON IN MUSIC AUSTRALIA ENSEMBLE Concert Dates Saturday 14 March, 8pm: Storm and Tempest Saturday 18 April, 8pm: Contrasts Saturday 30 May, 8pm: Shadows and Light Saturday 15 August, 8pm: Café and Concert Hall Saturday 26 September, 8pm: Dreamers and Visionaries Saturday 24 October, 8pm: A Song Before the Storm Book all six concerts to enjoy a 27% saving off the individual ticket price.

Book online at: www.eventbrite.com.au/e/australia-ensemble-unsw-2020-season-subscription-packages-tickets-71467823183

THE IMPRESARIO Mozart, Beethoven and Eberl Australian Romantic & Classical Orchestra Rachael Beesley, director Thursday 5 March, 6.30pm RJ Phipps Performance Centre, The Hills Grammar School, Kenthurst Friday 6 March, 7.00pm City Recital Hall, 2-12 Angel Place, Sydney Tickets: $25 - $120 www.arco.org.au

Adelaide and, after completing his studies, he went to the United Kingdom to undertake a doctorate at the University of York. During this time, he was drawn into the world of electronic music and it was his expertise in this evolving field that soon brought him back to Australia where he founded the Electronic Music Studio of the NSW Conservatorium of Music in

Fine Music will pay tribute to Martin WesleySmith in a program featuring music that hunts snarks, lauds the natural world and pricks our political consciousness. You can hear this in Sunday Special on 9 February at 3pm.

Other engagements included conducting at the Metropolitan Opera, the New York City Opera and the Royal Opera House, and at festivals at Glyndebourne. Moving to the United States in 1976 (becoming a citizen in 2003), Leppard collaborated with the Indianapolis Symphony Orchestra and Louisville Orchestra and became a freelance musician, working in America and Europe but continuing Forming his own Leppard Chamber to support British composers. He also Orchestra which debuted at Wigmore Ulysses’ Return to Penelope, subject of Monteverdi’s opera composed, writing the music scores Hall in 1953, Leppard introduced Image: Alamy for the films Lord of the Flies (1963) music from previous centuries to an Leppard’s musical interests extended beyond and Laughter in the Dark (1969). increasingly appreciative audience. Having the baroque. As director of the English Leppard was the recipient of several studied the harpsichord and viola as well as Chamber Orchestra from 1959, he championed awards, including the Commendatore della choral conducting, he became known for the 20th century music with his programs Republica Italiana for services to Italian music baroque repertoire that he often directed from encompassing the music of composers such (particularly the revival of Italian baroque the harpsichord. as Britten. As principal conductor of the BBC music), and an Honorary Degree of a Doctor Beginning with the operas of Monteverdi (The Northern Symphony Orchestra (now the BBC of Letters from the University of Bath in the city return of Ulysses) and Cavalli (La Calisto), Philharmonic), a position he held from 1973 where he had grown up and had first studied Leppard edited several scores from the period. until 1980, Leppard conducted works by a music. He was appointed a Commander of Although they had mixed reviews from other range of composers including Tchaikovsky, the Order of the British Empire (CBE) in 1983. musicologists and his robust interpretations Elgar and Mahler. In 1986 he conducted were not always well-received, they became the BBC Symphony Orchestra, Singers and We pay tribute to Raymond Leppard in a an integral part of his performances and Chorus at the Last Night of the Proms in the program at 2.30pm on Tuesday 11 February.

Royal Albert Hall in London. recordings.

Renowned as a seminal figure in the 20th century revival of early music, harpsichordist, conductor and researcher Raymond Leppard has died aged 92. In addition to his pioneering work with early music, Leppard collaborated with major orchestras and opera houses, conducting and performing music from all periods.

