Fine Music January Magazine

JANUARY 2020

45TH MAGAZINE

“YOU WOULDN’T WANT ANY MONEY, WOULD YOU?” 45 Years Ago:The Beginnings of 2MBS/Fine Music

AUSTRALIA’S LEADING CELLO TEACHER Nelson Cooke’s Centenary

45TH

CLAIMED BY TWO COUNTRIES

2019 KEN WEATHERLEY JAZZ SCHOLAR 2MBS/FINE MUSIC 45TH ANNIVERSARY FRENCH BY BIRTH OR ADOPTION THE YEAR IN OPERA

Singer Kate Wadey, the Initial Recipient Alfred Hill, The ‘Grand Old Man’ Celebrations for a Remarkable Achievement A MASTER OFand THE THEATRE Charles Tournemire Guillaume Lekeu The Brilliance of Noël Coward Offering the Familiar and the Unfamiliar

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Contents VOL 47 No 1

2 The Genesis of a Program: Saturday and Sunday Morning Music and From Evensong to Hosanna 3 The 2019 Ken Weatherley Jazz Scholarship 4 The First Five Years of Early Music From the Archives: At the Opera 5 The Year in Opera 6 Changes to Domain Programs A Brilliant Perfectionist 7 French by Birth or Adoption 9 Program Guide and Composer List 41 Eighteen Love Songs A Musical Life in Brief: Fritz Hart 42 ‘A Grand Mansion of Sound’ Ravishing and Passionate Sound 43 Musical Families 44 What’s On in Music CD Reviews 45 Jazz at Fine Music 46 2019 Young Virtuoso Award 47 A Founding Member of Fine Music: Max Benyon 48 Notes from the Editor

THIS MONTH @ FINE MUSIC It is once again my pleasure to wish the loyal community surrounding this listenerfunded radio station a Happy New Year!

In preparation for the year ahead and beyond, we have spent a great deal of time focusing on the development of a sustainable financial model that will enable us to stay on air for many years to come. This model will address many concerns, including the steady decline of subscription and sponsorship income.

With these two problem areas firmly in our sights, we have developed a strategy to improve our position within the next five years and to futureproof our revenue and expenses. This includes the implementation of a digital magazine strategy. Removing our magazine from the print format will save us $80,000 per year in expenses.

Our digital magazine transition campaign will ensure we deliver our magazine content across our digital platforms as a completely consolidated brand. To support this strategy, in the coming year we will deliver a Radiothon campaign that will target the next generation of listeners to become loyal subscribers.

It is with this knowledge that we move into the digital landscape with as much passion and devotion for Fine Music as you, our loyal subscribers devote to us.

Our ultimate goal in 2020 is to reach new subscribers in the ‘next generation’ demographic. This digital strategy will not only strive for Fine Music to utilise all the wonderful content already housed within the station, but for the Fine Music brand to be positioned as an authority in fine music education nationally.

I look forward to delivering our magazine content to you in new ways on many different platforms throughout this coming year.

Registered Offices & Studios: 72-76 Chandos Street, St Leonards 2065 Tel: 02 9439 4777 Email: admin@finemusicfm.com Web: finemusicfm.com Facebook, Twitter and YouTube: finemusicfm 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: Charles Barton, Elizabeth Barton, Rebecca Beare, Chris Blower, Rex Burgess, Maureen Chaffey, Robert Gilchrist, Nicky Gluch, Valerie Haynes, Elizabeth Hill, Krystal Li, Meg Matthews, Jeannie McInnes, Pamela Newling, David Ogilvie, Catherine Peake, Frank Presley, Frank Shostakovich, Barry O’Sullivan, Elaine Siversen The views expressed by contributors to this magazine do not necessarily reflect or represent the views of the publisher, Fine Music 102.5 Images: Alamy, Fine Music archives, Brian Acraman, Leona Geeves Program Logos: Simon Moore Distribution Coordinator: Sissi Stewart Art Direction: David James Printing: Megacolour, Unit 6, 1 Hordern Place, Camperdown, NSW, 2050 Subscribe to Fine Music Magazine: visit www.finemusicfm.com or email friends@finemusicfm.com Cover image: Fine Music’s Ken Weatherley Jazz Scholar for 2020, Kate Wadey Photo supplied

Rebecca Beare Fine Music General Manager 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.finemusicfm.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 102.5 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 JANUARY 2020

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THE GENESIS OF A PROGRAM VALERIE HAYNES: SATURDAY AND SUNDAY MORNING MUSIC Within the first seven years of broadcasting on 2MBS-FM, programming from 6am to 9am on weekdays was resolved with Early Morning Music, a program of shorter works from the classical repertoire with regular time calls. The dilemma of a satisfactory long-term solution to weekend programming during similar hours was not finally settled until 1981 with the beginning of the programs Saturday Morning Music and Sunday Morning Music. Throughout the early years a variety of program styles and titles had been tried between the hours of midnight and 10am on Valerie Haynes in the 1980s weekends, including Dance Bands, Rock and Roll, Breakfast in Bed, Very Early then in his 70s, was regaling me with concerns Morning Music and sundry others. For a few over his frequent nine-hour shifts from midnight months at a time, a few presenters filled two to 9am on Sunday. He expressed his wish for or three hours, using titles such as Passages, another volunteer to take over the three hours Dawnbeat and Saturday Morning Concert. from 6am. I thought about this for a moment The catalyst for the eventual establishment of then told Phil that I could be interested in Saturday Morning Music and Sunday Morning presenting a program occasionally at that Music came early in 1981, in circumstances time. I suggested a format more relaxed than that I recall quite clearly. One morning, as I that being offered on weekdays, with longer sat on duty at the Reception Desk, Phil Dorian, works, interspersed with a few shorter pieces,

more expansive presentation and no interruptions for time calls.

Without hesitation, he marched me up to the Operations Coordinator and I was booked immediately into a two-month presenter training course, covering all the technical work involved in live-toair broadcasting with great stress being given to the protocol of what to say and what not to say on air.

I made my broadcasting debut at 6am on Sunday 24 May 1981, with an experienced presenter on hand to safeguard against mishaps. For nearly three decades I continued presenting at the same time fortnightly on Sundays, with a small team sharing the intervening weeks. We had agreed on the format of ‘a varied program of classical music for relaxed weekend listening’. It took a little while to achieve a close match between the Saturday and Sunday morning programs to be put in place but these two programs have continued uninterrupted since then on 2MBSFM and Fine Music.

THE GENESIS OF A PROGRAM MEG MATTHEWS: FROM EVENSONG TO HOSANNA The Sunday church music program Evensong began in January 1984 and was undeniably linked to the voice and personality of Ann Ramsay whose English accent (reminiscent of Lady Bracknell) delighted some listeners and horrified others. Ann had started at 2MBS-FM in 1976 as a receptionist, and as a programmer in the early 1980s she prepared some Christmas programs in a similar style to Evensong.

she thanked the donor on air, resulting in an avalanche of donations totalling $5,000, ultimately used for the station’s refurbishment program.” For her services to broadcasting, in 2006 Ann was awarded the Order of Australia.

As Ann grew increasingly frail, four of us helped to preserve the tradition that she had initiated.

Warwick Bartle, who lives at Kurrajong, would

In the weekly Evensong program that started in 1984, Ann only rarely strayed from the Anglican tradition with Anglican hymns, canticles, anthems and psalms sung by high quality Anglican choirs and featuring Anglican composers such as Stanford and Parry. She would take Stereo FM Radio magazines to her hairdresser, local library or doctor to publicise the station and week after week during Evensong she would plead on air for more subscribers, thereby raising money for the station. A quote from her Sydney Morning Herald obituary underlines this: “In 2005, on the eve of her 90th birthday, Ann received a gift of $20 for 2MBS-FM. She was so delighted that Meg Matthews 2

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drive to Sydney, pick up Ann then drive her to the station and panel operate for her. Richard Munge would enlarge her scripts as her eyesight was deteriorating and Heather Sykes or I would program and/or present Evensong on the Sundays when she was unwell.

After she died in April 2006, we were determined that the program should continue but Ann had stipulated that the title Evensong should remain hers in perpetuity! We changed the name to Hosanna which also enabled us to cross the channel and the oceans to broaden the repertoire to include European, American and Australian composers and choirs.

Hosanna is still presented by Richard Munge and me with two very welcome relative newcomers, Jeremy Hall and Stephen Matthews. It is still at 5pm on Sundays and still attracts a loyal following.

So, despite the latest census telling us we are less religious now than we used to be, there remains a healthy appetite for quality church music among our listeners; let’s hope it will always be presented by people who share that passion.

THE 2019 KEN WEATHERLEY JAZZ SCHOLAR CATHERINE PEAKE PROFILES SINGER KATE WADEY A Fine Music award that will become an annual event, the Ken Weatherley Jazz Scholarship, was presented for the first time this year. Designed to assist young jazz musicians further their careers, the award has been named in honour of the late Ken Weatherley, who was a jazz presenter on Fine Music DAB+. The recipient of the award receives support worth over $10,000: a cash component of $5,000, and access to Fine Music recording services and marketing to the value of $5,000.

The inaugural winner is jazz singer Kate Wadey. Kate began singing at an early age, and by age 13 was singing in gospel choirs and jazz vocal ensembles.

In 2010 she completed an honours degree in acting from Flinders University in Adelaide but has since moved away from theatre and back towards singing.

Arthur Washington Big Band, The Finer Cuts and The Swinging Blades.

Kate has planned her project for the Ken Weatherley Jazz Scholarship as a collaborative effort with other musicians.

She plans to write lyrics to instrumental music by Australian jazz composers and record the resulting songs in an album of original Australian jazz. She explains how she came to her decision. “It had come to my attention that many of my talented collaborative partners are also budding composers. Hearing some of these performers’ oftenunreleased and seldom-heard works was the catalyst for what has become the central focus of this project.”

Kate has planned three stages for her project: the composition and workshopping of new pieces; their rehearsal and Establishing herself in Sydney, Kate Wadey recording; and the production, Photo supplied Kate immediately became known publicising and launch of the in ‘the notoriously difficult to crack Sydney in 2019, ‘an album of beautiful jazz standards album. The completion of the project will live scene’. She has become part of a hub of with unique arrangements’. Her performance involve working with several musicians and regularly-performing jazz musicians working of this music stems from her experience industry partners, making it a fully collaborative as a singer in studio, ‘pop’, soul and Motown in working with a range of jazz musicians, project. music. She regularly performs in Sydney at which often included exploring the standards Kate says that the support of the scholarship clubs, bars and in other venues at functions from The Great American Songbook. ‘The will be vital to the success of the album, and and events, and records with musicians Songbook’, or ‘American Standards’, is not adds that without the funding she does not who include Geoff Bull, Bob Henderson, Ian an actual book, but a collection of influential know whether the recording and release of Bloxham, Andrew Dickerson, Dan Barnett, American popular songs and jazz standards original Australian jazz music would have Matthew McMahon, Craig Scott, Chris O’Dea, from the first half of the 20th century that, been possible. “The wonderful promotional Michael Griffin, Zoe Hauptman and Harry taken together, form the accepted canon of packages, the recording studio, reaching the the genre. It includes works by artists such community of Fine Music listeners and the Sutherland. as George Gershwin, Cole Porter and Irving financial support of the scholarship are pivotal Kate says that as a singer she has ‘long been Berlin. to the project being a success.” infatuated with the power of lyrics and the narrative they can bring to a piece of music’. With the release of her albums, Kate has This will be Kate’s first attempt at writing and She leads her own bands and in 2018 released toured nationally as well as in New Zealand producing an album of original music, and her debut album A Hundred Years from Today and Japan, and her cruise ship performances she says that ‘I really am excited at where extracting high praise from the Wangaratta have taken her to the South Pacific Islands. this album will take me’. While the project will Jazz and Blues Festival. “Kate Wadey’s In further work, she has collaborated with be her main focus and is due for completion recently released debut album A Hundred classical/contemporary composers and in the first half of the year, she will also be Years from Today effortlessly explores and musicians including Ben Ward, Chris Pidcock maintaining her performing career in 2020, interprets jazz classics with charm and and Van-Anh Nguyen, and has frequently and is already working on plans for national sophistication … Kate has a gorgeously rich performed her own original compositions. and international tours. and warm voice, coupled with a vocal range, Appearing regularly at events such as the Further words from the Wangaratta Jazz sophistication and innate swing that bely Manly Jazz Festival, Wangaratta Jazz and Festival on the release of Kate’s first album [sic] her youth. Imbued with emotion, yet Blues Festival, Sydney Festival, Adelaide predict her ongoing success: “The response technically masterful, these interpretations are Fringe Festival and Womadelaide, she has to this release and Kate’s live appearances destined to hold their own among the greats.” played with different musical outfits including indicate there are great things ahead for this Kate released her second album Moon Songs The Cope St Parade, Michael Griffin Quintet, exciting talent.”

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THE FIRST FIVE YEARS OF EARLY MUSIC AN ACCOUNT OF PROGRAMS AND PROGRAMMERS 2MBS/Fine Music has always made a place for early music. In our first broadcast on 15 December 1974 David Rumsey played French baroque organ music and, in January 1975, Handel’s Music for the Royal fireworks was David Rumsey played to demonstrate the introduction of stereo broadcasting.

Immediately following our formal opening on 1 February 1975, the first printed program in our magazine, Stereo FM Radio, was Mainly Baroque prepared and presented by the muchloved Richard Gaze. The following day David Rumsey began his weekly series Music of J.S. Bach. During the following month the title was changed to State of the Art Bach to reflect David’s regard for recent research in historical performance practice. This continued until the end of May 1977.

Meanwhile, Richard Gaze’s Mainly Baroque had resumed in April 1975 and was broadcast almost every week (sometimes with varied titles) until July 1977. The program reappeared at irregular intervals in 1978 and

in 1980 and continued for many years thereafter.

Mick and Gwen also collaborated in other short Early Music series in 197879.

Richard Gaze

ran for a further two years, making a further renaissance in 1981, often in collaboration with Brin Newton-John. Richard’s warm affectionate style made an interesting contrast to David’s rigorously scholarly approach. Both were admirable.

Throughout those early years there were other programmers with an interest in early music but none showed the dedication of David and Richard until Mick Withers appeared (assisted

by Gwen Bennett) with Musicke of Sundrie Kindes in May 1977. Reflecting the content of the program, he took the title from a 1607 book of madrigals by Thomas Ford. It appeared at irregular times until settling down as a weekly program for the whole of 1978. After a year’s absence Musicke of Sundrie Kindes resumed

Another advocate for early music in those initial years was Charles Barton. In January 1977 Ann Noble had begun a program called Elizabethan Interlude. Charles took over the program in March as Elizabethan Musick and ran it for a further 12 months. There was something attractive about the spelling of ‘musick’ that caused Charles to produce a further weekly program called Musick with a “K” (music of the high baroque) that was broadcast weekly from March to July 1978.

There were other devotees of early music who flourished from time to time (notably Dirk Meure who, for many years, included very early music in Early Morning Music) but they fall outside the scope of this very early history.

Early Music continues on our dedicated Friday night program Baroque and Before and at various times throughout the schedule.

FROM THE ARCHIVES: AT THE OPERA Many people, even those whose first choice of music is not classical, love the ‘best bits’ of opera: the soaring soprano, the tenor hitting the high C, the magical love duet, the rousing chorus, or perhaps the mournful aria or chorus that tugs at the heartstrings. However, for the true opera-lover, the unfolding of a story though wonderful singing is the epitome of singing performance.

Until the first Stereo FM Radio found its way into the hands of over 650 subscribers in time for broadcasts during February 1975, there was no printed record of any full-length operas that may have been broadcast during the first six weeks of 2MBS (they exist only in the memories of those involved). This radio station (the first to broadcast in stereo FM) officially opened on 1 February 1975 and, during that day and the one following, two full-length operas were broadcast (with synopses printed in Stereo FM Radio or ‘The Guide’). They were widely different, having been composed centuries apart: Monteverdi’s L’Orfeo (1607) and Janácek’s The excursions of Mr Broucek (1920). This is indicative of the wide range of musical taste and knowledge 4

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It is interesting to find that Carmen was broadcast to celebrate the 100th anniversary of its premiere in 1875. In this year’s opera schedule, we will be marking anniversaries of nine operas including the 100th anniversary of the premiere of ‘Mr Broucek’ in April.

Michael Tesoriero

of those first programmers. Scanning through that first edition of the magazine (that later was to become the Fine Music magazine) we find that the aim of having variety between different programs was the same policy then as it is now. Broadcasting full-length works was also a policy that continues today.

Puccini’s Turandot and Bizet’s Carmen were also programmed in the first month.

At first there did not seem to be any particular day or time for the opera broadcasts but eventually it settled down to Sunday evenings where it remained for a good many years. The thought of going through years of ‘The Guide’ to determine the exact date when the opera changed to a dedicated time on Wednesday night was rather daunting so the timing of that event remains ‘lost in the mists of time’.

Among the many programmer/presenters of the opera from the past, we acknowledge Alison Gyger and Michael Tesoriero, whose wealth of personal experience and knowledge brought great enjoyment to listeners for many years. Our current opera presenting team (some of whom also program) includes active musicians and music teachers and others with a particular knowledge of opera.

THE YEAR IN OPERA ELAINE SIVERSEN OUTLINES THEMES AND CONTRASTS highlight the summer Olympics by broadcasting Pergolesi’s L’Olympiade based on the original Olympic Games. In December the 1820 premiere of Rossini’s Maometto II will enable us to tell the story of the 18th century Turkish sultan, Mehmet II, at war with the Venetians.

During the rest of the year, this week will be devoted to operas about Cleopatra, English royalty, Alexander the Great, a Babylonian king and other historical persons with some of these operas by favourite composers such as Donizetti, Meyerbeer, Handel and Verdi.

The Abduction of Rebecca by Eugène Delacroix: scene from Walter Scott’s Ivanhoe Image: Alamy

As the New Year dawns, we can look forward in anticipation to many events, in our personal, social or working lives. For those who appreciate fine operas, we trust that in the coming year, when you listen to some familiar well-loved operas, or explore unfamiliar ones on Fine Music, your expectations will be met.

When Angela Cockburn, James Nightingale and I met to plan the 2020 opera schedule, we found that it was necessary to move away from the 2019 idea of a theme for each month. The Programming Committee had decided to recognise the anniversaries of the premieres of nine operas dating from the 17th to the 20th centuries, and they would be placed, appropriately, in the months when the premieres took place. This meant that the monthly themes would have to make way for a new plan. All was not lost, however, because we found that by working around those premieres it was possible to have two vertical themes running through the year with two other weeks of each month free to include anything else that we wished.

This was fortuitous because with several new opera acquisitions in the record library, it gave us the opportunity to broadcast these as soon as possible. The expectation for 2021 is that we will be able to bring you even more new operas (not newly composed but newly acquired) from a recently received bequest of opera CDs. It will take the librarians some time to check through and catalogue this large collection, but that’s something to anticipate for the future.

The rarely heard or performed opera Padmâvatî by Albert Roussel, based on a 16th century poem, is a new addition to the library and a first-time broadcast on Fine Music (July) but within this theme we also offer Mozart’s Don Giovanni (August) as well as operas by Verdi, Bellini and Puccini. Another opera new to Fine Music is Sardanapolo, an unfinished work by Liszt, that we are pairing with Mascagni’s short opera Guglielmo Ratcliff in September.