Beethoven: Symphony no 7 in A minor, op 92

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Martin Wesley-Smith Photo supplied by Julie Simonds

The main inspirations for Wesley-Smith’s music have been the literary works of Lewis Carroll alongside the raising of human rights issues, such as the situation in East Timor and the environment. These themes were often articulated by texts developed in close collaboration with his brother Peter, a prominent human rights lawyer. Laden with humour and pathos, in vocal and chamber music, music theatre, multimedia and electronic music, Martin’s music will provide enjoyment and stimulation to audiences for years to come.

CATHERINE PEAKE DESCRIBES A CONSUMMATE MUSICIAN

Eberl: Symphony in E flat major, op 33

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1974. In that same year, when 2MBS began broadcasting, he was one of three volunteers who arranged the early programming. For the next 30 years, Wesley-Smith would both develop his own music and have a positive influence upon the work of a huge number of Australian composers.

A TRIBUTE TO RAYMOND LEPPARD

Mozart: Overture to Der Schauspieldirektor, K486 (The Impresario)

You are invited to stay for light refreshments after the talk.

As he was growing up, he formed a folk music trio with his twin brother Peter and Keith Conlon. Writing their own songs and singing classics of the folk repertoire, the Wesley Three reached the ‘pop’ charts in 1965 with their song Little Tommy. This background provided Wesley-Smith with a unique approach to composition, bringing to art music two rare talents: an intuitive understanding of close vocal harmony and an ability to please a general audience. Neither of these skills had been fashionable in art music of the post-war period and Wesley-Smith’s approach not only freed his own music of academic stultification, it demonstrated a path for other composers to find their muse as well.

Wesley-Smith began composition studies in

Program

The Interpretation of Gregorian chant Presenter: Neil McEwan Sunday 16 February, 2.30pm Fine Music Centre, 72-76 Chandos St, St Leonards Booking: Tickets: $20 or $10 for Fine Music volunteers, subscribing friends and concessions Online bookings only. To book visit finemusicsydneym.com/ELD or find us on Eventbrite.

JAMES NIGHTINGALE SALUTES MARTIN WESLEY-SMITH A very important figure in the history of Australian music, and also in the early days of 2MBS-FM, composer Martin Wesley-Smith died in September last year at the age of 74.

He was a musician of eclectic tastes and background who created an award-winning body of work that was groundbreaking and unique.

Subscriptions on Sale

ENJOY, LEARN, DISCUSS

CELEBRATING A MUSICAL PIONEER

The recent discovery of the hidden meaning of 10th century neumes led to the understanding of how to interpret the singing of the chant in modern times. Demonstrations of these chants will be given, along with compositions based on the use of the chant.

With a PhD in Gregorian chant semiological research from the University of Sydney and further studies in the subject in France and Germany, as well as many years lecturing in palaeography and conducting at the Sydney Conservatorium of Music, Neil McEwan is well-qualified to lead an audience through this largely unknown genre of music. He has also transcribed a number of chants from the Rimini Antiphonale of 1328 housed in the State Library of New South Wales and prepared and performed these chants in a series of concerts.

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CD REVIEWS THE RUSSIAN ALBUM Christoph Croisé, cello; Alexander Panfilov, piano Avie AV2410 HHHH½

When you think of classical cellists, whose names come to mind? Certainly, Jacqueline du Pré and Yo-Yo Ma, and then there’s Steven Isserlis and Mischa Maisky. Make a note now of another name to add to those ranks, that of Christoph Croisé. He’s only 26, but already has three successful CDs released and now adds a fourth with The Russian Album.

There are two sonatas for cello and piano, one

by Rachmaninov, the other by Shostakovich, both played with what can only be described as Russian fire (although I wished that Panfilov could have toned it down a little at times!) This is followed by a short work from the 20th century Russian composer, Rodion Shchedrin, In the style of Albéniz, an unusual

OFFSPRING BITES 2 Ensemble Offspring 0 784927 459812 HHHH

Ensemble Offspring is a Sydney-based musical group which commissions and performs ‘adventurous new music’. Its artistic director is percussionist Claire Edwardes; she is joined on this disc by violinist Véronique Serret, cellist Freya Schack-Arnott, clarinettist Jason Noble and flautist Lamorna Nightingale, with Bernadette Harvey playing piano on Avialae and Jacob Abela on Love in solitude. Offspring Bites 2 is their second release of chamber music previously commissioned by them and for which they have in turn commissioned short films that are available on the internet.