A great many of the operas have been based on an original idea with the libretto written either by the composer or by a librettist working on an original idea.

Many more have been based on great works of literature (novels, plays, poems), the theme for the third week of the month. Arthur Sullivan’s only opera, Samson and Delilah by Anthony van Dyk Image: Alamy Ivanhoe, will be an interesting first-time broadcast on Weeks two and four of each month will feature Fine Music in June. Five of our anniversary many different operas. Anniversaries of celebrations are operas based on literature: several operas may be found here: Vivaldi’s La Il guarany by Gomez (March), Janácek’s The verità in cimento (February), Schubert’s The excursions of Mr Broucek (April), Jommelli’s twin brothers (June), Wagner’s Die Walküre Armida abbandonata (May), Beethoven’s (June), Korngold’s Die tote Stadt (December) Fidelio (October) and Don Chisciotte alle nozze and Mozart’s Mitridate, rè di Ponto (Decemdi Gamaccio by Mercadante (December). ber).

The latter is paired with Telemann’s Don Favourites being broadcast during the second Quichotte aus dem Hochzeit des Comacho and fourth weeks include Gluck’s Orpheus and Eurydice (January), Delibes’ Lakmé (January), Puccini’s Manon (March), SaintSaëns’ Samson and Delilah (April), Mozart’s Così fan tutte (May), Bizet’s The pearl fishers (July) and others. We hope to tempt you to listen to some lesser-known offerings, perhaps to The phantom ship by Pierre-Louis Dietsch (February) based on the same novel as Wagner’s The flying Dutchman. Prokofiev’s The fiery angel makes an appearance in August and Britten’s The turn of the screw in September.

So, what can you expect on Wednesday night this year?

On the first week of each month, we’ll be presenting operas based on historical persons or events, giving us the opportunity in August to

(the same incident from Cervantes’ novel). As usual on the fifth Wednesday, Opera Oscura will continue and in December we’ll continue the Don Quixote story with Paisiello’s Don Quischotte.

Statue of Don Quixote

Image: Alamy

I’ve only been able to tell you about some of the operas that you can hear on Fine Music on the 52 Wednesday nights in 2020 but I hope this has filled you with the expectation of a great year of opera broadcasts.

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CHANGES TO DOMAIN PROGRAMS all programming domains and, while for years we retain some domains that have proved popular with listeners (such as Concert Hall and Baroque and Before), we always change something to freshen up the schedule. There are two main reasons: the first is to keep the interest of listeners by providing some different concepts in programming; the other is to keep our programmers interested. Nevertheless, the policy of providing high quality and interesting listening is the driving force behind all decisions of the Committee. We also review the guidelines of each domain, sometimes changing the requirements a little as a result of feedback from our listeners which is always appreciated.

The Serenade (1629) by Judith Leyster (The Photo: Alamy Singing Lute Player)

As you peruse the Program Guide this month, you will find some changes to our regular program domains that will come into effect over the next six months up to June. Every six months the Programming Committee reviews

While the domain Diversions in Fine Music at 9am has been part of our programming for many years, every six months we change one, two or three of the daily topics. We changed two in the previous review but, for the first part of next year, only the Friday topic has changed. Something Borrowed is replaced by a new programming concept called Al Fresco.

Al fresco dining means eating outdoors so this means that the music you’ll hear each Friday morning may have been written in earlier times

for outdoor entertainment such as cassations, serenades, divertimentos, usually for small ensembles or instruments such as a guitar, mandolin or lute (think serenading under a lady’s window). Or it could be music for a marching band or music describing aspects of the outdoors based on nature and landscapes.

Together they should provide a wide variety of interesting music.

The next change is at 6pm on Saturday when The Magic of Stage and Screen will become Music of the Screen. The program will now specifically include music for the television screen along with that of the theatre screen.

For instance, there is a lot of excellent music written by Australian composers for television which we believe should have a wider audience. Musicals that have been filmed will be part of the mix so you won’t miss out on hearing excerpts of some favourites. The inclusion of jazz will be encouraged because it is often featured in a film, or is the whole score.

We trust that you will enjoy the new domains as well as those programs that you regularly enjoy.

The Programming Committee

A BRILLIANT PERFECTIONIST FRANK SHOSTAKOVICH REVEALS AN INSPIRING PIANIST “This music has always been my music from the very start.”

His Chopin and Beethoven interpretations are legendary. In 1949, he was chosen by an international commission to be the official pianist for the 100th anniversary of Chopin’s death and he is still remembered for a recital he gave at the Royal Festival Hall in 1982 where the opus 7 and opus 26 Sonatas of Beethoven were performed and wildly acclaimed for their innovation and individuality.

His name elicits both positive and negative connotations. He was a pianist who could frustrate concertgoers with last minute cancellations; he fell foul of critics who often accused him of a lack of human dimension in his playing, citing his quest for perfection leading to an over-reading of his chosen repertoire; the same man who looked like Liszt at the keyboard and whom many believed was close to the modern-day version of him.

This remarkable pianist, Arturo Benedetti Michelangeli, was born in Brescia, Italy on 5 January 1920.

Michelangeli’s recording output is appreciated for its quality not quantity. In particular for me, one excellent recording is his striking account of Rachmaninov’s Concerto no 4 in G minor, op 40, a work that, at the time, lived deep in the shadows of the earlier masterpieces. Its brilliance is brought to life by an extremely vivacious account by Michelangeli of its Arturo Benedetti Michelangeli 1960 Photo: Alamy melodic inventions.

His final recital in Hamburg in 1993, an all Debussy program, brought together the qualities for which he was known. His ability to exact the colour and clarity from Debussy’s 6

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music and to create multi-layered textural subtlety while protecting the structure has yet to be matched. “It has always been my world,” Michelangeli once said of Debussy’s works.

Arturo Benedetti Michelangeli died in 1995 at the age of 75 but his contribution to the interpretation of piano music in the 20th century has left an indelible mark on pianists such as Martha Argerich and Maurizio Pollini, both of whom Michelangeli inspired during his lifetime.

He worked very hard to harness his technique and would tell his students that to play the piano: “One has to work to feel your arms and back ache all over. Music is a right for those who deserve it.” These were the words by which he lived.

Celebrating the centenary of the birth of Arturo Benedetti Michelangeli, we feature him in a program at 1pm on Saturday 4 January.

FRENCH BY BIRTH OR ADOPTION REX BURGESS LOOKS AT TOURNEMIRE AND LEKEU The year 1870 was a fecund one for French music. Besides the emergence of interesting works from composers such as Delibes, Duparc and Saint-Saëns, it also saw the birth of four composers destined to join the long cavalcade of French masters, three being native-born, and the fourth coming to France at the age of nine and staying until his untimely death one day after his 24th birthday.

Although disliking and ridiculing him, Tournemire continued his studies with Charles Widor, in 1892 winning the Premier Prix for organ and improvisation. In 1898 he succeeded Gabriel Pierné as organist at Ste Clotilde, a post he held until his death 40 years later. In 1919 he became professor of chamber music at the Conservatoire, although he was later passed over for the organ post in favour of Marcel Dupré, which seemingly he resented for the rest of his life.

Once described as ‘a rather interesting individual, known for his moodiness and intense personality’, Tournemire was by nature a mystic. As he grew up, he became increasingly horrified at the materialism of his time, resulting in his seeking increasingly to proclaim his faith through his work.

Guillaume Lekeu c1886

Photo: Alamy

The indigenes were Florent Schmitt, Louis Vierne and Charles Tournemire, the latter together with Guillaume Lekeu being the subject of this article. Readers may wonder at this pairing, the raison d’être being that, despite different origins and career paths, they had several things in common including the proximity of their birth dates: Tournemire in Bordeaux on 20 January and Lekeu two days later in a Belgian village close to Verviers.

Tournemire was a precocious child; by age 11 he was already the organist at an important Bordeaux church. He subsequently went on to win great fame as a composer-performer and became a world-renowned master of improvisation. Although he had relatively few students, his organ style left its mark on a whole generation of composers and performers, including Alain, Duruflé, Langlais and Messiaen, with Messiaen writing that: “Un jour, on rendra justice à Tournemire” (One day, we will properly recognise Tournemire).

In the late 1880s the two young men descended on Paris to further their studies (Tournemire in organ and Lekeu in counterpoint) in classes with César Franck, from around September 1889 until his death in November 1890.

While he composed in several other genres, Tournemire’s greatest work is l’Orgue mystique, written between 1927 and 1932. Lasting for around 15 hours, it equals Bach’s entire organ output, his aim being to accomplish for the Catholic liturgy that which Bach had achieved for the Protestant. It comprises 51 Offices to be played during the Mass, featuring plainsong melodies appropriate to a particular Sunday, and with each cycle comprising five pieces of variable length.

important works from this period. Several unfinished scores were completed by d’Indy.

Unlike, for instance, Mozart and Schubert, Lekeu’s talents hardly had time to develop.

As one contemporary writer observed: “If Guillaume Lekeu did not live long enough to earn the full title of genius and master, his were at least the credentials of one almost a genius and almost a master.”

There is one final connection between Tournemire and Lekeu, for French composers have made rather a habit of dying in unusual circumstances. Lully pierced his toe with his staff and died of gangrene. Leclair was found to have been shot. Alkan was trapped under a fallen piece of furniture for more than 24 hours before being discovered and dying a few hours later, while Chausson lost control of his bicycle and cannoned into a brick wall. Magnard died defending his property from Nazi intruders and Franck was riding in a cab which was struck by a horse-drawn trolley injuring his head. This is generally believed to have been the cause of his death a few months later.

Both Tournemire and Lekeu also died in unusual ways. Lekeu contracted typhoid fever from a contaminated sorbet, while Tournemire’s death remains something of a mystery. He went out for a walk one day and never returned. Four days later his body was discovered in a bog quite far away. As a devout Catholic, the idea of suicide was dismissed as highly improbable, the conclusion being that he may have become disoriented and was accidentally drowned.

Returning to Lekeu: after Franck’s death he studied with Vincent d’Indy (as also briefly did Tournemire). He had already started composing, the three great influences on his work being Bach, late Beethoven and Wagner.

In 1891, with d’Indy’s encouragement, he won second prize in the Belgian Prix de Rome with You can hear a selection of works by these his cantata, Andromeda. The violinist Eugène two interesting composers in Sunday Special Ysaÿe was so impressed that he commissioned on 19 January at 3pm and more music of what turned out to be Lekeu’s most celebrated Tournemire on Wednesday 29 January at work, the Sonata for violin and piano of 1892.

3pm.

Upon returning to Paris, Lekeu spent his remaining y e a r s composing p r o l i f i c a l l y, with the orchestral Fantaisie sur deux airs populaires angevins and the Adagio for string quartet and string orchestra b e i n g considered his most Basilica of Sainte Clotilde, Paris where Charles Tournemire was organist Photo: Alamy JANUARY 2020

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WEDNESDAY 1 January 0:00 CLASSIC-ALL THROUGH THE NIGHT 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 Newman, M. The pied piper (2008). Hal Ott, fl; Malibu Chamber Players.

Arts House MAHMR 1205201 16 Janácek, L. Violin concerto, Pilgrimage of the soul (1927-28). Thomas Zehetmair, vn; Philharmonia O/Heinz Holliger.

Teldec 2292-46449-2 12 Herz, H. Non più mesta: Variations on themes from Rossini’s Cinderella. Earl Wild, pf, Vanguard OVC 4033 10 Warlock, P. Songs for tenor and string quartet. John Mark Ainsley, ten; Leo Phillips, vn; Elizabeth Wexler, vn; Roger Chase, va; Christopher van Kampen, vc.

Hyperion CDA66938 17 Sarasate, P. de Concert fantasy on Carmen, op 25 (c1883; arr. Francescatti).

Sarah Chang, vn; Sandra Rivers, pf.

EMI CDC 7 54352 2 12 Dukas, P. The sorcerer’s apprentice (1897). Michel Béroff, pf; Jean-Philippe Collard, pf.

EMI 5 74112 2 11 10:30 CONCERT HALL Prepared by Jacky Ternisien Korngold, E. Overture: Sursum Corda, op 13 (1920). Bruckner O, Linz/Caspar Richter.

ASV DCA 1074 19 Czerny, C. Grand concerto in A minor, op 214 (1830). Rosemary Tuck, pf; English CO/Richard Bonynge.

Naxos 8.573417 31 Haydn, J. Symphony in B flat, Hob.I:71 (c1780). Hanover Band/Roy Goodman.

Hyperion CDA66526 33 12:00 JAZZ SKETCHES with Robert Vale World-wide contemporary jazz including contributions from Australian artists and those from culturally emerging nations 13:00 THE AGE OF ROMANTICISM Prepared by Di Cox Tchaikovsky, P. Serenade in C for strings, op 48 (1880). London PO/ Vladimir Jurowski.

LPO LPO-2009AUS 32

Mendelssohn, F. Serenade and allegro giocoso in B minor, op 43. Stephen Hough, pf; City of Birmingham SO/ Lawrence Foster.

Hyperion CDA66969 13 Strauss, R. Serenade, op 17 no 2 (1885-87). Siegfried Jerusalem, ten; Gewandhaus O/Kurt Masur.

Philips 432 614-2 3 Dvorák, A. Serenade in D minor, op 44 (1878). Manuel Fischer-Dieskau, vc; Christoph Schmidt, db; Sabine Meyer Wind Ensemble.

EMI 5 55512 2 25 Gounod, C. Sérénade (1857). Yvonne Kenny, sop; Malcolm Martineau, pf.

Walsingham Classics WAL 8022-2CD 4 Brahms, J. Serenade no 2 in A, op 16 (1858-59/75). Berlin PO/Claudio Abbado.

DG 477 5424 34 15:00 FRENCH CHAMBER Prepared by Di Cox Jolivet, A. Little suite for flute, viola and harp (1941). Anna Noakes, fl; Gillian; Jonathon Barrett, va; Tingay, hp.

ASV DCA 948 12 Chausson, E. Concert for violin, piano and string quartet in D, op 21 (1889-91).

Salvatore Accardo, vn; Ida Levin, vn; Margaret Batjer, vn; Toby Hoffman, va; Peter Wiley, vc; Bruno Canino, pf.

Dynamic CDS 44 42 16:00 FINE MUSIC HOLIDAY including Arts Calendar at 5.00pm 19:00 JAZZ STARS AND STRIPES with Peter Mitchell The stars of American jazz from bebop on, mainly small group low temperature jazz 20:00 AT THE OPERA Prepared by Elaine Siversen Rossi, Lauro. Cleopatra. Melodramma in four acts. Libretto by Marco d’Arienza.

First performed Turin, 1876.

CLEOPATRA: Dimitra Theodossiou, sop MARC ANTONY: Allessandro Liberatore, ten CAESAR OCTAVIAN: Paolo Pecchioli, bass DIOMEDES: Sebastian Catana, bar OCTAVIA: Tiziana Carraro, mezz Marchigiana Ch & PO/David Crescenzi.

Naxos 8.660291-92 1:45 Cleopatra has formed a liaison with Marc Antony causing her counsellor, Diomedes, to predict the downfall of Egypt. Antony has returned to Rome and Cleopatra learns that he is to marry

Caesar’s sister Octavia. Speeding to Rome, accompanied by Diomedes, Cleopatra confronts Antony after the wedding. Although he is still enamoured with Cleopatra, he rebuffs her.

Antony returns to Cleopatra and together they go to battle against Caesar.

After losing the battle, Antony blames Cleopatra who now seeks an alliance with Caesar and a rekindling of their former love affair. When the news of Antony’s suicide reaches them, Caesar blames Cleopatra for Antony’s death and for ruining his marriage. He demands that she go to Rome but Cleopatra, knowing that she will be enslaved, calls for an asp and dies from its poison.

22:00 A 20TH CENTURY FRENCH CAVALCADE Prepared by Rex Burgess Ravel, M. Sonatine (1903-05). Jean-Yves Thibaudet, pf.

Decca 433 515-2 11 Satie, E. Ballet réaliste: Parade (1917).

New London O/Ronald Corp.

Hyperion CDA66365 15 Fauré, G. Cello sonata no 2 in G minor, op 117 (1918). Paul Tortelier, vc; Jean Hubeau, pf.

Erato 2292-45738-2 18 d’Indy, V. Concerto for piano, flute, cello and strings (1926). Jean-Jacques Wiederker CO/Frédérick Bouaniche.

Koch 3-1065-2 H1 20 Messiaen, O. La mort du nombre (1930).

Ann Murray, sop; Philip Langridge, ten; Andrew Watkinson, vn; Roger Vignoles, pf.

Virgin VC 7 91179-2 10 Honegger, A. Concerto da camera (1949). Aurèle Nicolet, fl; Heinz Holliger, cora; Academy of St Martin in the Fields/ Neville Marriner.

Philips 434 105-2 17 Françaix, J. The floral clock (1955).

Joseph Ortuso, ob; Tasmanian SO/ Joannes Roose.

LP ABC/Festival L38548 16 After producing some successful operas in Naples, in 1835 Lauro Rossi went to Mexico and Cuba where he set up his own opera company and married its prima donna. Cleopatra was composed after his return to Italy where he became Director of the Milan and later the Naples Conservatories.

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Thursday 2 January 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: Strings Prepared by Paul Cooke Mozart, W. Per questa bella mano, K612 (1791). Ildebrando d’Arcangelo, bassbar; Davide Ghio, db; Turin Regio TO/ Gianandrea Noseda.

DG 477 9297 7 Stanford, C. Villiers Irish rhapsody no 3, op 137 (c1915). Raphael Wallfisch, vc; Ulster O/Vernon Handley.

Chandos CHAN 8861 14 Salzedo, C. Ballade, op 28 (1910). Alice Giles, hp.

Tall Poppies TP137 9 Hoffmeister, F. Double bass quartet no 2 in D. Ernö Sebestyén, vn; Helmut Nicolai, va; Martin Ostertag, vc; Norbert Duka, db.

Naxos 8.572187 19 Finch, C. Celtic concerto. Catrin Finch, hp; Sinfonia Cymru/John Rutter.

DG 479 0497 13 Rautavaara, E. Sonata for cello solo (1969). David Pereira, vc.

Tall Poppies TP156 18 10:30 CONCERT HALL Prepared by Dan Bickel Dvorák, A. Symphonic poem: The hero’s song, op 111 (1897). Scottish NO/Neeme Järvi.

Chandos CHAN 8597 21 Mozart, W. Piano concerto no 16 in D, K451 (1785). Rudolf Serkin, pf; CO of Europe/Claudio Abbado.

Philips 456 964-2 24 Kalinnikov, Vasily. Symphony no 1 in G minor (1895). Ukraine NSO/Theodore Kuchar.

Naxos 8.553417 39 12:00 JAZZ, PURE AND SIMPLE with Maureen Meers Covering the many aspects of jazz from Swing to Mainstream, with the Great American Songbook making regular appearances 13:00 IN SOME GARDENS Delius, F. The walk to the Paradise Garden, from A village Romeo and Juliet (1900-01). Queensland SO/Wilfred Lehmann.

ABC 446 282-2 9 10

JANUARY 2020

Ketèlbey, A. In a monastery garden (1915). Ambrosian Singers; Philharmonia O/John Lanchbery.

EMI 1 66443 2 6 Field, J. Fantasy on a Russian air, In the garden (1823). Míceál O’Rourke, pf.

Chandos CHAN 9315 6 Grainger, P. Country gardens (1908/18).

Geoffrey Tozer, pf; City of London Sinfonia/Richard Hickox.

Chandos CHAN 9554 2 Rodrigo, J. Music for a garden (1935).

Castille and León SO/Max Bragado Darman.

Naxos 8.557101 11 Coates, E. Tone poem: The enchanted garden (1938). Sydney SO/John Lanchbery.

ABC 446 282-2 15 14:00 CELEBRATING 2MBS / FINE MUSIC RECORDINGS The 1990s Recordings by Edda Filson, George Hilgevoord and Belinda Webster

45TH

Britten, B. A simple symphony, op 4 (1933-34). Sydney Bach O/Alan Holley.

Recorded August 1990 17 Le Gallienne, D. Four divine poems of John Donne (1950). Elizabeth Campbell, mezz; Anthony Fogg, pf.

Recorded c1990 12 Debussy, C. Violin sonata in G minor (1917). Asmira Woodward-Page, vn; Scott Davie, pf.

Recorded August 1998 12 Weber, C.M. Clarinet quintet in B flat, op 34 (1811-15). Anne Menzies, cl; Hazelwood Quartet.

Recorded November 1994 24 Mozart, W. Serenade no 12 in C minor, K388 (1782). Anthony Chesterman, ob; Hannah Cooper, ob; Lawrence Dobell, cl; Philip Arkinstall, cl; Peter Moore, bn; Natasha Woodley, bn; Darryl Poulsen, hn; James McCrow, hn.

Recorded November 1993 21 Bach, J.S. Cello suite no 3 in C, BWV1009 (1717-23). Georg MertensMoussa, vc.

Recorded 1993 22 Fine Music concert recordings (all above) 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm

19:00 THE NEW JAZZ STANDARD with Frank Presley 20:00 THE WORLD OF A SYMPHONY Prepared by Nicky Gluch Kreisler, F. Liebesfreud (c1910; arr.

Rachmaninov). Sergei Rachmaninov; reproducing pf.

Telarc 80489 7 Taneyev, A. String quartet no 1 in G, op 25 (c1908). Talan Quartet.

Olympia OCD 543 22 Tchaikovsky, P. Dumka: Scenes from a Russian village, op 59. Anna Maksymova, pf.

Master Performers MP 026 9 Rachmaninov, S. The Isle of the Dead, op 29 (1909). Berlin PO/Lorin Maazel.

DG 429 490-2 20 Grieg, E. Violin sonata in C minor, op 45, mvt 2 (1887). Joshua Bell, vn; Sergei Rachmaninov, pf.

Sony 88697 527162 7 Rachmaninov, S. Symphony no 2 in E minor, op 27 (1906-07). Tasmanian SO/ Patrick Thomas.

ABC 476 4565 47 22:00 ONE, TWO, THREE Prepared by Jacky Ternisien Byrd, W. Prelude; Fantasia. Sophie Yates, virginals.

Chandos CHAN 0574 8 Granados, E. Rondalla aragonesa, from 12 Danzas españolas, (1892-1900; arr.

Eriksson). Saffire.

ABC 476 3338 5 Clementi, M. Piano trio, op 21 no 1 (pub.

1788). Trio Fauré.

Dynamic CDS 93 13 22:30 ULTIMA THULE Ambient and atmospheric music with George Cruickshank

The 19 Holy Sonnets or Divine Meditations of John Donne, circulated in manuscript among friends during his lifetime, were not published until 1633, two years after his death. A central figure among the metaphysical poets, Donne addresses religious themes of mortality, divine judgment, divine love and humble penance while reflecting deeply on personal anxieties that included financial hardship, the death of his wife and his conversion from Catholicism to Anglicanism. Many composers have been inspired to set his words to music.

Friday 3 January 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 Lyadov, A. The enchanted lake, op 62 (1909). Queensland SO/Vladimir Verbitsky.

ABC 476 3510 9 Séverac, D. de Over the pond in the evening, from In Languedoc (1903-04).

Jordi Masó, pf.

Naxos 8.555855 8 Lloyd Webber, W. The gardens at Eastwell (1982; arr. Chowhan). Jonathan Snowden, fl; Ian Brown, pf. 2 On Frensham Pond, from Country impressions (1960). Antony Pay, cl; Ian Brown, pf. 2 Over the bridge (1951). John Mark Ainsley, ten; Ian Brown, pf. 2 Hyperion CDA67008 (3 above) Smetana, B. From Bohemia’s fields and groves, from My country (1875). Vienna PO/Nikolaus Harnoncourt.

Teldec 0927-44890-2 14 Schumann, R. Forest scenes, op 82 (1848-49). Ian Holtham, pf.

ABC 476 3534 18 Pärt, A. Our garden, op 3 (1959).

Ellerhein Girls’ Choir; Estonian NSO/ Paavo Järvi.

Virgin 5 45630 2 11 Whitlock, L. Flowing waters (2014).

Duncan Honeybourne, pf.

Divine Art DDA 25121 11 10:30 CONCERT HALL Prepared by Rita Felton Mozart, W. Serenade no 1 in D, K100 (1769). Jean-François Paillard CO/JeanFrançois Paillard.

LP Erato NUM 75184 21 Grieg, E. Double bass concerto in A minor (1883; transcr. Karr; orch.

Horovitz). Gary Karr, db; Adelaide SO/ Patrick Thomas.

ABC 438 612-2 23 Sibelius, J. Symphony no 1 in E minor, op 39 (1899). Melbourne SO/José Serebrier.

ASV DCA 612 36

12:00 A JAZZ HOUR with Barry O’Sullivan 13:00 WIND MUSIC 1918-1939 The oboe Prepared by James Nightingale Saint-Saëns, C. Oboe sonata in D, op 166 (1921). Gareth Hulse, ob; Ian Brown, pf.

Hyperion CDA67431/2 11 Britten, B. Phantasy, op 2 (1932).

François Leleux, ob; Guillaume Sutre, vn; Miguel da Silva, va; Marc Coppey, vc.

Harmonia Mundi HMN 911556 13 Respighi, O. Concerto à cinque (1933).

Neil Black, ob; Graham Ashton, tpt; Ingolf Turban, vn; Stephen Williams, db; Ian Watson, pf; English CO/Marcello Viotti.

Claves CD 50-9017 24 Hindemith, P. Oboe sonata (1938).

Alexei Ogrintchouk, ob; Leonid Ogrintchouk, pf.

BIS 2023 11 Villa-Lobos, H. Quintet in the form of a chôros (1928). William Bennett, fl; Janice Knight, cora; Thea King, cl; Neil Black, ob; Robin O’Neill, bn.

Hyperion CDA66295 10 Goossens, E. Oboe concerto, op 45 (1927). Joel Marangella, ob; West Australian SO/Vernon Handley.

ABC 476 763-2 12 14:30 AN ITALIAN CONCERT Prepared by Jacky Ternisien Castelnuovo-Tedesco, M. Overture: Antony and Cleopatra, op 134 (1947).

West Australian SO/Andrew Penny.

Naxos 8.572500 18 Giuliani, M. Guitar concerto no 1 in A, op 30 (1808). Pepe Romero, gui; Academy of St Martin in the Fields/Neville Marriner.

Philips 454 262-2 23 Bellini, V. Un ritratto? Sventurato il cor che fida, from La straniera. Joan Sutherland, sop; Richard Conrad, ten; London SO/Richard Bonynge.

Decca 448 594-2 13 Rota, N. Symphony on a love song (1947). Sinfonica Siciliana/Masimo de Bernart.

Nuova Era 7063 30 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 Looking skywards Prepared by Robert Small Vaughan Williams, R. Fantasia on a theme by Thomas Tallis (1910).

Australian CO/Richard Tognetti. aco.com.au 16 Holst, G. The planets, op 32 (1914-16).

SPC Vox; Sydney SO/David Robertson.

Sydney Symphony SSO201401 54 Glass, P. The light (1987). Bournemouth SO/Marin Alsop.

Naxos 8.559325 24 Copland, A. Suite: The north star (1943).

Eos O/Jonathan Scheffer.

Telarc CD-80583 17 22:00 BAROQUE AND BEFORE Music of Florence Prepared by Susan Foulcher Donato da Cascia. Two Madrigals: Lucida pecorella; L’aspido sordo. La Rêverie.

Nuova Era 6970 7 Dufay, G. Nuper rosarum flores (c1434).

Huelgas Ensemble/Paul van Nevel.

Harmonia Mundi HMG 50 6 Verdelot, P. Three Madrigals: Donna, se fera stella; La bella donna; O dolce notte.

Capella Antiqua/Konrad Ruhland.

Pro Arte CDD 286 6 Striggio, A. Mass: Ecco si beato giorno (c1566). I Fagiolini/Robert Hollingworth.

Decca 478 2734 27 Malvezzi, C. Excerpts from The 1589 Florentine intermedi (1589; ed. Keyte).

Emma Kirkby, sop; Taverner Consort and Players/Andrew Parrott.

HMV 5 73863 2 9 Handel, G. Suite from Rodrigo, HWV5 (1706). Parley of Instruments/Peter Holman.

Hyperion CDA67053 16 Orlandini, G. Excerpts from Adelaide (1729). Anna Hallenberg, mezz; Il Pomo d’Oro/Stefano Montanari.

PentaTone PTC 5186 678 14 Veracini, F. Violin sonata in E minor, op 1 no 6 (1721). Anna McDonald, vn; Tommie Andersson, theorbo; Erin Helyard, hpd.

Artworks AW024 21

Well known for his film scores, Nino Rota was also a concert hall composer. Some of his music evolved: film music became ballet and symphony (such as Symphony on a love song) became film music.

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Saturday 4 January 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 no 17 in A flat, BWV862 (1722). Sviatoslav Richter, pf.

Olympia OCD 536B 4 Franck, C. Prélude, Choral et Fugue, FWV21 (1884). Benjamin Grosvenor, pf.

Decca 483 0255 18 Beethoven, L. Piano sonata no 32 in C minor, op 111 (1822). Paul Lewis, pf.

Harmonia Mundi HMC 901909.11 27 10:00 MUSIC OF THE DANCE Prepared by Rodrigo Azaola Steffani, A. Orlando generoso. I Barocchisti/Diego Fasolis.

Decca 478 5741 7 Sousa, J.P. Myrrha gavotte (1876). Royal Norwegian Navy Band/Keith Brion.

Naxos 8.559397 6 Poulenc, F. Aubade, concerto chorégraphique (1929). François-René Duchable, pf; Rotterdam PO/James Conlon.

Erato 2292-45232-2 20 Rameau, J-P. Ballet: Les fêtes de Polymnie (1745). Symphonie du Marais/ Hugo Reyne.

Astrée E8650 10 Turina, J. Suite of nineteenth-century dances, op 79 (1933). Jordi Masó, pf.

Naxos 8.557150 12 Falla, M. de Ballet: El amor brujo (1915).

Gloria Lane, mezz; BBC SO/Leopold Stokowski.

BBC BBCL 4005-2 24 11:30 ON PARADE Music that’s band Prepared by Owen Fisher MacDowell, E. To a wild rose. Royal Doulton Band/Edward Gray.

LP Astor GGS 1506 2 Mozart, W. Ave verum corpus. Richard Davies, cornet; Tom Hutchinson, cornet: Cory Band/Robert Childs.

Doyen DOY CD 290 4 Khachaturian, A. Sabre dance. Munn & Felton’s (Footwear) Band/Stanley Boddington.

LP Columbia 330 SX 1118 3 Arban, J-B. The carnival of Venice.

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JANUARY 2020

Frank Kaderebek, cornet; Allentown Band/Ronald Demkee.

AMP 20194 8 Sousa, J.P. March: The President.

Williams-Fairey Engineering Band.

Delta 60357 4 12:00 URBAN JAZZ LOUNGE with Leita Hutchings 13:00 MICHELANGELI THE PERFECTIONIST Prepared by Jennifer Foong

Chopin, F. Ballade no 1 in G minor, op 23 (1831-35).

Cetra CDAR 2002 9 Debussy, C. Le vent dans la plaine, from Préludes, bk 1 (1909-10).

Memoria ABM 999-001 2 Beethoven, L. Piano sonata in C, op 2 no 3 (1796).

Memoria ABM 999-001 27 Bach, J.S. Concerto in F, BWV971, Italian (1735).

Teldec 0630-13303-2 12 Schumann, R. Piano concerto in A minor, op 54 (1841-45). La Scala O/Antonio Pedrotti.

Teldec 0630-13303-2 31 Arturo Benedetti Michelangeli, pf (all above) 14:30 SATURDAY MATINEE Bach’s B minor Mass Bach, J.S. Mass in B minor, BWV232 (assembled c1747-49). Nancy Argenta, sop; Lynne Dawson, sop; Jane Fairfield, sop; Jean Knibbs, sop; Patrizia Kwella, sop; Carol Hall, mezz; Mary Nichols, mezz; Michael Chance, alto; Patrick Collin, alto; Ashley Stafford, alto; Wynford Evans, ten; Howard Milner, ten; Andrew Murgatroyd, ten; Richard Lloyd Morgan, bass; Stephen Varcoe, bass; English Baroque Soloists/John Eliot Gardiner.

Decca 478 3640 1:46 Bach, C.P.E. Sinfonia in E, Wq182 no 6 (1773). English Concert/Trevor Pinnock.

Archiv 415 300-2 9 Bach, J.S. Suite no 1 in C, BWV1066 (c1724). Academy of Ancient Music/ Richard Egarr.

ABC 481 1318 25 17:00 SOCIETY SPOT Folk Federation of NSW 18:00 MUSIC OF THE SCREEN Music of all kinds featured on the screen, small and large

19:00 THE DANISH SYMPHONY Prepared by Chris Blower Nielsen, C. Overture: Helios, op 17 (1903). South Jutland SO/Niklás Willén.

Naxos 8.557164 10 Stravinsky, I. Capriccio for piano and orchestra (1929). Mark Wait, pf; O of St Luke’s/Robert Craft.

Naxos 8.557506 17 Holmboe, V. Symphony no 3, op 25, Sinfonia rustica (1941). Aarhus SO/Owain Arwel Hughes.

BIS CD-605 27 20:00 THE LIFE OF A COMPOSER Paul Hindemith Prepared by James Nightingale Hindemith, P. Kammermusik no 1, op 24 no1 (1922). Konstanty Kulka, vn; Kim Kashkashian, va; Norbert Blume, va d’amore; Lynn Harrell, vc; Leo van Doeselaar, org; Ronald Brautigam, pf; Royal Concertgebouw O/Riccardo Chailly.

Decca 433 816-2 15 Sonata (1943). Arno Bornkamp, sax; Ivo Janssen, pf.

Globe GLO 5032 10 Konzertmusik for piano, brass and harp (1930). Siegfried Mauser, pf; Frankfurt RSO/Werner Andreas Albert. cpo 999 138-2 26 Clarinet quintet, op 30 (1955). Spectrum Concerts.

Naxos 8.572213 21 Suite of French dances (1958).

Philharmonia O/José Serebrier.

ASV DCA 945 9 Six songs after Rilke (1939). Netherlands Chamber Choir/Uwe Gronostay.

Globe GLO 5125 8 Symphonic metamorphoses on themes of Weber (1943). Philharmonia O/Neeme Järvi.

Chandos CHAN 8766 20 22:00 SATURDAY NIGHT AT HOME Prepared by Di Cox Walton, W. Ballet: The wise virgins, after J.S. Bach (1943). Concert Arts O/Robert Irving.

EMI 5 65911 2 21 Bax, A. Tone poem: Tintagel (1917-19).

London PO/Adrian Boult.

Belart 461 3542 13 Schumann, R. Carnaval, op 9 (1833-35).

Wilhelm Kempff, pf.

DG 435 045-2 25 Berwald, F. Grand septet (1828).

Gervase de Peyer, cl; Melos Ensemble.

EMI 5 65995 2 23 Offenbach, J. Gaîté parisienne (1938; arr. Rosenthal). French NO/Lorin Maazel.

CBS MYK 42610 30

Sunday 5 January 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SUNDAY MORNING MUSIC with Terry McMullen 9:00 MUSICA SACRA Prepared by Stephen Matthews Zelenka, J. Missa nativitas Domini.

Musica Florea/Marek Stryncl.

Supraphon SU 4111-2 34 Bach, J.S. Cantata, BWV190: Singet dem Herrn ein neues Lied (1724). Choir of St Thomas Leipzig; Gewandhaus O/ Georg Christoph Biller.

Rondeau ROP4046 18 Homilius, G. Nun freut euch, lieben Christen gemein. Barbara Steude, sop; Ludwig Guttler, tpt; Friedrich Kicheis, org.

Carus 83.236 3 10:00 THE CLASSICAL ERA Prepared by Rex Burgess Sor, F. Les deux amis, op 41 (1830).

Robert Kubica, gui; Wilma van Berkel, gui.

Naxos 8.553302 17 Arriaga, J. String quartet no 3 in E flat (1821-22). Chilingirian Quartet.

CRD 33123 29 Soler, A. Harpsichord sonata in G, op 4 no 4 (1779). Gilbert Rowland, hpd.

Naxos 8.553465 20 Baguer, C. Symphony no 18 in B flat (c1790s). London Mozart Players/ Matthias Bamert.

Chandos CHAN 9456 16 Fossa, F. de Guitar trio no 1 in A, op 18 (1808). Simon Wynberg, gui; Martin Beaver, vn; Bryan Epperson, vc.

Naxos 8.550760 26 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 Orli Zahava Showcases diverse music from cultures around the world, both traditional and modern, featuring musicians from all corners of the globe, including Australia 14:00 CELEBRATING 2MBS / FINE MUSIC RECORDINGS From the 1990s Recordings by George Hilgevoord and Kerry Joyner

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Beethoven, L. Piano sonata no 31 in A flat, op 110 (1821). Miriam Hyde, pf.

Recorded September 1994 19 Schumann, R. Kreisleriana, op 16 (1838). Lyall Duke, pf.

Recorded August 1996 36 Fine Music concert recordings (2 above) 15:00 SUNDAY SPECIAL Wolfgang and the Webers Prepared by Paul Cooke Mozart, W. Popoli di Tessaglia ... Io non chiedo, eterni Dei, K316 (1778-79).

Natalie Dessay, sop; Lyon Opera O/ Theodor Guschlbauer.

Virgin 363332 2 9 11 Prelude and fugue in C, K394 (1782).

Andreas Staier, Christine Schornsheim, combined hpd, fp.

Harmonia Mundi HMC 901941 9 Et incarnatus est, from Mass no 18 in C minor, K427 (1782). Sabine Devieilhe, sop; Pygmalion/Raphaël Pichon.

Erato 0825646016259 11 String quartet no 15 in D minor, K421 (1783). Acacia Quartet.

Fine Music concert recording 28 O zittre nicht; Der Hölle Rache, from The magic flute, K620 (1791). Karin Ott, sop; Berlin PO/Herbert von Karajan.

DG 431 291-2 8 Symphony no 41 in C, K551, Jupiter (1788).

Symphony Nova Scotia/Georg Tintner.

Naxos 8.557239 40 17:00 HOSANNA Prepared by Stephen Matthews Hymns: Guide me O Thou great Redeemer; Great is Thy faithfulness.

Choir of Wells Cathedral; Rupert Gough, org; Malcolm Archer, cond.

Hyperion CDP12105 6 Bairstow, E. Lord, Thou hast been our refuge. Choir of Lincoln Cathedral; James Vivien, org; Colin Walsh, cond.