The program features five composers, all women who have collaborated with Ensemble Offspring over a period of time, and their works cover an interesting range of responses.

Melody Eötvös’ Tardigradus employs highpitched flute and bells and tinkling percussion to profile the tardigrade, a microscopic animal

THERE FROM HERE Tunetown TSLCD-301 HHHH

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A FOUNDING MEMBER OF FINE MUSIC piece to say the least, and that’s followed by the March from Prokofiev’s The love for three oranges.

That’s the Russian line-up, but then there’s a bonus track, where Christoph plays a cheeky little two-minute piece composed by the Swiss cellist Thomas Demenga called New York honk. It’s this young man’s mastery of his instrument that enables us quite clearly to imagine New York’s traffic complete with all the bustle and sound of car horns. Altogether a first-class CD and one which lovers of the cello should add to their collections.

Michael Morton-Evans

able to survive in extreme environments. In contrast, Cassie To’s Avialae uses the full complement of available instrumentation.

This piece begins with the songs of a number of endangered Australian birds, imitated, improvised upon and transformed (degraded, even into more conventional music), with the piano significant in this process. Holly Harrison’s Vibe rant refers to the abbreviated form of the word vibraphone, the featured instrument here, but also the idea of ‘rant’ (connoting nonsense rather than anger) and a ‘vibrant’ mood which is contrasted with a darker more plaintive passage where the woodwinds are more prominent. Similarly, Bree Van Reyk and Andrea Keller utilise the ensemble’s palette of instruments to create works that reward careful, active listening.

Paul Cooke

Tunetown is a Toronto based trio made up of drummer Ernesto Cervini, saxophonist Kelly Jefferson and bassist Artie Roth. Jefferson has been a recording artist since the late 1990s and has worked with the Vanguard Jazz Orchestra along with Maria Schneider. Like a vocalist, Jefferson injects emotion into his playing at a level that is rarely heard on the instrument, but this triangular ensemble is evidently more than the sum of its parts. Cervini creates polyrhythmic conversations between the parts of his kit that are simultaneously referencing the be-bop past and expressing the future of jazz drumming. With a rich tone, an extraordinary sense of harmony and timing, Roth has been recording since the early 1990’s and is a bass stalwart on the Toronto scene.

chordal instrument and this space provides a canvas of stark contrasts, light and shade along with drama and a good dose of humour.

All members contribute 11 melodious original compositions with two quality choices for rearranged standards also included: Duke Ellington’s Sophisticated lady and Cole Porter’s All of you. Sophisticated lady is taken at an extremely slow almost haunting pace which exposes unlikely harmonic possibilities especially for Roth’s double bass. Kelly Jefferson’s initially subtle but then wailing tenor sails above the scuffling brushes of Cervini while Roth fills out the background in what is one of the most dramatic versions of this classic that I’ve heard recorded. Trio artistic expression at its very best.

Immediately apparent in this music is the abundance of space due to the lack of a

Frank Presley

MONA OMAR TALKS TO CHARLES BARTON Except for 14 years working as a solicitor, Charles Barton has spent the majority of his working life as a teacher of physics and chemistry at universities and TAFE colleges.