Priory PRCD 454 8 Heinichen, J. Kyrie; Gloria, from Mass no 12 in D. Dresden Chamber Choir & Baroque O/Hans-Christoph Raderman.

Carus 83.044 13 Psalm: No 50, The mighty One. Choir of Peterborough Cathedral; David Humphreys, org; Andrew Reid, cond.

Priory PRCD1082 7 Vivanco, S. de Magnificat octavi toni.

Choir of St George’s Chapel, Windsor; Roger Judd, org; Jonathan ReesWilliams, cond.

Priory PRCD634 12

Ortiz, D. Nunc dimittis. Choir of St George’s Chapel, Windsor; Roger Judd, org; Jonathan Rees-Williams, cond.

Priory PRCD634 3 18:00 SMALL FORCES Prepared by Rita Felton Dowland, J. Pavan: Semper Dowland, semper dolens (pub. 1600). Reluctant Consort.

Fine Music tape archive 4 Borodin, A. String quartet no 2 in D (1881). Flinders Quartet.

Fine Music concert recording 28 Elgar, E. Salut d’amour, op 12 (1888).

Sarah Chang, vn; Sandra Rivers, pf.

EMI CDC 7 54352-2 3 Beethoven, L. String quartet in F, op 18 no 1 (1798-1800). Sydney String Quartet.

Fine Music tape archive 20 19:00 SUNDAY NIGHT CONCERT Prepared by Frank Morrison Chabrier, E. Pastoral suite (1888). Ulster O/Yan Pascal Tortelier.

Chandos CHAN 8852 19 Haydn, J. Trumpet concerto in E flat, Hob.VIIe:1 (1796). Maurice André, tpt; Philharmonia O/Riccardo Muti.

EMI 1 66449 2 16 Walton, W. Symphony no 1 in B flat minor (1931-35). London SO/Colin Davis.

LSO Live LS00681 46 20:30 NEW HORIZONS Prepared by Calogero Panvino Dean, B. Ariel’s music (1995). Paul Dean, cl; Queensland SO/Richard Mills.

ABC 476 4465 27 Penderecki, K. Sextet for winds, strings and piano (2000). Michel Lethiec, cl; Markus Maskuniitty, hn; Regis Pasquier, vn; Bruno Pasquier, va; Arto Noras, vc; Juhani Lagerspetz, pf.

Naxos 8.557052 32 Dean, B. Viola concerto (2005). Brett Dean, va; Sydney SO/Simone Young.

Sydney Symphony SSO 200702 26 22:00 AFTER HOURS JAZZ

Brett Dean writes about his Viola concerto: “It filled me with thoughts about my own relationship with this curiously beautiful, somewhat enigmatic instrument of my choosing.

Due to the unusually hands-on directness of writing a concerto for oneself, it also inspired thoughts upon the workings of music itself ...”

JANUARY 2020

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Monday 6 January 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: 1893 Parry, H. Overture to an unwritten tragedy (1894). English Northern Philharmonia/David Lloyd-Jones.

Hyperion CDA66515 11 Beach, A. Romance, op 23 (1893). Elena Urioste, vn; Michael Brown, pf.

BBC Music BBCMM416 6 Satie, E. Danses gothiques (1893).

Reinbert de Leeuw, pf.

Philips 462 162-2 14 Foote, A. Three pieces, op 31b (1893).

Fenwick Smith, fl; Randall Hodgkinson, pf.

Northeastern NR 227-CD 9 Rachmaninov, S. Excerpts from Aleko (1893). Mariana Zvetkova, sop; Andreana Nikolova, mezz; Boiko Zvetanov, ten; Alexander Tekeliev, bass-bar; Peter Naydenov, bass; Sofia National Opera Ch & O/Nayden Todorov.

Naxos 8.557817 15 Debussy, C. String quartet in G minor, op 10 (1893). Kodály Quartet.

Naxos 8.550249 25 10:30 CONCERT HALL Prepared by Jacky Ternisien Handel, G. Suite no 1 in F, HWV348, from Water music (1717/36). Tasmanian SO/Graham Abbott.

ABC 476 4300 27 Krumpholtz, J-B. Harp concerto in B flat. Klára Nováková, hp; Bratislava RSO/ Oliver Dohnányi.

Brilliant Classics 99512 24 Clementi, M. Symphony no 3 in G, Wo034, Great National. Philharmonia O/ Francesco d’Avalos.

ASV DCS 247 30 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 FESTIVAL FOR ORGAN Prepared by Derek Parker Bach, J.S. Fantasy in C minor, BWV537 no 1 (bef. 1723). Luca Guglielmi, org.

Vivaat VIVAT 108 5 14

JANUARY 2020

Handel, G. Organ concerto in F, HWV295, The cuckoo and the nightingale (1739). Academy of Ancient Music/ Richard Egarr, org & dir.

Harmonia Mundi HMX2908417.24 16 Franck, C. Prière, from Six pieces for organ (1856-64). Anna Myeong, org. www.annamyeong.com 13 Dupré, M. Quartet, op 52 (c1956).

Timothy Durbin, vn; Jennifer Rende, va; Clyde Beavers, vc; Bruce Neswick, org.

Naxos 8.554378 14 Purcell, H. Voluntary for double organ.

David Swale, org.

5UV Records SP5UV001 6 Poulenc, F. Organ concerto in G minor.

Maurice Duruflé, org; French National RTO/Georges Prêtre.

EMI CDC 7 47723 2 23 14:30 THE ADRIAN BOULT LEGACY Prepared by Ray Lemond Holst, G. Egdon Heath, op 47 (1927).

London PO. Decca 440 318-2 13 Coates, E. Suite: Summer days (1919).

New Philharmonia O. Lyrita SRCD 246 12 Holst, G. Ballet music from The perfect fool, op 39 (1918-22). London PO. Decca 440 318-2 11 Handel, G. Where’er you walk, from Semele, HWV58 (1743). Kenneth McKellar, ten; Royal Opera House O. ABC 442 981-2 4 Ireland, J. The holy boy (1913). London PO. Lyrita SRCD.242 2 Legend (1933). Eric Parkin, pf; London PO. Lyrita SRCD.241 13 Vaughan Williams, R. Symphony no 8 in D minor (1956). London PO. EMI CDC 7 63098 2 29 Adrian Boult, cond (all above) 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 THE AUSTRALIAN JAZZ SCENE with Susan Gai Dowling and Peter Nelson

‘Swing’ is a personal interpretation of rhythm based mostly on ‘feeling’.

Tuesday 7 January 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 Handel, G. Suite in C minor, HWV446 (c1703-06; arr. Vine). Monika Kornel, hpd; Diana Weston, hpd.

Michatz-Kornel 20100323 10 Mozart, W. Adagio in B minor, K540 (1788). Gerard Willems, pf.

ABC 476 5696 13 Britten, B. Canticle III: Still falls the rain, op 55 (1954). Peter Pears, ten; Dennis Brain, hn; Benjamin Britten, pf.

BBC BBCB 8014-2 11 Janácek, L. In the mists (1912). Rudolf Firkusny, pf.

DG 449 764-2 14 Brahms, J. Waltzes for four hands, op 39 (1865). Alfons Kontarsky, Aloys Kontarsky, pf.

DG 479 1965 18 Bach, J.S. Trio sonata in G, BWV1039.

Paul Fried, fl; Alan Weiss, fl; Bryan Pezzone, pf.

Gold Tone GTR-006 13 10:30 CONCERT HALL Prepared by Paul Hopwood Tchaikovsky, P. Fantasy overture: Hamlet, op 67a (1888). SO of Russia/ Veronika Dudarova.

Olympia OCD 512 A&B 21 Rosetti, F. Horn concerto in D minor (c1782). Michael Thompson, hn; Philharmonia O/Christopher WarrenGreen.

Nimbus NIM 5018 21 Goossens, E. Symphony no 2, op 62 (1942-44). Sydney SO/Vernon Handley.

ABC 476 7632 38 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 SUITE OF DANCES Prepared by Elaine Siversen Respighi, O. Ancient airs and dances, suite no 3 (1932). Australian CO/ Christopher Lyndon-Gee. Omega OCD 1007 17

Tuesday 7 January Pezel, J. Suite of dances (arr. Romm).

Stockholm Philharmonic Brass Ensemble.

BIS CD-223 7 Strauss, R. Dance suite for small orchestra, after Couperin’s keyboard works, op 107 (1923). Academy of St Martin in the Fields/Neville Marriner.

Philips 446 696-2 28 14:00 MUSICAL FAMILIES Husband and wife Prepared by Jennifer Foong Hill, M. Carnival night (1971). Adelaide SO/Henry Krips.

LP ABC AC 1013 5 Prelude (1974). Graham Powning, ob.

LP ABC AC 1049 1 Hill, A. Mazurka; Valse lente; Waltz caprice. Asmira Woodward-Page, vn; Scott Davie, pf.

Artworks AW034 8 Hill, M. How sweet the moonlight.

Michael Halliwell, bar; David Miller, pf.

Australian Music Centre VAST033.2 2 The leafy lanes of Kent (1950). Tamara Anna Cislowska, pf.

ABC 476 6298 4 Come summer. Philippa Robinson, cl; Josephine Allan, pf.

Innaminka 720 4 Psalm 23. Adelaide Singers/Patrick Thomas.

LP ABC AC 1019 7 Hill, A. Serenade. Owen Fisenden, fl; Oriel String Quartet.

LP ABC/WRC RO 2596 5

String quartet no 6 in G, The kids (1927).

Australian String Quartet.

Marco Polo 8.223746 16 Trumpet concerto. Donald Johnson, tpt; West Australian SO/Thomas Mayer.

LP ABC/WRC RO 2596 19 Glora in excelsis, from Symphony no 2, Joy of life (1941). Adelaide Singers; Adelaide Philharmonic Choir; Adelaide SO/Patrick Thomas.

ABC 442 377-2 6 Symphony no 3 in B minor, Australia (1951). Queensland SO/Wilfred Lehmann.

Marco Polo 8.223537 27 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm 19:00 THE JAZZ BEAT with Lloyd Capps Smooth small group jazz from the 50s on, and with a visit from Miles Davis each week 20:00 RECENT RELEASES 22:00 CHAMBER SOIRÉE Prepared by Frank Morrison Brahms, J. Viola sonata in F minor, op 120 no 1 (1894). Zaslav Duo. Music & Arts 1087(2) 23 Beethoven, L. Octet in E flat, op 103 (1792). European CO Wind Soloists.

ASV COE 807 21 Berwald, F. String quartet in G minor (1818). Chilingirian Quartet.

CRD 3361 33 Grechaninov, A. Piano trio no 1 in C minor, op 38 (1906). Bekova Sisters.

Chandos CHAN 9461 33

CONTINUING PROGRAM SERIES Musical Families prepared by Jennifer Foong: Tuesdays 7, 21 at 2pm Evenings with the Orchestra, The Great Conductors prepared by David Brett: Friday 17 at 8pm Come to the Opera prepared by Derek Parker: Saturday 18 at 1pm Celebrating 2MBS-Fine Music Recordings: Thursdays 2, 9, 16, 23, 30 at 2pm; Sundays 5, 12, 19, 26 at 2pm; Baroque and Before Friday 17 at 10pm Some other highlights: Saturday Matinee at 2.30pm: Bach’s B minor Mass (4); Gilbert and Sullivan’s The pirates of Penzance (11); Mahler’s Ninth Symphony (18); Johann Strauss II’s Princess Ninetta (25) Sunday Special at 3pm: Wolfgang and the Webers (5); Composite Compositions (12); Born Two Days Apart (19); Australian Favourites (26)

Wednesday 8 January 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Janine Burrus 9:00 DIVERSIONS IN FINE MUSIC Inspired by literature Prepared by Jacky Ternisien Lully, J-B. March, from Le bourgeois gentilhomme (1670). Musica Antiqua Cologne/Reinhard Goebel.

DG 463 446-2 3 Lokshin, A. Flowers of evil (1939).

Vanda Tabery, sop; Graz Large O/Michel Swierczewski.

BIS CD-1556 17 Milhaud, D. L’apothéose de Molière, op 286 (1948). New London O/Ronald Corp.

Hyperion CDA66594 9 Charpentier, M-A. Intermezzo, from Le mariage forcé (1672). Les Arts Florissants/William Christie.

Harmonia Mundi HMA 1901316/18 7 Strauss, R. Excerpts from Le bourgeois gentilhomme (1912). Australian CO/ Christopher Lyndon-Gee. Omega OCD 1011 18 Lully, J-B. Excerpts from Les amants magnifiques (1670). Isabelle Poulenard, sop; Agnès Mellon, sop; Gilles Ragon, high ten; Michel Laplénie, ten; Michel Verschaeve, bar; Les Musiciens du Louvre/Marc Minkowski.

Erato 245 286-2 20 10:30 CONCERT HALL Prepared by Elaine Siversen Stravinsky, I. The song of the nightingale (1917). Columbia SO/Robert Craft.

Sony SM3K 46 291-302 19 Korngold, E. Violin concerto in D, op 35 (1945). Gil Shaham, vn; London SO/ André Previn.

DG 439 886-2 25 Rimsky-Korsakov, N. Symphony no 3 in C, op 32 (1886). USSR Academic SO/ Yevgeny Svetlanov.

Melodiya MA 3016 39 12:00 JAZZ SKETCHES with Robert Vale 13:00 OPERA IN CONCERT Prepared by Giovanna Grech Wagner, R. Overture to Tannhäuser (1842-45). Cleveland O/George Szell.

CBS M2YK 46466 13 Halévy, F. Rachel, quand du Seigneur, from La Juive (1835). Roberto Alagna, JANUARY 2020

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Wednesday 8 January ten; Royal Opera House O/Bertrand de Billy.

EMI 5 57012 2 7 Thomas, A. Connais-tu le pays? from Mignon (1866). Denyce Graves, mezz; Monte Carlo PO/Marc Soustrot.

Fnac 592056 6 Gluck, C. Quel est l’audacieux, from Orphée et Eurydice (1774). David Hobson, ten; Opera Australia Ch; Opera Australia Opera and Ballet O/Marco Guidarini.

ABC 462 006-2 8 Mozart, W. Aer tranquillo e dì sereni, from Il re pastore, K208 (1775). Emma Kirkby, sop; Academy of Ancient Music/ Christopher Hogwood.

L’Oiseau-Lyre 425 835-2 6 Donizetti, G. Sulla tomba che rinserra, from Lucia di Lammermoor (1835).

Montserrat Caballé, sop; José Carreras ten; New Philharmonia O/Jésus LópezCobos.

Philips 434 986-2 11 14:00 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.

15:00 LUNAR TUNES Prepared by Michael Morton-Evans Roslavets, N. In the hours of the new moon (c1910). BBC Scottish SO/Ilan Volkov.

Hyperion CDA67484 12 Ketèlbey, A. In the moonlight (1919).

Czecho-Slovak RSO/Adrian Leaper.

Naxos 8.554713 5 Schubert, F. To the moon, D259 (1815).

Werner Güra, ten; Christoph Berner, pf.

Harmonia Mundi HMC 901931 3 Strauss, R. Introduction and moonlight music, from Capriccio (1942; arr. 1945).

Vienna PO/André Previn.

DG 437 790-2 14 Kuula, T. Sailing in the moonlight, op 31a no 1. Camilla Nylund, sop; Marita Viitasalo, pf.

Hänssler 98.300 3 Kats-Chernin, E. Half moon prelude (2004). Katie Zhukov, pf.

Wirripang WIRR 010 5 Lehmann, L. Ah, moon of my delight (1895). Alice Coote, mezz; Graham 16

JANUARY 2020

Johnson, pf.

Hyperion CDA67888 5 Dvorák, A. Song to the moon, from Rusalka, op 114 (1901). Cheryl Barker, sop; Queensland SO/Guillaume Tourniaire.

Melba MR301129 6 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 James Nightingale Gluck, C. Orfeo ed Euridice. Opera in three acts. Libretto by Ranieri de’ Calzabigi. First performed Vienna, 1762.

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

Harmonia Mundi HMX 2908601.30 1:31 The grieving Orfeo resolves to go to Hades to find his deceased wife, Euridice. The god, Amor, appears and announces that the other gods, moved by Orfeo’s grief, have decided to allow him to bring Euridice back on condition that he does not look at her until they have returned.

At the entrance to Hades, the Furies bar Orfeo’s way but he calms them by playing his lyre and singing an eloquent song of his grief. They relent and allow Orfeo to pass into the Underworld. In the Elysian Fields, the Blessed Spirits dance and the Shades bring in his veiled wife. On the journey to the upper world, Euridice becomes agitated because Orfeo will not

look at her and fears that he no longer loves her. Unable to resist her anguished pleas, Orfeo turns and, as he embraces her, she dies once more.

Overcome with grief, Orfeo plans to take his own life. Amor appears saying that because Orfeo has passed the test of faith and constancy, Euridice is restored to life.

Bach, J. Christian Piano concerto in B flat, op 1 no 1 (1763). Ingrid Haebler, fp; Vienna Capella Academica/Eduard Melkus.

Philips 438 712-2 14 22:00 INTO THE 21ST CENTURY Prepared by Di Cox Copland, A. Cuban dance (1945). New Philharmonia O/Aaron Copland.

CBS MK 42429 7 Piston, W. Suite from ballet The incredible flutist (1938). Joseph Mariano, fl; Eastman-Rochester O/Howard Hanson.

Mercury 475 6274 16 Gershwin, G. Piano concerto in F (1925).

Peter Donohoe, pf; City of Birmingham SO/Simon Rattle.

EMI CDC 7 54280 2 32 Harris, R. Symphony no 3 in one movement (1939). New York PO/Leonard Bernstein.

DG 419 780-2 19 Hovhaness, A. Fantasy on Japanese woodprints, op 211 (1965). Ron Johnson, mar; Seattle SO/Gerard Schwarz.

Naxos 8.559717 14 Mayuzumi, T. Mandala symphony (1960). New Zealand SO/Takuo Yuasa.

Naxos 8.557693 18

The best-known work of Walter Piston is probably his dance work, The incredible flutist, composed in 1938 for Arthur Fiedler and the Boston Symphony Orchestra.

During World War I, after quickly teaching himself to play the saxophone, Piston joined the United States Navy as a band musician. During his service he taught himself to play most wind instruments. “They were just lying around,” he later observed, “and no one minded if you picked them up and found out what they could do.”

He had originally made his living playing violin and piano in dance bands, and violin in an orchestra, but after the War he studied compositional techniques at Harvard College. His next move was to Paris to study with Nadia Boulanger, Paul Dukas and George Enescu. He went straight from Paris to a teaching appointment at Harvard where he stayed until retirement. Leonard Bernstein and Leroy Anderson were among his students. Piston’s major contribution to the teaching of music was four books on the technical aspects of music theory that are considered to be classics. The volume, Harmony, was published in four editions and was translated into several languages and is regarded as a standard text on harmony.

Thursday 9 January 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: Strings Prepared by Chris Blower Mozart, W. String duo no 1 in G, K423 (1783). Igor Oistrakh, vn; David Oistrakh, va.

Decca 470 258-2 16 Thomas, J. Scenes of childhood (1863).

Lipman Harp Duo. Naxos 8.570372 10 Graziani, C. Sonata in F for cello and continuo, op 3 no 4. Antonio Meneses, vc; Gustavo Tavares, vc; Rosana Lanzelotte, hpd.