During his study of these subjects at Sydney University in 1965, he met Trevor Jarvie, who taught Charles organic chemistry. “Trevor Jarvie was the visionary whose ideas led to the formation of 2MBSFM”, says Charles, who joined the Music Broadcasting Society of New South Wales shortly after its formation in 1971. In 1974 Charles was elected a foundation Director of the newly formed co-operative, after it was granted a stereo-FM broadcast licence, the first in the country, under the Wireless Telegraphy Act. It would be seven months before another stereo-FM broadcaster (3MBS-FM in Melbourne) was heard on the radio and would be about 12 months to the first stereo broadcast on ABC-FM. Charles worked in a variety of roles in those early days. He says that ‘while Max Benyon

Charles began as a sound engineer in 1981, a role he describes as ‘the most satisfying thing I have ever done’. Over the next 20 years he recorded and broadcast a large number of concerts and live studio performances. In 1999 he was recognised in the Australia Day Honours list and was awarded The Medal of the Order of Australia (OAM) for ‘service to the promotion of Australian classical composers and performers as programmer, onair presenter and producer’.

and his team of real engineers were working on design and construction of our transmitters (which were of world class), I negotiated with the hi-fi industry for the gifts of equipment for our first studio, as the co-op had almost no money’. He also maintained the studio and was presenting on-air by Christmas of 1974, a role he has maintained almost continuously for over 45 years.

Charles credits his successful recording work to the valuable relationships he formed with musicians and composers. However, the most important relationship he formed is with his wife Elizabeth, whom he met in 1985.

“The Saturday evening sound engineer (for a live broadcast) met the Saturday afternoon receptionist. She had two subscription tickets to the Australian Chamber Orchestra, and I had two to Musica Viva, and we still have these subscriptions”.

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@finemusicsydney.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 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 PROGRAMMERS AND PRESENTERS FOR FEBRUARY 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, Sheila Catzel, Yola Center, Lyn Chong, Adam Cockburn, Angela Cockburn, Liam Collins, Paul Cooke, Di Cox, George Cruickshank, Nick Dan, Jackson Day, Nev Dorrington, Annabelle Drumm, Brian Drummond, Andrew Dziedzic, Rita Felton, Michael Field, Troy Fil, Owen Fisher, Jennifer Foong, Tom Forrester-Paton, Susan Foulcher, Roger Fyfe, Carole Garland, David Garrett, Robert Gilchrist, Nicky Gluch, Joe Goddard, Albert Gormley, Jeremy Hall, Austin Harrison, Celeste Haworth, Ross Hayes, Gerald Holder, Paulo Hooke, 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, Peter Mitchell, Simon Moore, Frank Morrison, Michael Morton-Evans, Richard Munge, James Nightingale, David Ogilvie, Barry O’Sullivan, Calogero Panvino, Derek Parker, Keith Pettigrew, Anabela Pina, Peter Poole, Frank Presley, Karoline Ren, Katy Rogers-Davies, Marilyn Schock, Debbie Scholem, Jon Shapiro, Julie Simonds, Elaine Siversen, Robert Small, Garth Sundberg, Jacky Ternisien, Anna Tranter, Madilina Tresca, Robert Vale, Richard Verco, Ron Walledge, Christopher Waterhouse, Chris Wetherall, Stephen Wilson, Glenn Winfield, Chris Winner, Mariko Yata, Orli Zahava, Tom Zelinka, Iris Zeng PROGRAM SUBEDITORS Jan Akers, Chris Blower, Maureen Chaffey, Di Cox, 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 FEBRUARY 2020

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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 Alison Carr, Mrs Margaret Epps, Prof Michael Field AM, Prof Christine Furedy, Mr Heinz Gager, Mrs Freda Hugenberger,

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Since our December edition, we’ve been retelling the amazing achievement of a bunch of dedicated stereo enthusiasts who, with sheer determination and not much money, founded the first FM stereo radio station in Australia. They even persuaded the government to adopt high frequency modulation instead of the proposed ultra-high frequency that would have put our broadcasting out of step with the rest of the world. What amazing people they were, and all were volunteers. We continue that story this month as we celebrate our 45th anniversary 2MBS/Fine Music has a long history of assisting young musicians.