Sanctus SCS 002/3 14 Bottesini, G. Melodia. Joel Quarrington, db; Andrew Burashko, pf.

Naxos 8.554002 7 Kuhlau, F. Duo no 3 in D, from Trois duos brilliants, op 110 (1830). Christina Åstrand, vn; Per Salo, pf.

Dacapo 8.226083 19 Rossini, G. String sonata no 4 in B flat (1804). Elizabeth Wallfisch, vn; Marshall Marcus, vn; Richard Tunnicliffe, vc; Chichi Nwanoku, db.

Hyperion CDA66595 14 10:30 CONCERT HALL Prepared by Rita Felton Saint-Saëns, C. Tone poem: Danse macabre in G minor, op 40 (1874).

Sydney SO/Eugene Goossens.

LP ABC/HMV OXLP 7620/21 7 Paganini, N. Violin concerto no 1 in D, op 6 (1815). Gil Shaham, vn; New York PO/ Giuseppe Sinopoli.

DG 429 786-2 32 Dukas, P. Symphony in C (1896). Suisse Romande O/Armin Jordan.

Erato 2292-45221-2 41 12:00 JAZZ, PURE AND SIMPLE with Maureen Meers 13:00 FROM THE NEW WORLD Ives, C. Variations on America (c1891; orch. Schuman). Los Angeles PO/Zubin Mehta.

Decca 475 7470 7 Beach, A. Piano trio in A minor, op 150 (1920). Elizabeth Layton, vn; Naomi Butterworth, vc; Diana Ambache, pf.

Chandos CHAN 9752 15

MacDowell, E. Excerpts from Woodland sketches, op 51. Marjorie Mitchell, pf.

Vanguard 08 9197 71 6 Copland, A. Appalachian Spring (194344). Seattle SO/Gerard Schwarz.

Delos DE 3154 24 14:00 CELEBRATING 2MBS / FINE MUSIC RECORDINGS Chopin Day 1999 Recordings by Kerry Joyner

45TH

Chopin, F. Polonaise no 7 in A flat, op 61, Polonaise-fantasie (pub. 1846). Elizabeth Powell, pf. 15 Chopin - Franchomme. Grand duo concertant in E on themes from Meyerbeer’s Robert le Diable (1832).

Thomas Tsai, vc; Joshua Tsai, pf. 13 Chopin, F. Ballade no 3 in A flat, op 47 (1841). Stella Levinsky, pf. 8 Polish songs, op 74: no 1, The wish (c1829); no 14, The ring (1836); no 12, My darling (1837); no 2, Spring (1838).

Lilia Silé, sop; David Grisdale, pf. 7 Variations in E on a theme by Rossini (1824; pub.1955). Geoffrey Collins, fl; Ian Munro, pf. 4 Mazurkas: no 17 in B flat minor, op 24 no 4 (1834-35); no 25 in B minor, op 33 no 4 (1837-38); no 40 in E minor, op 63 no 2 (1846). Gary Nash, pf. 11 Cello sonata in G minor, op 65 (184546). Georg Pedersen, vc; Natalia Sheludiakova, pf. 25 Piano sonata no 2 in B flat minor, op 35, Funeral march (1839). Andrea Lam, pf. 22 Fine Music concert recordings (all above) 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm 19:00 THE NEW JAZZ STANDARD with Frank Presley

20:00 THE WORLD OF A SYMPHONY Prepared by Ray Lemond Alwyn, W. Sinfonietta for strings (1970).

London SO/Richard Hickox.

Chandos CHAN 9196 25 Mendelssohn, F. String symphony no 11 in F minor (1823). German Chamber Academy of Neuss/Johannes Goritzki.

Claves 50-9002 40 Alfvén, H. Symphony no 4, op 39, From the outermost Skerries (1919).

Arndis Halla, sop; Johann Valdimarsson, ten; Sigrün Edvaldsdóttir, vn; Richard Talkowsky, vc; Kristján Stephensen, cora; Iceland SO/Niklas Willén.

Naxos 8.557284 48 22:00 SOME OTHER INSTRUMENTS Prepared by Jacky Ternisien Visée, R. de Suite in G minor. Robert Clancy, baroque gui; Elysium Ensemble.

Fine Music concert recording 10 Kapsberger, G. Ciaccona. Paula Chateauneuf, chitarrone.

Hyperion CDA66977 3 Hurel, C. Suite in C. James Holland, theorbo.

Piscoline PIS001 6 Voelckel, S. Two courantes, from Newe teutsche weltliche Gesanglein (1613).

David Munrow, shawm; David Corkhill, drum. 2 Tielman, S. Ce qui souloit, from Le premier livre des chansons (1554). David Munrow, soprano curtal, tenor curtal; Andrew van der Beek, bass curtal. 2 Giorgio, M. Caro ortolana, from Ili primo libro de balli (c1578). David Munrow, tenor rackett; James Tyler, bass rackett; Alan Lumsden, quart-bass rackett, Andrew van der Beek, great-bass rackett. 1 Virgin 3 85811 2 (3 above) 22:30 ULTIMA THULE with Marc Cottee

I clearly remember early in 1999 crossing the river at Yarramundi as I drove the back way up the mountain to visit a friend in Springwood. Just as I crossed the bridge, a radio presenter announced that Frédéric Chopin died on 17 October 1849. Immediately my mind registered ‘150 years’. At the next Programming Committee meeting, I suggested that we hold a full day’s celebration of Chopin’s music.

This came to fruition with the help of Kerry Joyner who organised leading Sydney musicians to either perform live-to-air or to pre-record if they were not available for this special event on Sunday 17 October. As a result, today we are able to bring you some of the musicians who pre-recorded for that event. Missing from this program is Rachel Valler but you will find her performance for that day at 2pm on Sunday 12. Unfortunately, we don’t have recordings of those who performed live-to-air. — ES JANUARY 2020

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Friday 10 January 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 Berlioz, H. Royal hunt and storm, from The Trojans (1856-58). NSW Conservatorium School of Opera; Sydney SO/Robert Pikler.

Chandos CHAN 6587 11 Handel, G. As steals the morn, from L’allegro, il penseroso ed il moderato, HWV55 (1740). Lucy Crowe, sop; Mark Padmore, ten; English Concert/Andrew Manze.

Harmonia Mundi HMU 907422 7 Mozart, L. Sinfonia di caccia in G, Jagd (c1750). New Zealand CO/Donald Armstrong.

Naxos 8.553347 12 Schumann, R. Jagdlieder, op 137 (1849). Camerata Vocale Gummersbach; Waldhorngruppe Freischütz, Essen/Gus Anton.

Koch Schwann 3-1080-2 11 Haydn, M. Notturno in F. German Chamber Academy Neuss/Johannes Goritzki. cpo 999 512-2 16 Mozart, W. Serenade no 11 in E flat, K375 (1781). Wind Soloists of CO of Europe.

Teldec 2292-46472-2 23 10:30 CONCERT HALL Prepared by Jennifer Foong Kraus, J.M. Overture: Afventraren.

Helsinki Baroque O/Aapo Häkkinen.

Naxos 8.572865 10 Bourgault-Ducoudray, L-A. Rhapsodie cambodgienne (1882). Slovak RSO/ Adriano Baumann.

Marco Polo 8.225234 17 Schumann, R. Piano concerto in A minor, op 54 (1842-45). Wilhelm Kempff, pf; London SO/Josef Krips.

DG 479 1133 32 Gipps, R. Symphony no 2 in B, op 30 (1945). BBC Welsh NO/Rumon Gamba.

Chandos CHAN 20078 21 12:00 A JAZZ HOUR with Barry O’Sullivan

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JANUARY 2020

13:00 A SPANISH HOUR Prepared by Ray Lemond Falla, M. de Nights in the gardens of Spain (1909-15). Alicia de Larrocha, pf; London PO/Rafael Frühbeck de Burgos.

Decca 466 128-2 25 Albéniz, I. Malaga, from Iberia, bk 4 (1906-08). Aldo Ciccolini, pf.

EMI CZS 7 62889 2 5 Granados, E. Escenas románticos.

Thomas Rajna, pf.

CRD 3322 27 14:00 PASSION NOT PATHOS Prepared by Sheila Catzel Beethoven, L. Piano sonata no 8 in C minor, op 13, Pathétique (1798). Claudio Arrau, pf.

Philips 420 153-2 21 Glinka, M. Piano trio pathétique in D minor (1832). Borodin Trio.

Chandos CHAN 8477 18 Moscheles, I. Piano concerto no 7 in C minor, op 93, Pathétique (1835).

Tasmanian SO/Howard Shelley, pf & dir.

Hyperion CDA67385 22 Tchaikovsky, P. Symphony no 6 in B minor, op 74, Pathétique (1893).

Philharmonia O/Riccardo Muti.

EMI 7 67742 2 46

Saturday 11 January 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 Alfano, F. Quatre pièces, op 3. Orazio Maione, pf.

Naxos 8.573754 12 Berio, L. Wasserklavier no 3, from Six encores (1965). Hélène Grimaud, pf.

DG 479 5268 2 Cimarosa, D. Sonata in A. Victor Sangiorgio, pf.

Naxos 8.570718 4 Busoni, F. All’Italia, from Elegien (1907).

Geoffrey Tozer, pf.

Chandos CHAN 9394 6 Clementi, M. Sonata in G, op 40 no 1 (1802). Howard Shelley, pf.

Hyperion CDA67819 25

20:00 EVENINGS WITH THE ORCHESTRA Prepared by Rex Burgess Mendelssohn, F. Violin concerto in E minor, op 64 (1844). Janine Jansen, vn; Gewandhaus O/Riccardo Chailly.

Decca 475 8328 27 Schulhoff, E. Moonstruck (1940).

Gewandhaus O/Lothar Zagrosek.

Decca 444 182-2 24 Bruckner, A. Symphony no 6 in A (187981). Gewandhaus O/Andris Nelsons.

DG 483 6659 1:00

10:00 MUSIC OF THE DANCE Dancing on ice Prepared by Katy Rogers-Davies Waldteufel, E. Waltz: The skaters, op 183 (1882). West Australian SO/David Measham.

ABC 476 4621 5 Meyerbeer, G. Ballet of the skaters, from Le prophète, Act III (1849). Barcelona SO/Michal Nesterowicz.

Naxos 8.573076 19 Carlson, R. The ice-skaters, from Five concert pieces (1992). Rosalind Carlson, pf.

Aus Compositions for Piano RC1996 1 Ravel, M. Boléro (1928). Sydney SO/ Stuart Challender.

ABC 534 387-9 15 Rimsky-Korsakov, N. Scheherazade, symphonic suite after 1001 Nights, op 35 (1888). London POMariss Jansons.

EMI 5 55227 2 45

22:00 BAROQUE AND BEFORE Prepared by Andrew Dziedzic Schütz, H. Der Schwanengesang (c1670). Song Company; David Drury, org; Roland Peelman, cond.

Celestial Harmonies 13139-2 1:14 Pergolesi, G. Stabat Mater (1736). Sara Macliver, sop; Sally-Anne Russell, mezz; O of the Antipodes/Antony Walker.

ABC 476 7737 40

11:30 ON PARADE Prepared by Robert Small Corigliano, J. Gazebo dances (1972).

University of Texas Wind Ensemble/Jerry Junkin.

Naxos 8.559601 17 Jenkins, J.W. American overture (1955).

Lone Star Wind O/Eugene Migliaro Corporon.

Naxos 8.570968 5

16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm 19:00 FRIDAY JAZZ SESSION with Christopher Waterhouse

Saturday 11 January Bryant, S. Radiant joy (2006). Lone Star Wind O/Eugene Migliaro Corporon.

Naxos 8.570968 5 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 I’m not singing. What do I do?

14:30 OPERETTA IN THE AFTERNOON Prepared by Elaine Siversen Sullivan, A. The pirates of Penzance.

Operetta in two acts. Libretto by W.S. Gilbert. First performed London, 1879.

FREDERIC; Leonard Osborn, ten RUTH: Ella Halman, cont MABEL: Muriel Harding, sop MAJOR-GENERAL STANLEY: Martyn Green, bar PIRATE KING: Darrell Fancourt, bass-bar D’Oyly Carte Opera Company; New Promenade O/Isidore Godfrey.

Naxos 8.110196/7 1:22 At the end of his 21st year and his apprenticeship, Frederic leaves the pirate band when Ruth reveals that he should have been apprenticed as a ship’s pilot, not a pirate. He meets a group of beautiful young girls and he and Mabel fall in love. The pirates capture the girls.

The Major-General arrives and, having heard that the pirates of Penzance are orphans and that they release captured seamen who are orphans, the MajorGeneral tells them he is also an orphan and the girls are his daughters. The pirates release them.

The Sergeant of Police and his corps arrive to capture the pirates. The Pirate King and Ruth come to tell Frederic that he is still bound to his apprenticeship as it was worded to end on his 21st birthday and, as he was born on 29 February, only five birthdays have passed. Frederic rejoins the pirates and informs the Pirate King of the Major-General’s deception.

The pirates attack and the police are easily defeated. The Sergeant demands that the pirates yield ‘in Queen Victoria’s name’ and, overcome with loyalty, they do so. Frederic and Mabel are reunited, and the Major-General is happy to marry his daughters to the pirates who turn out to be noble born.

Excerpts from Patience (1881). Yvonne Dean, sop: Margaret Mitchell, sop; Ella Halman, mezz; Ann Drummond-Grant, cont; Neville Griffiths, ten; Martyn Green, bar; Peter Pratt, bar; Darrell Fancourt, bass-bar; Alan Styler, bass; D’Oyly Carte Opera Company Ch; New Promenade O/ Isidore Godfrey.

Naxos 8.111311/12 16 Excerpts from The gondoliers (1889).

Columbia Light Opera Company soloists, Ch & O/Joseph Batten.

Naxos 8.110317-18 36 17:00 SOCIETY SPOT Organ Music Society of Sydney 18:00 MUSIC OF THE SCREEN Music of all kinds featured on the screen, small and large 19:00 THE DANISH SYMPHONY Prepared by Chris Blower Mendelssohn, F. Overture to Athalia, op 74 (1845). Bamberg SO/Claus Peter Flor.

RCA Victor RD 87905 8 Schumann, R. Carnaval, op 9 (1833-35; orch. Ravel). Minnesota O/Eiji Oue. Reference RR-79CD 10 Gade, N. Symphony no 1 in C minor, op 5 (1840-42). Danish National RSO/Dmitri Kitaienko.

Chandos CHAN 9422 36 20:00 THE LIFE OF A COMPOSER Anton Reicha Prepared by Jacky Ternisien Reicha, A. Symphony in C minor.

Beethoven Academy/Jan Caeyers.

Audivis-Valois V 4834 22 String quartet in E, op 95 no 1 (1801-08).

Girard Quartet.

Alpha 369 30

Salieri, A. Overture to Don Quixote (1770). Slovak RSO/Michael Dittrich.

Naxos 8.554838 7 Franck, C. Pastorale in E, op 19 (pub.

1868). Marcel Dupré, org.

Mercury 478 8388 8 Berlioz, H. Overture to Benvenuto Cellini, op 23 (1836-38). New York PO/Pierre Boulez.

Sony SM3K 64 103 10 Reicha, A. Requiem aeternam; Kyrie, from Missa pro defunctis (c1809).

Venceslava Hrubá-Freiburger, sop; Anna Barová, cont; Vladimir Dolezal, ten; Ludek Vele, bass; Prague Philharmonic Choir; Jaroslav Tvrzsk, org; Dvorák CO/ Lubomír Mátl.

Supraphon SU 3859-2 8 Wind quintet in F (1811). Academia Wind Quintet of Prague.

Hyperion CDD22006 21 22:00 SATURDAY NIGHT AT HOME Prepared by Elaine Siversen Vaughan Williams, R. Songs of travel (1904). John Shirley-Quirk, bass-bar; Viola Tunnard, pf.

Heritage HTGCD 283/4 25 Hovhaness, A. Tzaikerk, evening song. Paul Edmund-Davies, fl; Arnold Kobyliansky, vn; Randy Max, timpani; I Fiamminghi/Rudolf Werthen.

Telarc 80392 11 Gorécki, H. Symphony no 3, op 36, Symphony of sorrowful songs (1976).

Yvonne Kenny, sop; Adelaide SO/Takuo Yuasa.

ABC 472 040-2 51 d’Indy, V. Symphony in G on a French mountain air, op 25 (1886). Aldo Ciccolini, pf; Paris O/Serge Baudo.

EMI 7 63952 2 27

Drawn from Robert Louis Stevenson’s collection Songs of Travel and Other Verses, Ralph Vaughan Williams’ song cycle Songs of travel was composed for the baritone voice and it has been recorded by some of the finest singers of our time such as John Shirley-Quirk, Bryn Terfel and Thomas Allen.

The cycle depicts the joys of the open road and glorifies the sky at night (The infinite shining heavens). Although the traveller has left his love behind, in these poems/songs there is not the despair of Schubert’s Die Wintereisse or Mahler’s Lieder eines fahrenden Gesellen but, instead, a sense of healing through nature and beauty.

The first eight songs were performed in 1904 but published in two editions.

Neither included the ninth song, I have trod the upward and the downward slope, which Ursula Vaughan Williams found among her husband’s manuscripts after he died. It was added in 1960 to complete the cycle and has a note that it is only to be performed as a completion to the cycle. Quoting from four of the previous songs, it ends with the opening chords suggesting that the traveller’s journey continues.

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Sunday 12 January 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SUNDAY MORNING MUSIC with Robert Small 9:00 MUSICA SACRA Prepared by Rex Burgess Buxtehude, D. Cantata: Ich suchte des Nachts, BuxWV50. Helmut Krebs, ten; Dietrich Fischer-Dieskau, bar; Fred Schweinfurter, ob; Else Göhrum-Jennewein, vn; Bertha Krimm, vn; Hermann Klaiss, vc; Hermann Werdermann, hpd.

Hänssler 94.218 15 Messiaen, O. O sacrum convivium!

(1937). Choir of the Academy of St Cecilia/Myung-Whun Chung.

DG 478 4230 7 Vivaldi, A. Gloria in D, RV589. Emma Kirkby, sop; Tessa Bonner, sop; Michael Chance, ct; Collegium Musicum 90/ Richard Hickox.

Chandos CHAN 0518 29 10:00 THE CLASSICAL ERA Prepared by Paul Cooke Wesström, A. Overture to Armida. Nordic CO/Christian Lindberg.

BIS CD-1538 8 Bellman, C. Fredmans Epistel no 12, Elegy on the punch-up at the Green Grove (arr. Andersson). Marais Project.

Move MCD 512 5 Berwald, F. Serenade (1825).

Thomas Annmo, ten; Joakim Kallhed, pf; members of Arion Wind Quintet; members of Schein String Quartet; Mikael Björk, db.

Naxos 8.553714 14 Wikmanson, J. String quartet no 2 in E minor, op 1 (pub. 1801). Chilingirian Quartet.

CRD 33123 21 Kraus, J.M. Piano sonata in E (1788).

Jacques Després, pf.

Naxos 8.555771 32 Crusell, B. Sinfonia concertante in B flat, op 3 (1808). Anna-Maija Korsimaa-Hursti, cl; László Hara, bn; Ib Lanzky-Otto, hn; Tapiola Sinfonietta/Osmo Vänskä.

BIS CD-495 28 12:00 CLASSIC JAZZ AND RAGTIME with John Buchanan 13:00 WORLD MUSIC: Whirled Wide with Orli Zahava

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JANUARY 2020

14:00 CELEBRATING 2MBS / FINE MUSIC RECORDINGS From the 1990s Recordings by George Hilgevoord, Kerry Joyner and Belinda Webster

45TH

Chopin, F. Polonaise in F flat minor, op 26 no 2 (1834-35). Rachel Valler, pf.

Recorded August 1999 10 Bach, C.P.E. Keyboard sonata no 1 in A minor, Wq57 no 2 (1779-87). Geoffrey Lancaster, fp.

Recorded November 1991 9 Schubert, F. Piano sonata no 7 in F sharp minor, D570/571. Ian Munro, pf.

Recorded August 1994 18 Grieg, E. Four Norwegian dances, op 35 (1881). Elizabeth Powell, Ffrangcon Davies, pf.

Recorded September 1993 16 Fine Music concert recordings (all above) 15:00 SUNDAY SPECIAL Composite compositions Prepared by James Nightingale Poulenc, F. Bucolique, from Variations sur le nom de Marguerite Long. French NO/Charles Dutoit.

Decca 476 2181 2 Auric - Milhaud - Poulenc - Tailleferre - Honegger. Ballet: The marriage on the Eiffel Tower (c1921). Philharmonia O/ Geoffrey Simon.

Chandos CHAN 8356 21 Fauré, G. Mass for the fishermen of Villerville (1881-82). Lausanne Vocal Ensemble; Marcelo Giannini, org; Sinfonia Varsovia/Michel Corboz.

Mirare MIR 028 17 Various. Hexaméron: Grand variations on the March of the Puritans by Bellini, S392 (1837; ed. Liszt). Leslie Howard, pf.

Hyperion CDS44551 21 Goossens, E. Variations on Cadet Rousselle (1930). Melbourne SO/Andrew Davis.

Chandos CHSA 5119 4 Glazunov, A. Variations on a Russian theme (1901). Oxana Yablonskaya, pf; Moscow SO/Dmitri Yablonsky.

Naxos 8.553928 13 Various. Ballet: Jeanne’s fan (1927).

Philharmonia O/Geoffrey Simon.

Chandos CHAN 8356 30

17:00 HOSANNA Prepared by Meg Matthews Hymns: Ye holy angels bright; Lead kindly light; O for a thousand tongues.

Choir of Wells Cathedral; Rupert Gough, org; Malcolm Archer, cond.

Hyperion CDP 12105 9 Poulenc, F. Seeing the star. Choir of King’s College, Cambridge/Stephen Cleobury.

EMI 6 09004-2 5 3 Eccard, J. When to the temple Mary went. Choir of King’s College, Cambridge/ Stephen Cleobury.

EMI 6 09004 2 4 Holst, G. Nunc dimittis. Choir of King’s College, Cambridge/Stephen Cleobury.

EMI 6 09004 2 3 Mendelssohn, F. When Jesus our Lord. 6 Greene, M. Lord let me know mine end. 6 Choir of Bath Abbey; Marcus Sealy, org; Peter King, cond (2 above) Priory PRCD 666 Biebl, F. Ave Maria. 3 Gjeilo, O. Second Eve. 6 Voces 8 (2 above) Decca 478 5703 Tippett, M. Five spirituals, from A child of our time. Choir of St George’s Chapel, Windsor; John Porter, org; Christopher Robinson, cond.

Guild GMCD 7105 12 18:00 SMALL FORCES Prepared by Krystal Li Mozart, W. Horn quintet in E flat, K407 (1782) Anneke Scott, hn; Ironwood.

ABC 481 1244 20 Strauss, R. Piano quartet in C minor, op 13 (1883-84). Menuhin Festival Piano Quartet.

Ars F 368 312 34 19:00 SUNDAY NIGHT CONCERT Prepared by Krystal Li Tchaikovsky, P. Francesca da Rimini, symphonic fantasy after Dante, op 32 (1876). SO of Russia/Veronika Dudarova.

Olympia OCD 512 A&B 25 Winding, A. Piano concerto in A minor, op 16 (1869). Oleg Marshev, pf; South Jutland SO/Matthias Aeschbacher.

Danacord DACO 581 25 Diamond, D. Symphony no 3 (1945).

Seattle SO/Gerard Schwarz.

Naxos 8.559155 31

Sunday 12 January 20:30 NEW HORIZONS Prepared by Paul Cooke Zappa, F. Ruth is sleeping (1995).

Michael Kieran Harvey, pf.

ABC 461 723-2 5 Vine, C. Symphony no 5, Percussion (1995). Synergy; Sydney SO/Edo de Waart.

ABC 476 7179 25 Thomas, Augusta. Silver chants the litanies (2004). Greg Heustis, hn; Southern Methodist University Wind Ensemble/Jack Delaney.

Nimbus NI 6258 13 Prestini, P. Body maps (2007). Hila Plitman, sop; Paolo Prestini, alto; Jeffrey Zeigler, vc; Mark Vanderpoel, electric bass.

Tzadik TZ 8060 16 Wright, C. String quartet no 4, Beacon Fell (2012). Fejes Quartet.

Nimbus NI 6291 22 22:00 AFTER HOURS JAZZ

Paola Prestini, Augusta Thomas and Christopher Wright are probably not known to many of our listeners so here are some thumbnail sketches.

Named in 2011 as one of the Top 100 Composers in the World under 40 by the United States National Public Radio, Paola Prestini graduated from the Juilliard School in New York but even before graduating she had co-founded a festival for new music.

She has continued this championing of contemporary composers and their music with her endeavours in this field earning her ‘large stores of gratitude in the new-music world’.

Born in 1964, Augusta Thomas studied at Northwestern and Yale Universities and then the Royal Academy of Music. She has taught at the Eastman School of Music and the Universities of Northwestern and Chicago, at the latter being appointed Professor of Composition. She is also Chair of the Board of the American Music Center.

String quartet no 4, Beacon Fell is the work of English composer Christopher Wright who was born in 1954. He began composing music in 1967 but had a career as a schoolteacher from 1977 to 1993 eventually resigning to compose full-time. However, he is still a trombonist, pianist and choral conductor/trainer.

Monday 13 January 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: 1820 Prepared by Frank Morrison Mendelssohn, F. Violin sonata in F (1820). Jean-Jacques Kantorow, vn; Jacques Rouvier, pf.

Denon CO 78964 13 Hummel, J. Variations in F, op 97 (1820).

Christopher Hinterhuber, pf; Gävle SO/ Uwe Grodd.

Naxos 8.557845 17 Arriaga, J. Overture to The happy slaves (1820). Algarve O/Alvaro Cassuto.

Naxos 8.557207 7 Paganini, N. Ghiribizzi (1820). Marco Tamayo, gui.

Naxos 8.557598 9 Beethoven, L. Bagatelles, op 119 (182022). Luisa Guembes-Buchanan, pf.

Del Aguila DA 55306 14 Rossini, G. In these last moments, from Maometto secondo (1820). Ekaterina Siurina, sop; Elina Garanca, mezz; Matthew Polenzani, ten; Bologna Comunale TO/Robert Abbado.

ABC 480 8016 6 Schubert, F. String quartet no 12 in C minor, D703, Quartet movement (1820).

Juilliard String Quartet.

CBS M2YK 45617 12 10:30 CONCERT HALL Prepared by Derek Parker Berlioz, H. Overture: Roman carnival, op 9 (1844). Sydney SO/Willem van Otterloo.

ABC 442 377-2 9 Field, J. Piano concerto no 3 in E flat (c1805). Míceál O’Rourke, pf; London Mozart Players/Matthias Bamert.

Chandos CHAN 9495 33 Reicha, A. Symphony in F (1808).

Beethoven Academy/Jan Caeyers.

Audivis-Valois V 4834 36 12:00 SWING SESSIONS with John Buchanan 13:00 TRIBUTE TO JESSYE NORMAN Prepared by Elaine Siversen Brahms, J. Alto rhapsody, op 53 (1869).

Choral Arts Society of Philadelphia; Philadelphia O/Riccardo Muti.

Philips 426 253-2 12

Schubert, F. Ellen’s song III, Ave Maria, D839 (1825). Irwin Gage, pf.

Philips 426 642-2 6 Wagner, R. Elisabeth’s greeting, from Tannhäuser (1845). London PO/Klaus Tennstedt.

EMI 9 73399 2 14 Ravel, M. Madagascan songs (1922-26).

Michel Debost, fl; Renaud Fontanarosa, vc; Dalton Baldwin, pf.

EMI 5 69299 2 13 Chausson, E. Mélodies, op 2 (c1882).

Michel Dalberto, pf.

Erato 2292 45368-2 10 Strauss, R. Four last songs, op posth (1948). Gewandhaus O/Kurt Masur.

Philips 411 052-2 25 Jessye Norman, sop (all above) 14:30 TRIBUTE TO PAUL BADURASKODA Schubert, F. Sonata no 8 in F sharp minor, D571 (1817).

Arcana A15 22 Mozart, W. Piano quartet no 1 in G minor, K478 (1785). Members of Festetics Quartet.

Arcana A350 26 Piano concerto no 22 in E flat, K482 (1785). Australian CO/Paul BaduraSkoda.

Fine Music tape archive 34 Paul Badura-Skoda, pf (all above) 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 THE AUSTRALIAN JAZZ SCENE with Susan Gai Dowling and Peter Nelson

To demonstrate techniques that he had set out in his publication on the art of orchestration, Traîté d’instrumentation, Berlioz composed his scintillating concert overture Le carnaval romain (The Roman carnival). He drew most of the material from his opera Benvenuto Cellini that had premiered unsuccessfully six years before. The concert overture became so popular that when a revised version of the opera was to be produced by Liszt at Weimar, Berlioz suggested that the overture could serve as a prelude to the second act which features a carnival.

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Tuesday 14 January 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 Lemmoné, J. Wind amongst the trees, reverie caprice. Paul Curtis, fl; David Miller, pf.

Tall Poppies TP068 8 Koehne, G. Gothic toccata (1983). David Rumsey, org.

MBS 36 7 Bach, J.S. Cello sonata in G, BWV1027 (c1720). Paul Tortelier, vc; Robert Veyron-Lacroix, hpd.

Elatus 0927-46717-2 15 Beach, A. Les rêves de Columbine, op 65 (1907). Virginia Eskin, pf.

Northeastern NR 223 16 Copland, A. Duo for flute and piano (1971). Jeanne Baxtresser, fl; Israela Margalit, pf.

EMI 5 55405 2 14 d’Indy, V. Poem of the mountains, op 15 (1881). Stephanie McCallum, pf.

ABC 461 798-2 20 10:30 CONCERT HALL Prepared by Di Cox Enescu, G. Rumanian rhapsody in A, op 11 no 1 (1901). SBS Youth O/Matthew Krel.

YME 1 12 Weber, C.M. Clarinet concerto no 1 in F minor, op 73 (1811). Janet Hilton, cl; City of Birmingham SO/Neeme Järvi.

Chandos CHAN 8305 21 Brahms, J. Serenade no 1 in D, op 11 (1857-58). Scottish CO/Charles Mackerras.

Telarc 80522 48 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 FIVE TIMES EIGHT Prepared by Derek Parker Mendelssohn, F. String octet in E flat, op 20 (1825). Members of Australian CO. BIS SACD-1984 31 Hummel, J. Octet-partita in E flat (1803).

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Amadeus Wind Players/John Gray.

LP MBS 8 15 Bruch, M. String octet in B flat, op posth. (1920). Zsolt Fejérvári, db; Kodály Quartet; members of Auer Quartet.

Naxos 8.557270 25 Haydn, J. Octet in G for baryton, horns and strings, Hob.X:5 (1775). Members of Haydn Sinfonietta/Manfred Huss.

BIS CD-1796/98 14 Glière, R. String octet in D, op 5 (1903).

Dornbusch Quartet; Buchberger Quartet.

LP Schwann VMS 1046 25 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 Mozart, W. Clarinet quintet in A, KV581 (1789). David Rowden, cl; Omega Ensemble.

ABC 481 4667 33 Dvorák, A. Violin sonata in F, op 57 (1880).

Anthony Marwood, vn; Susan Tomes, pf.

Hyperion CDA66934 23 Schubert, F. String quintet in C, D956 (1828). Dene Olding, vn; Dimity Hall, vn; Irena Morozova, va; Julian Smiles, vc; David Pereira, vc.

Tall Poppies TP011 58

Johannes Brahms had a goal of attaining the same stature as a symphonist as Beethoven and spent years preparing to write his first symphony which he finally completed when he was 43 years old. However, the two Serenades (opp. 11 and 16), although supposedly a lighter orchestral format, are symphonic in length and in substance. They represent two of the composer’s earliest efforts at orchestral writing.

Serenade no 1 in D began as a chamber work for a wind and string octet, then expanded into a nonet but finally was completed in December 1859 as an orchestral work. Although Brahms thought that the premiere performance did not go well, the Serenade was greeted with much applause and he said afterwards that it ‘persisted until I came out and down the front’.

Wednesday 15 January 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 Paul Cooke Gade, N. Overture: Echoes from Ossian, op 1 (1840). Danish National RSO/Dmitri Kitaienko.

Chandos CHAN 9075 15 Strauss, R. Till Eulenspiegel’s merry pranks, op 28, Till with a difference (1894-95; arr. Hasenöhrl 1954). Nigel Westlake, cl; Gordon Skinner, bn; Robert Johnson, hn; Dene Olding, vn; Max McBride, db.

Fine Music concert recording 8 Tartini, G. Violin sonata in G minor, op 1 no 10, Didone abbandonata (pub. 1732).

Locatelli Trio.

Hyperion CDA66430 14 Dreyfus, G. Theme from Let the balloon go (1976). Queensland SO/George Dreyfus.

Move MD 3098 6 Somervell, A. James Lee’s wife (1907).

Catherine Wyn-Rogers, mezz; Graham Johnson, pf; Duke Quartet.

Collins 15222 16 Ireland, J. Sarnia, an island sequence (1941). John Lenehan, pf.

Naxos 8.553700 21 10:30 CONCERT HALL Prepared by Michael Field Walton, W. Fanfare and march, from Macbeth (1941-42; arr. Palmer).

Academy of St Martin in the Fields/Neville Marriner.

Chandos CHAN 8841 6 Ciurlionis, M. The sea (1903-07). Slovak PO/Juozas Domarkas.

Marco Polo 8.223323 27 Herz, H. Piano concerto no 2 in C minor, op 74 (c1830). Tasmanian SO/Howard Shelley, pf & dir.

Hyperion CDA68100 22 Mendelssohn, F. Symphony no 4 in A, op 90, Italian (1833). Tasmanian SO/ Sebastian Lang-Lessing.

ABC 476 3623 28 12:00 JAZZ SKETCHES with Robert Vale

Wednesday 15 January 13:00 OPERA IN CONCERT Prepared by Giovanna Grech Verdi, G. Overture to La forza del destino (1862). State of Mexico SO/Enrique Bátiz.

ASV DCA 856 8 Tchaikovsky, P. Adieu, forêts, from Jeanne d’Arc. Renata Scotto, sop; Budapest SO/Charles Rosekrans.

Hungaroton HCD 31116 6 Meyerbeer, G. Popolo dell’Egitto, from Il crociato in Egitto. Alfredo Kraus, ten; Welsh National Opera Ch & O/Carlo Rizzi.

Philips 442 785-2 9 Massenet, J. Je marche sur tous les chemins, from Manon (1884). Amelia Farrugia, sop; BBC SO/Alexander Briger.

Decca 987 5237 5 Gounod, C. Soldiers’ chorus, from Faust (1859). Ambrosian Opera Ch; London SO/Richard Bonynge.

Decca 440 844-2 3 Wagner, R. Forest murmurs, from Siegfried (1856-71). Philadelphia O/ Eugene Ormandy.

RCA Victrola VD87819 9 Verdi, G. E dessa! ... Un detto, un sol ma lassù ce vedremo, from Don Carlos (1867/84). Angela Gheorghiu, sop; Roberto Alagna, ten; Berlin PO/Claudio Abbado.

EMI 5 56656 2 10 14:00 IN CONVERSATION with Christopher Waterhouse 15:00 THE AGE OF ELEGANCE Hasse, J. Sinfonia, op 5 no 6. Concerto Köln/Pablo Heras-Casado.

Archiv 479 2050 9 Corrette, M. Organ concerto in F, op 26 no 5 (pub. 1756). René Saorgin, org; Nice Baroque Ensemble/Gilbert Bezzina.

Harmonia Mundi HMA 2905148 9 Handel, G. Tanti strali, HWV197 (c171012). Concerto Vocale.

LP Harmonia Mundi HM 1004 10 Rameau, J-P. Suite from Dardanus (1739). O of the 18th Century/Frans Brüggen.

Philips 420 240-2 25 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 Camille Mercep Verdi, G. Il corsaro. Opera in three acts.

Libretto by Francesco Maria Piave. First performed Trieste, 1848.

CORRADO: José Carreras, ten MEDORA: Jessye Norman, sop GULNARA: Montserrat Caballé, sop SEID: Gian-Piero Mastromei, bar SELIMO: John Noble, bar GIOVANNI: Clifford Grant, bass SCHIAVO/EUNUCO: Alexander Oliver, ten Ambrosian Singers; Philharmonia O/ Lamberto Gardelli.

Philips 416 398-2 1:34 The Greek corsair, Corrado, must leave his island and Medora, his lover, to fight the Turks. In disguise he infiltrates the Turkish camp, aiming to kill the pasha Seid but is captured and sentenced to death. Gulnara, Seid’s concubine, falls in love with Corrado and, as the Turks’ fleet burns in the harbour, she kills Seid and flees with Corrado to his island. Medora, believing Corrado is dead, has taken poison. She dies in his arms and, broken hearted, Corrado throws himself from a cliff into the sea.

Overture to La forza del destino (1862).

State of Mexico SO/Enrique Bátiz.

ASV DCA 856 8 Il tramonto; Brindisi, from Six romances (pub. 1845). José Carreras, ten; Martin Katz, pf.

Sony SK 45863 5 22:00 D’INDY LATE Prepared by Jacky Ternisien d’Indy, V. Symphony in G on a French mountain air, op 25 (1886). Aldo Ciccolini, pf; Paris O/Serge Baudo.

EMI 7 63952 2 27 Choral varié, op 55 (1903; arr.). Sigurdur Flosason, sax; Iceland SO/Rumon Gamba.

Chandos CHAN 10585 10 Suite: Médée, op 47 (1891). Württemberg PO/Gilles Nopre.

Marco Polo 8.223654 29 Souvenirs, op 62 (1906). Iceland SO/ Rumon Gamba.

Chandos CHAN 10464 19 Menuet. Margaret Fingerhut, pf.

Chandos CHAN 8578 2 Concerto for piano, flute, cello and strings (1926). Jean-Jacques Wiederker CO/ Frédérick Bouaniche.

Koch 3-1065-2 H1 20

Thursday 16 January 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: Strings Prepared by Jennifer Foong Paisiello, G. Mandolin concerto in C. Ugo Orlandi, mand; I Solisti Veneti/ Claudio Scimone.

LP Erato NUM 75248 14 Saint-Saëns, C. Fantasy in A, op 124 (1907). Jean-Pierre Rampal, fl; Marielle Nordmann, hp.