Since 1984 we have organised a competition, formerly known as the Young Performers Award and now called the Young Virtuoso Award, which has developed into a national competition

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Dr Peter Ingle, Ms Sue Jowell, Mr Ian Juniper, Mr D & Mrs R Keech, Mr Ray McDonald, Ms Maureen Meers, Dr Andrew Mitterdorfer, Mr Jude Rushbrooke, Mr Richard Thompson, Ms Wendy Trevor-Jones, Hon Anthony Whealy QC, Mr Richard Wilkins, Yim Family Foundation, Anonymous 6

Gold Patrons ($1,000 – $2,499) Ms Jan Bowen AM, Mrs Di Cox, Dr Carolyn Currie, Prof C E Deer AM, Mr David Jacobs, Mrs Barbara Johnson, Mr Reginald John Lamble AO, John Mitchell, Mr Verdon Morcom, Mr Trevor Parkin, Mr Iain Thompson, Mr Larry Turner, 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, Mr Ian de Jersey, Mr Peter Dunn, Mr John Fairfax AO, Dr David Gorman, Mr Paul Hopwood, Ms Georgina Horton, R & M Juchau, Hon David Kirby QC, Mr Nicholas Korner, Jennifer Lewis, Dr Peter Lindberg, Mrs Meryll Macarthur, Mr M F Madigan, Mrs E M McKinnon, Mr Michael MortonEvans OAM, Mr Julius Opit, Mr Andrew Patterson, Ms Susan Ping Kee, Dr Neil Radford, Mr Gwynn Roberts, Mr J A Roberts, Ms Catherine Ruff, Mrs Ruth Staples, Mr John Stevenson, Dr Paul Wormell, Anonymous 24

Bronze Patrons ($250 – $499) Ms Jacqui Axford, Ms Lily Bao, Ms Jane Barnes, Dr Helen Bashir, Mr Don Bennett, Mrs Susan Berger, Mr Stephen Booth, Mr David Branscomb, Mr Barrie Brockwell, Mrs Alexandra Buchner, Mr Ron Burgess, Dr Rhonda Buskell, Ms Mary Choate, Mr Dom Cottam & Ms Kanako Imamura, Prof Stephen Dain, Ms Dora Den Hengst, Dr David Dixon, Hon J R Dunford QC, In Memory of David W Allen, Ms Elizabeth Evatt, Mrs Margaret Gibson, Mr Robert Gilchrist, Mrs Jocelyn Hackett, Mr Geoffrey Hogbin, Prof Wendy Hu, Mr Paul Jackson, Mr Bill and Mrs Eva Johnstone, Mr Darren Jones, Mrs Pamela Kenny, Mr Robert King, Mr Gerhard Koller, Mr Philip Levy, 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, Mr Geoffery Murphy, Ms C M Pender, Mr Peter Poole, Hon James Poulos QC, Mr Mike Price, Dr Gideon Schoombie, Mrs Zvjezdana Skopelja, Ms Mei Wah So, Ms Kathryn Tiffen, Mr Peter van Raalte, Mr Kevin James Vaughan, Miss Rachel Westwood, Mr Richard Williamson, Mr Alastair Wilson, Walkerville Pty Ltd, Anonymous 36 in association with other interstate classical music community stations. This month we are showcasing some of the winners of that competition. Read about some of the recipients and their ongoing careers on page 4. On the same page, you’ll find the continuing story of the first magazine with its guide to all programs, published as Stereo FM Radio ready for February 1975 broadcasts.

This fledgling radio station even had the audacity to produce commercial recordings promoting local musicians and composers.

You’ll find this story on page 5. On the same page you’ll find another long-running early program highlighted, The Organ Society of NSW. We regret that we are unable to bring the stories of other longrunning programs; the blues program, Stormy Monday, is one of those. It is the earliest continuous program still with its founder, Austin Harrison, involved.

Please also enjoy the plethora of stories related to anniversaries of composers and premieres of musical works.

Elaine