Sony SK 44552 12 Dittersdorf, C. Divertimento in D. Viennese String Trio.

Calig CAL 50876 9 Koechlin, C. Déclin d’amour, op 13 no 1 (1894). Juliane Banse, sop; Gunter Tueffel, va d’amore; South West German RSO/Heinz Holliger.

SWR Music SWR19046 6 Howells, H. Rhapsodic quintet, op 31 (1917). Thea King, cl; Britten String Quartet.

Hyperion CDA66428 11 Telemann, G. Quartet sonata in G. Verena Fischer, fl; Saskia Fikentscher, ob d’amore; Ulrich Wolff, va da gamba; Léon Berben, hpd.

DHM G0100035608011 8 Boccherini, L. Guitar quintet no 7 in E minor (1798). Pepe Romero, gui; Academy of St Martin in the Fields Chamber Ensemble.

Philips 438 769-2 18 10:30 CONCERT HALL Prepared by Peter Poole Burgmüller, N. Overture to Dionys in F minor, op 5 (1832-34). Leonard Hokanson, pf; Wuppertal SO/Gernot Schmalfuss.

MDG 335 0817-2 12 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 12:00 JAZZ, PURE AND SIMPLE with Maureen Meers

JANUARY 2020

23

Thursday 16 January At 1am, 45 years ago today, 2MBS transmitted the first stereo FM broadcast in Australia becoming the first radio station in the country to achieve this significant milestone.

13:00 AMONG THE TREES Prepared by Jacky Ternisien Strauss, J. II Tales from the Vienna Woods (1868). Queensland SO/Vladimir Ponkin.

ABC 434 715-2 12 Schubert, F. The linden tree, from Winterreise, D911 no 5 (1827). Dietrich Fischer-Dieskau, bar; Jörg Demus, pf.

DG 447 421-2 5 Saint-Saëns, C. Cyprès et lauriers, op 156. Matthias Eisenberg, org; Toulouse Capitol O/Michel Plasson.

EMI 5 55584 2 16 Respighi, O. The pines of Rome (1924).

West Australian SO/Jorge Mester.

ABC 442 348-2 23 14:00 CELEBRATING 2MBS / FINE MUSIC RECORDINGS The early 2000s Recordings by George Hilgevoord, and Kerry Joyner

45TH

Paganini, N. String quartet no 3 in A minor (c1815; pub.1976). Sydney String Quartet.

Recorded October 2002 21 Schubert, F. The shepherd on the rock, D965 (1823). Rosalind Martin, sop; Catherine McCorkill, cl; Ian Munro, pf.

Recorded October 2000 11 Mozart, W. Sonata in B flat, K570 (1789; arr. for violin and piano; pub. 1796).

Donald Hazelwood, vn; Michael Brimer; pf.

Recorded November 2001 18 Beethoven, L. Wind octet in E flat, op 103 (1792-93). Sydney Wind Ensemble.

Recorded 2004 20 Haydn, J. String quartet in D, Hob.III:42 (1781). Australian String Quartet.

Recorded August 2003 15 Mozart, W. Piano concerto in A, K414 (1782; arr. Mozart for piano and string quartet 1783). Dene Olding, vn; Dimity Hall, vn; Irina Morozova, va; Julian Smiles, vc; Ian Munro, pf.

Recorded March 2005 23 Fine Music concert recordings (all above) 24

JANUARY 2020

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 Debussy, C. Prélude à l’après-midi d’un faune (1894). Melbourne SO/Jorge Mester.

ABC 438 611-2 10 Ravel, M. Menuet antique (1895).

Stephanie McCallum, pf.

ABC 456 668-2 6 Fauré, G. Piano quintet no 1, op 89 (1895/1905). Schubert Ensemble.

Chandos CHAN 10576 29 Dukas, P. The sorcerer’s apprentice (1897; arr. Staub). Yuja Wang, pf.

DG 479 0052 10 Chausson, E. Hothouse, op 24 (1896).

Felicity Lott, sop; Graham Johnson, pf.

Hyperion CDA67321/2 14 Dukas, P. Symphony in C (1895-96).

BBC PO/Yan Pascal Tortelier.

Chandos CHAN 241-32 41 22:00 INTERLUDE WITH DEBUSSY Prepared by Jacky Ternisien Debussy, C. Suite: Pour le piano (18941901). Roy Howat, pf.

Tall Poppies TP164 13 Little suite (1886-89). Duo Crommelynck.

Claves 50-8508 13 22:30 ULTIMA THULE with George Cruickshank

Few compositions exist by the French composer, critic, scholar and teacher, Paul Dukas who was a studious man with a shy personality.

The full extent of his opus is not known because he was extremely self-critical and abandoned partlycomposed works and destroyed most of his completed works allowing only a few to be published and performed.

Notable among the published works are his only symphony, Symphony in C, The sorcerer’s apprentice, the opera Ariane et Barbe-bleue and the ballet La Péri. The symphony is described as a charming and colourful work with only three movements instead of the usual four.

Friday 17 January 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 Bartók, B. Evening in Transylvania; Bear dance, from Ten easy pieces (1908). Béla Bartók, pf.

Hungaroton HCD 12326-28 5 Smetana, B. The bear. Jan Novotny, pf.

Supraphon SU 3070-2 111 4 Haydn, J. Symphony in C, Hob.I:82, Bear (1786). Austro-Hungarian Haydn O/Adám Fischer.

Nimbus NI 5419/20 25 Lambert, C. Mr Bear Squash-you-allflat (1924). Nigel Hawthorne, narr; Nash Ensemble/Lionel Friend.

Helios CDH55397 16 Coates, E. The three bears, a phantasy (1926). BBC PO/Rumon Gamba.

Chandos CHAN 9869 10 Adès, T. Polaris: voyage for orchestra (2010). Andrew Macleod, picc; Melbourne SO/Markus Stenz.

ABC 481 0862 15 Halvorsen, J. The princess riding on the bear, from Scenes from Norwegian fairy tales, op 37 (1925). Iceland SO/Bjarte Engeset.

Naxos 8.557018 3 10:30 CONCERT HALL Prepared by Elaine Siversen Schubert, F. Incidental music to Rosamunde, D797 (1823). Tasmanian SO/Sebastian Lang-Lessing.

ABC 476 4740 23 Rosetti, F. Horn concerto in D minor (c1782). Michael Thompson, hn; Philharmonia O/Christopher Warren-Green.

Nimbus NIM 5018 21 Lindblad, A. Symphony no 1 in C (1832).

Stockholm PO/Okko Kamu.

LP Caprice CAP 1197 39 12:00 A JAZZ HOUR with Barry O’Sullivan 13:00 FROM MY LIFE Prepared by Ron Walledge Brahms, J. Academic festival overture, op 80 (1880). London PO/Adrian Boult.

EMI CDM 1 66425 2 10 Smetana, B. String quartet no 1 in E minor, From my life (1880). Lindsay String Quartet.

ASV DCA 777 27

Friday 17 January Elgar, E. Variations on an original theme, op 36, Enigma (1898-99). Philadelphia O/ Eugene Ormandy.

Sony SB2K 63247 29 Strauss, R. Symphonia domestica, op 53 (1902-03). Vienna PO/André Previn.

DG 449 188-2 42 15:00 DIVERSE CHAMBER Prepared by Ray Lemond Brahms, J. Cello sonata no 1 in E minor, op 38 (1862-65). Natalia Gutman, vc; Elisso Wirssaladze, pf.

Live Classics LCL 621 24 Bartók, B. Rumanian dances (1917).

Henryk Szeryng, vn; Charles Reiner, pf.

Mercury 434 339-2 6 Reinecke, C. Wind octet in B flat, op 216 (1892). Members of Boston SO. Naxos 8.570777 23 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 Fidelio, op 72 (1814). Berlin PO. DG 445 112-2 7 Wagner, R. O sink hernieder, Nacht der Liebe, from Tristan and Isolde (1865).

Helga Dernesch, sop; Christa Ludwig, mezz; Jon Vickers, ten; Berlin PO. EMI 9 73399 2 13 Tchaikovsky, P. Suite from Swan Lake, op 20 (1877). Vienna PO. Decca 478 5630 26 Mahler, G. Adagietto, from Symphony no 5 in C sharp minor (1901-02). Berlin PO. DG 479 0540 12 Beethoven, L. Symphony no 3 in E flat, op 55, Eroica (1803). Berlin PO. DG 429 037-2 50 Herbert von Karajan, cond (all above)

22:00 BAROQUE AND BEFORE Celebrating 2MBS / Fine Music recordings: the 1990s Recordings by Denis Eddy, George Hilgevoord, Laurel Merritt and Belinda Webster

45TH

Telemann, G. Concerto in E minor (171221). Christine Draeger, fl; Jyoti Brunsdon, fl; Fiona Ziegler, vn; Sydney Bach O/Allan Holley.

Recorded June 1990 12 Scarlatti, A. Cantata: Nelle arene del Tago (1698; arr. Halton). Andrew Dalton, ct; Rosalind Halton, hpd.

Recorded November 1993 7 Bach, J.S. Cello suite no 2 in D minor, BWV1008 (c1720). Patrick Demenga, vc.

Recorded November 1991 19 Handel, G. Dixit Dominus, HWV232 (1707). Jane Edwards, sop; Penelope Sharp, sop; Tobias Cole, alto; Michael Hissey, bass; Sydney Chamber Choir & O/Hans-Dieter Michatz.

Recorded December 1992 31 Couperin, F. Concert royal I (1714).

Owen Watkins, rec; Geoffrey Burgess, baroque ob; Kate Morgan, vc; Tamara Rozek, hpd.

Recorded July 1992 10 Strozzi, B. Lamento: Lagrime mie. Jane Edwards, sop; Aurora Musicale/Lucinda Moon.

Recorded June 1997 10 Adam de la Halle. Suite of songs and dances, from Le jeu de Robin et Marion (c1282; arr. Pastance). Pastance.

Recorded January 1992 13 Caccini, G. Amarilli mia bella (1601); Torna, deh torna pargoletto mio (1614).

Lavinina Bertotti, sop; Nicholas Parle, hpd.

Recorded November 1991 6 Fine Music concert recordings (all above)

Le jeu de Robin et de Marion by the trouvère Adam de la Halle is reputedly the earliest French secular play with music. First performed around 1282-83 at the Angevin court in Naples, it is based on a traditional story of an encounter between a knight and a shepherdess, frequently named Marion. In the Picard dialect of Adam de la Halle’s hometown of Arras, the play’s action mainly takes place when Marion is with her lover Robin and their friends after she resists the knight’s amorous advances. The interspersed music consists of short refrains and songs in a style that was considered to be popular at the time. The play was a form of escapism into a rustic world.

Saturday 18 January 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 Haydn, J. Keyboard sonata no 6 in C, Hob.XVI:10 (bef. 1767). Jenö Jandó, pf.

Naxos 8.553824 9 Poulenc, F. Three pieces (1928). Pascal Rogé, pf.

Decca 417 438-2 10 Schumann, R. Fantasy in C, op 17 (1836-38). Vladimir Ashkenazy, pf.

Decca 443 322-2 30 10:00 MUSIC OF THE DANCE Prepared by Paul Cooke Gluck, C. Dance of the blessed spirits, from Orpheus and Euridice (1762; arr.).

Kathryn Moorhead, fl; Megan Reeve, hp.

Move MCD 447 7 Bartók, B. Rumanian folk dances (1917).

Hungarian State SO/Adám Fischer.

Nimbus NI 5309 7 Praetorius, M. Four dances from Terpsichore (pub. 1612; arr.). Saffire.

ABC 476 5695 9 Grieg, E. Suite: From Holberg’s time, op 40 (1884). Australian Brandenburg O/ Shunske Sato.

ABC 481 4952 20 Liszt, F. Totentanz, S525 (1849). Leslie Howard, pf.

Hyperion CDS44517 14 Roussel, A. Suite from Padmâvatî (1914-18). Royal Scottish NO/Stephane Deneve.

Naxos 8.572243 22 11:30 ON PARADE Music that’s band Prepared by Owen Fisher Various. Instant concert (arr. Edward Gray). Royal Doulton Band/Edward Gray.

LP Astor GGS 1506 3 Grieg, E. Elegiac melody no 2, Spring (arr.). Black Dyke Mills Band; Besses o’ th’ Barn Band; Yorkshire Imperial Metals Band; Peter Parkes, cond.

Chandos CHAN 8571 7 Hernandez, R. Samba: El cumbanchero.

Yorkshire Imperial Metals Band/Trevor Walmsley.

LP Columbia 330 SX 1118 3 JANUARY 2020

25

Saturday 18 January Wood, Haydn. Tone poem: Mannin Veen (arr.). George Boyer, org; Allentown Band/Ronald Demkee.

AMP 20194 11 Gregson, E. Swedish march. FootscrayYarraville City Band/D. Trotman.

LP Delta 60357 4 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 Puccini’s Tosca, and plays some of the music that makes it a great opera.

14:30 SATURDAY MATINEE Mahler’s ninth Mahler, G. Symphony no 9 in D (1909).

Los Angeles PO/Gustavo Dudamel.

DG 479 0924 1:26 Brahms, J. Piano quartet no 2 in A, op 26 (1861-62). Rivka Golani, va; Borodin Trio.

Chandos CHAN 8809/10 56 17:00 SOCIETY SPOT Classical Guitar Society Prepared by Darryl Rule 18:00 MUSIC OF THE SCREEN Music of all kinds featured on the screen, small and large 19:00 THE DANISH SYMPHONY Prepared by Chris Blower Strauss, R. Tone poem: Don Juan, op 20 (1888). Melbourne SO/Andrew Davis.

ABC 481 1122 17 Langgaard, R. Symphony no 2, Awakening of Spring (1912-14). Inger Dam-Jensen, sop; Danish NSO/Thomas Dausgaard.

Dacapo 6.220516 38

20:00 THE LIFE OF A COMPOSER Francis Poulenc Prepared by Rex Burgess Poulenc, F. Suite from Les biches (1923). Ulster O/Yan Pascal Tortelier.

Chandos CHAN 9023 20 Pastorale; Hymne; Toccata (1928).

Gabriel Tacchino, pf.

EMI CMS 7 62551 2 9 Five poems of Max Jacob (1931). Elly Ameling, sop; Dalton Baldwin, pf.

EMI CMS 7 64087 2 6 Sextet for wind quintet and piano (1931).

Elizabeth Powell, pf; Sydney Wind Quintet.

LP Cherry Pie LA07889 17 Seven chansons (1936). Joyful Company of Singers/Peter Broadbent.

ASV DCA 1067 14 Piano concerto (1949). Simon Tedeschi, pf; SBS Youth O/Matthew Krel.

YME 1 21 Oboe sonata, To the memory of Sergei Prokofiev (1962). Gareth Hulse, ob; Ian Brown, pf.

Hyperion CDA67255/6 13 La dame de Monte-Carlo (1961). Mady Mesplé, sop; Monte Carlo PO/Georges Prêtre.

EMI 7 47550 2 7 22:00 SATURDAY NIGHT AT HOME Prepared by Chris Blower Saint-Saëns, C. La foi, op 130. Toulouse Capitol O/Michel Plasson.

EMI 5 55584 2 33 Schubert, F. String quartet in D minor, no 14, Death and the maiden (1824).

Borodin Quartet.

Apex 2564 67429-8 44 Glazunov, A. Incidental music for Lemontov’s play Masquerade (1912-13).

Gnesin Acadamy Ch; Russian PO/Dmitry Yablonsky.

Naxos 8.570211 36

Although we are more accustomed to listening to Saint-Saëns concert works, he was in great demand as a writer of incidental music and, in 1908, he also wrote the first-known film score. In that same year Prince Albert I of Monaco commissioned Saint-Saëns to compose incidental music to Eugène Brieux’s play La Foi (Faith) which premiered in Monaco in April 1909. It seems that the composer took this opportunity to try out some tunes that he had collected during the times when he was escaping the bitter Paris winters by sojourning in Egypt. He wrote to Fauré: “I’ve used Egyptian scales which will lead to talk that I’ve wanted to be up to date; extremes meet, and the antique and the modern embrace each other … and lots of other things in the same manner. Unfortunately, after [Strauss’] Salome it’ll come over as diatonic.” The perennial problem for a composer of being compared to another composer and, in this case, it was apparently not welcome.

26

JANUARY 2020

Sunday 19 January 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SUNDAY MORNING MUSIC with Terry McMullen 9:00 MUSIC SACRA Prepared by Jacky Ternisien Monteverdi, C. Magnificat anima mea Dominum à 8, from Selva morale e spirituale (pub. 1640; ed. Parrott). Emma Kirkby, sop; Rogers Covey-Crump, ten; David Thomas, bass; Taverner Consort and Players/Andrew Parrott.

EMI CDC 7 47016 2 13 Dupré, M. Versets on Ave Maris Stella, from Vespers of the Virgin, op 18 (1918).

Michael Dudman, org.

ABC 461 754-2 9 Haydn, M. Missa pro defunctis (1771).

Ibolya Verebics, sop; Judit Németh, cont; Martin Klietmann, ten; Jozsef Moldvay, bass; Franz Liszt CO/Helmut Rilling.

Hungaroton Classic MCD 31022 32 10:00 THE CLASSICAL ERA Prepared by Di Cox Bellini, V. Trumpet concerto in E flat (pub.1941; transcr.). Geoffrey Payne, tpt; Melbourne SO/Michael Halász.

ABC 982 6976 8 Rossini, G. Introduction, theme and variations for clarinet and strings.

Vincenzo Mariozzi, cl; I Solisti Aquilani/ Vittorio Antonellini.

Nuova Era 6910 13 Schubert, F. Fantasie in F minor, D940 (1828). Murray Perahia; Radu Lupu, pf.

CBS MK 39511 19 Viotti, G. Violin concerto no 22 in A minor (c1792-97). Elizabeth Wallfisch, vn; Brandenburg O/Roy Goodman.

Hyperion CDA66840 28 Quantz, J. Concerto in G à 10. Jed Wentz, fl; Marion Moonen, fl; Musica ad Rhenum/Florian Deuter.

Vanguard 99040 11 Haydn, J. String quartet in E flat, Hob. III:38, Joke (1781). Lindsay String Quartet.

ASV DCA 937 20 Bach, J. Christian Symphony in B flat, op 9 no 1. Hanover Band/Anthony Halstead. cpo 999 487-2 10 12:00 CLASSIC JAZZ AND RAGTIME with Jeannie McInnes 13:00 WORLD MUSIC: Whirled Wide with Anna Tranter

Sunday 19 January 14:00 CELEBRATING 2MBS / FINE MUSIC RECORDINGS From 1992 to 2016 Recordings by Greg Ghavalas, Kerry Joyner and Belinda Webster

45TH

Mozart, W. Piano sonata no 8 in A minor, K310 (1778). Peter Waters, pf.

Recorded November 1992 16 Mendelssohn, F. Songs without words, bk 2, op 30 (1833-34): no 4, The wanderer in B minor; no 6, Venetian boat song in F sharp minor; op 67 (1843-45): no 4, Spinning song. Robert Chamberlain, pf.

Recorded May 2016 6 Mendelssohn, F. Songs without words, bk 6, op 67 (1843-45): no 4, Spinning song. Robert Chamberlain, pf.

Recorded May 2016 2 Mozart, W. Piano sonata in F, K280 (1775). Brenda Jones, pf.

Recorded March 2013 16 Rachmaninov, S. Romance; Tarantella, from Suite no 2, op 17 (1901). Pamela Page, pf; Max Olding, pf.

Recorded March 2004 13 Fine Music concert recordings (all above) 15:00 SUNDAY SPECIAL Born two days apart Prepared by Jacky Ternisien

Tournemire, C. Choral-improvisation on Victimae paschali (1930; transcr. Duruflé). Pétur Sakari, org.

BIS 1969 10 Lekeu, G. Adagio (1891). Kremlin CO/ Misha Rachlevsky.

Claves 50-9325 10 Piano sonata in G (1891). Jeannine Vieuxtemps, pf.

LP Pavane ADW 7088 19 Tournemire, C. Fantasie on Te Deum et Guirlandes alléluïatique, from The mystical organ (1930). Peter Nicholson, org.

LP Move MS 3048 5 Lekeu, G. Violin sonata in G (1891).

Christian Ferras, vn; Pierre Barbizet, pf.

DG 480 6655 29

Tournemire, C. Symphony no 3, op 43, Moscou (1913). Moscow SO/Antonio de Almeida.

Naxos 8. 223808 34 17:00 HOSANNA Prepared by Richard Munge Hymns: Brightest and best of the sons of the morning; From the Eastern mountains. Choir of Wells Cathedral; Rupert Gough, org; Malcolm Archer, cond.

Hyperion CDP 12103 6 Psalms: No 96, O sing unto the Lord a new song; no 42, Like as a hart. Choir of St John’s College, Cambridge; John Scott, org; George Guest, cond.

Decca 452 941-2 9 Stanford, C. Villiers Te Deum; Jubilate in C. Choir of Ely Cathedral; Jeremy Filsell, org; Paul Trepte, cond.

Heritage HTG 219 11 Ouseley, F. O Saviour of the world. 2 Bach, J.S. Jesu, joy of man’s desiring. 6 Choir of St George’s Chapel, Windsor; Roger Judd, org; Timothy Byran-Wigfield, cond (2 above) Delphian D 34048 Gregorian chant: A solis ortus cardine, from Lands that see the sun arise. Choir of Buckfast Abbey/Philip Arkwright.

Priory PR 1151 6 Hymns: O thou who camest from above; Jesu, lover of my soul. Cantus Choro; Geoffrey Cox, org; Peter Chapman, cond.

Move MD 3142 6 Bach, J.S. Prelude and fugue in A, BWV536. James Lancelot, org.

Priory PRCD 1179 7

18:00 SMALL FORCES Prepared by Anne Irish Mahler, G. Piano quartet in A minor.

Sascha Maisky, vn; Lyda Chen, va; Mischa Maisky, vc; Lily Maisky, pf.

EMI 7 21119 2 13 Sibelius, J. Three pieces, op 116 (1929).

Nils-Erik Sparf, vn; Bengt Forsberg, pf.

BIS CD-625 9 Grieg, E. Intermezzo in A minor (1866); Allegretto (arr. from Violin sonata no 3 in C minor, op 45 1887). Andreas Brantelid, vc; Christian Ihle Hadland, pf.

BIS 2120 11 Ries, F. Sextet, op 142. Dieter Klöcker, cl; Karl Hartmann, bn; Nury Guarnaschelli, hn; Wolfgang Güttler, db; Edward Witsenburg, hp; Werner Genuit, pf.

Schwann 310 001 H1 20 19:00 SUNDAY NIGHT CONCERT Prepared by Chris Blower Beethoven, L. Piano concerto in D, op 61a (1806; arr. Beethoven from Violin concerto). English CO/Daniel Barenboim, pf & dir.

DG 429 179-2 45 Glazunov, A. Ballet: The seasons, op 67.

Czecho-Slovak RSO/Ondrej Lenárd.

Naxos 8.553272 38 20:30 NEW HORIZONS Prepared by Nev Dorrington Preisner, Z. Twilight (2019). Dominik Wania, pf.

Universal Music Polska 774 7781 44 Melodies of my youth (2019). Lisa Gerrard, sop; Dominik Wania, pf.

Universal Music Polska 774 6539 42 22:00 AFTER HOURS JAZZ

Although not well known outside the ballet world, Italian conductor Riccardo Drigo was an important ballet composer and, from 1886, held the posts of Director of Music and Chef d’orchestre to the Ballet of the St Petersburg Imperial Theatres, while also serving as conductor for performances of the Italian operas at the Imperial Opera. His close friend and colleague Alexander Glazunov also composed ballets. The friends had an affinity towards each other’s assigned ballets and, in at least in one instance, exchanged their commissions.

Glazunov was supposed to compose the music for Marius Pepita’s Les millions d’arlequin (also known as Harlequinade) while Drigo had been asked to compose the score for the same choreographer’s ballet Les saisons (The seasons). Perhaps each felt that he had more empathy with the subject of the other ballet but it’s not known how the choreographer or the ballet management reacted to this exchange.

Nevertheless, this is what happened. The ballets premiered within three days of each other with the whole Imperial court in attendance at both performances.

Harlequinade has not been performed in its original two-act version since 1927 but in an abridged one-act revision. The seasons also survived in a one-act abridgement in the repertory of Anna Pavlova’s touring company. Glazunov’s reputation, however, lives on in his many non-theatrical works.

JANUARY 2020

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Monday 20 January 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: 1875 Prepared by Jacky Ternisien Lalo, E. Overture to Le roi d’Ys (1875).

Suisse Romande O/Ernest Ansermet.

Decca 425 083-2 12 Winding, A. Concert allegro in C minor, op 29 (c1875). Oleg Marshev, pf; South Jutland SO/Matthias Aeschbacher.

Danacord DACOCD 581 15 Massenet, J. Overture to The king of Lahore (1875-76). West Australian SO/ Werner Andreas Albert.

ABC 434 713-2 8 Widor, C-M. Piano trio in B flat (1875).

Ilona Prunyi, pf; Andras Kiss, vn; Karoly Botvay, vc.

Naxos 8.555416 32 Fauré, G. Nocturne in E flat minor, op 33 no 1 (1875). Jean-Claude Pennetier, pf.

Mirare MIR 100 8 Saint-Saëns, C. Allegro appassionato, op 43 (1875). Luigi Piovano, vc; Luisa Prayer, pf.

Eloquentia EL 1024 4 10:30 CONCERT HALL Prepared by Paul Cooke Bach, J.S. Chorale: Christ lay in death’s bonds, BWV4 (1707-08; transcr.

Stokowski). Sydney SO/Robert Pikler.

Chandos CHAN 6532 4 Eberl, A. Piano concerto in C, op 32.

Riko Fukuda, fp; Cologne Academy/ Michael Alexander Willens. cpo 777354-2 35 Dvorák, A. Symphony no 9 in E minor, op 95, From the New World (1893). Royal Liverpool PO/Libor Pesek.

Virgin VC 7 90723-2 44 12:00 SWING SESSIONS with John Buchanan 13:00 A FRENCH HOUR Prepared by Ray Lemond Ibert, J. Louisville concerto (1950). City of Birmingham SO/Louis Frémaux.

EMI 5 66010 2 11 Hahn, R. Piano quartet no 3 in G (1946).

Room-Music.

Hyperion CDH55379 22

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JANUARY 2020

Debussy, C. La mer, three symphonic sketches (1905). Ulster O/Yan Pascal Tortelier.

Chandos CHAN 9114 22 14:00 FIVE SIXES Prepared by Derek Parker Dvorák, A. Sextet in A, op 48 (1878).

Academy of St Martin in the Fields Chamber Ensemble.

Chandos CHAN 8771 29 Poulenc, F. Wind sextet (1932). Les Vents Français.

Warner Classics 0825646231850 17 Pleyel, I. Sextet in B flat. Consortium Classicum.

Musikproduktion MD+G L 3460 17 Copland, A. Sextet (1937). New York Chamber Ensemble/Stephen Rodgers Radcliffe.

Albany Records TROY 175 15 Mendelssohn, F. Piano sextet in D, op 110 (1824). Andra Darzins, va; Wolfgang Wagner, db; Bartholdy Piano Quartet.

Naxos 8.550966 31 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm 19:00 JAZZ PULSE with Chris Wetherall 20:00 STORMY MONDAY with Austin Harrison and Garth Sundberg 22:00 THE AUSTRALIAN JAZZ SCENE with Susan Gai Dowling and Peter Nelson

Jacques Ibert’s Louisville concerto is one of more than 400 works commissioned from living composers (at the time of commissioning) by the Louisville Orchestra of Kentucky. It is not a conventional concerto but is more like a large-scale concert overture and, although it shows off the whole of the orchestral sections, it also is not a concerto for orchestra. Ibert was particularly fascinated by the colours and timbres of wind instruments and they are prominently featured in this work.

One commentator has described it as ‘concert overture on steroids’. The atmosphere is upbeat and jazzy with some quirky dissonance reminiscent of Stravinsky’s neo-classical writing.

In this exuberant work, with often joyous cacophony, there is an overwhelming sense of optimism.

Ibert’s mastery of the orchestra is supreme.

Tuesday 21 January 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 Bridge, F. Cello sonata in D minor (191317). Bernard Gregor-Smith, vc; Yolande Wrigley, pf.

ASV DCA 796 23 Bach, J.S. Chorale: Allein Gott in der Höh sei Ehr, BWV663 (c1708-17).

Christopher Herrick, org.

Hyperion CDA67071/2 6 Grieg, E. Lyric pieces, bk 4, op 47 (188588). Einar Steen-Nøkleberg, pf.

Naxos 8.553394 22 Mozart, W. Schlafe, mein Prinzchen, schlaf ein (arr. Bernard Flies after Friedrich Anton Fleischmann). Andreas Scholl, ct; Tamar Halperin, hpd.

Carus 83.002 4 Lalo, E. Piano trio no 2 in B minor (1851).

Trio Henry.

Pierre Verany PV 794031 25 10:30 CONCERT HALL Prepared by Frank Morrison Sibelius, J. Scènes historiques, suite no 1, op 25 (1899). New Zealand SO/Pietari Inkinen.

Naxos 8.570068 18 Stamitz, C. Viola concerto in D, op 1 (pub. 1774). Tabea Zimmermann, va; European Union CO/Dmitri Demetriades.

Helios CDH55035 21 Brahms, J. Symphony no 2 in D, op 73 (1877). Scottish CO/Charles Mackerras.

Telarc 80450 43 12:00 JAZZ RHYTHM with Jeannie McInnes 13:00 OPERA IN CONCERT Prepared by Giovanna Grech Mascagni, P. Gli aranci olezzano, from Cavalleria rusticana (1890). Slovak Philharmonic Ch; Slovak RSO/Alexander Rahbari.

Naxos 8.553963 8 Bizet, G. Elle est là ... La voix d’un amant fidèle, from La jolie femme de Perth (1866). Juan Diego Flórez, ten; Bologna Comunale Theatre Ch & O/Roberto Abbado.

Decca 478 5948 6

Tuesday 21 January Gounod, C. Jewel song, from Faust (1859). Amelia Farrugia, sop; BBC SO/ Alexander Briger.

Decca 987 5237 5 Ponchielli, A. Dance of the hours, from La Gioconda (1876). Berlin PO/Herbert von Karajan.

DG 474 617-2 11 Meyerbeer, G. Overture to Dinorah (1859). New Zealand SO/Darrell Ang. Naxos 8.573195 13 Verdi, G. Return victorious, from Aïda (1871). Rita Hunter, sop; Tasmanian SO/ Dobbs Franks.

ABC 438 196-2 8 14:00 MUSICAL FAMILIES Husband and wife Prepared by Jennifer Foong Beethoven, L. Piano trio in E flat, op 1 no 1 (c1794-95). Pinchas Zukerman, vn; Jacqueline du Pré, vc; Daniel Barenboim, pf.

EMI CMS 7 63124 2 29 Elgar, E. In moonlight (1904; arr. Milone).

Royal PO/Pinchas Zukerman, va & dir.

Decca 478 9386 3 Grusin, D. Three Latin-American dances (2000). Arnold Steinhardt, vn; Amanda Forsyth, vc; Dave Grusin, pf.

Naxos 8.559235 16 Vaughan Williams, R. The lark ascending (1914/20). Pinchas Zukerman, vn; English CO/Daniel Barenboim.

DG 442 833-3 13 Mozart, W. Exsultate, jubilate, K165 (1773). Judith Blegen, sop; Mostly Mozart FO/Pinchas Zukerman.

Sony 88697529902 16

Vivaldi, A. Oboe concerto in D minor, RV454. Neil Black, ob; Philip Ledger, hpd; English CO/Pinchas Zukerman.

Sony SBK 53 513 9 Stamitz, C. Sinfonia concertante in D (1780-82). Isaac Stern, vn; Pinchas Zukerman, va; English CO/Daniel Barenboim.

Sony SM2K 66 472 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 Mozart, W. Violin sonata no 18 in G, K301 (1778). Dene Olding, vn; Max Olding, pf.

ABC 432 699-2 16 Molique, B. Flute quintet in D, op 35.

John Wion, fl; Eric Lewis, vn; Andrew Berdahl, va; Rosemary Glyde, va; Judith Glyde, vc.

Hart HMP4W91514 24 Mendelssohn, F. Cello sonata no 2 in D, op 58 (1843). Julian Smiles, vc; James Muir, pf.

Fine Music concert recording 27 Giuliani, M. Sonata in C. Dieter Klöcker, cl; Sonja Prunnbauer, gui.

Dabringhaus Grimm MD&G L 3319 15 Arnold, M. String quartet no 2, op 118 (1975). Maggini Quartet.

Naxos 8.557762 27

Bernhard Molique’s Flute quintet in D, op 35 is said to be one of the finest in the genre from the mid-Romantic era. Apart from the flute, its instrumentation may be for violin, two violas and cello or for two violins, viola and cello. It was composed in 1848 while Molique was teaching in London at the Royal Academy of Music and was dedicated to the piano manufacturer John Broadwood who was an amateur flute player. The flute is often given the lead, as was usual at the time, but Molique has also given interesting parts to the stringed instruments including at the beginning where the cello presents the main theme of the first movement. An English folk tune (thème anglais) is found in a spirited Scherzo and is given first to the viola. The work concludes with a genial Rondo.

Molique, despite his French name, was born in Germany. His early career before moving to London was as a touring violin virtuoso and court violinist in Munich until he was appointed Music Director to the Royal Court in Stuttgart. As a composer he was largely self-taught and his influences came from the music of Mozart, Beethoven and Mendelssohn, and from Spohr with whom Molique had studied for a short time. Berlioz praised his work but Molique was untouched by that composer’s revolutionary ideas. Molique is mostly known for his violin concertos although he also wrote a large amount of chamber music.

Wednesday 22 January 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Janine Burrus 9:00 DIVERSIONS IN FINE MUSIC Inspired by literature Prepared by Jacky Ternisien Vogler, G. Overture to Athalie (1786).

London Mozart Players/Matthias Bamert.

Chandos CHAN 10504 3 Charpentier, M-A. Ballet music from Médée (1693). Les Arts Florissants/ William Christie.

Erato 3984-26129-2 9 Saint-Saëns, C. Andromaque (1902).

Monte Carlo PO/David Robertson.

Auvidis V 4688 13 Charpentier, M-A. Excerpts from Médée.

Anne Sofie von Otter, mezz; Les Arts Florissants/William Christie.

Archiv 477 8610 19 Dukas, P. Overture to Incidental music for Polyeucte (1891). BBC PO/Yan Pascal Tortelier.

Chandos CHAN 241-32 15 Massenet, J. Ballet music from Le Cid (1885). Israel PO/Jean Martinon.

Decca 476 2742 18 10:30 CONCERT HALL Prepared by Anne Irish Khachaturian, A. Suite no 2 from Gayaneh (1942/52/67). Armenian PO/ Loris Tjeknavorian.

ASV DCA 884 22 Mozart, W. Double concerto in C, K299 (1778). William Bennett, fl; Osian Ellis, hp; English CO/Raymond Leppard.

ASV DCA 532 27 Grieg, E. Symphony in C minor (186364). Bergen PO/Ole Kristian Ruud.

BIS CD-1740/42 34 12:00 JAZZ SKETCHES with Robert Vale 13:00 BRAHMS’ LIEBESLIEDERWALZER

Schubert, F. Twelve German dances, D790 (1823). Mitsuko Uchida, pf.

Philips 475 6282 15 Brahms, J. Geistliches Wiegenlied, op 91 no 2 (pub 1884). Jessye Norman, sop; Wolfram Christ, va; Daniel Barenboim, pf.

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Wednesday 22 January DG 480 6800 6 Schumann, C. Three romances, op 22 (1853). Joseph Silverstein, vn; Veronica Jochum, pf.

Pro Arte CDD 395 9 Brahms, J. Liebeslieder-Walzer, op 52 (1868-69). Los Angeles Vocal Arts Ensemble; Raúl Herrera, pf; Armen Guzelimian, pf.

Nonesuch 79008-2 24 14:00 IN CONVERSATION with Christopher Waterhouse 15:00 HARMONY ON THE HIGHWAY Prepared by Michael Morton-Evans Arne, T. Keyboard concerto no 3 in A, mvt 1 (pub. 1793). Parley of Instruments Baroque O/Paul Nicholson, fp & dir.

Helios CDH55251 7 Verdi, G. Overture to La forza del destino (1862). State of Mexico SO/Enrique Bátiz.

ASV DCA 856 8 Adams, J. Shaker loops, mvt 1 (1978/83). Bournemouth SO/Marin Alsop.

Naxos 8. 559031 9 Tallis, T. Lamentations I. Clerks of the Choir of New College, Oxford/Edward Higginbottom.

Collins 14872 9 Prokofiev, S. Symphony no 3 in C minor, op 44, mvt 3 (1928). Ukraine NSO/ Theodore Kuchar.

Naxos 8. 553054 8 Copland, A. Down a country lane (1962).

Saint Paul CO/Hugh Wolff.

Teldec 9031-77310-2 3 Fauré, G. Nocturne in E flat minor, op 33 no 1 (1875). Kathryn Stott, pf.

Hyperion CDA66911/4 7 Ellington - Mills - Carney. Rockin’ in rhythm (orch. Lee Hall Jr). Joe Eckert, cl; Joe Jackson, tb; Brian MacDonald, tpt; United States Air Force Band.

Altissimo ALT61652 4 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm 19:00 JAZZ STARS AND STRIPES with Peter Mitchell

30

20:00 AT THE OPERA Prepared by Elaine Siversen Delibes, L. Lakmé. Opera in three acts. Libretto by Edmond Gondinet and Philippe Gille. First performed Paris, 1883.

LAKMÉ: Emma Matthews, sop NILAKANTHA: Stephen Bennett, bassbar JANUARY 2020

HADJI: Edmond Choo, ten MALLIKA: Dominica Matthews, mezz FREDERIK: Luke Gabbedy, bar Opera Australia Ch; Australian Opera and Ballet O/Emmanual Joel-Hornak.

Opera Australia OPOZ56022CD 2:12 Lakmé, daughter of the priest Nilakantha, gathers flowers with her slave Mallika.

British officers Gerald and Frederick break into the temple precinct and admire Lakmé’s jewels. Gerald and Lakmé fall in love. Returning too late to catch Gerald, Nilakantha swears vengeance on the trespasser. At the bazaar, Nilakantha has Lakmé sing the Bell Song to lure her unknown lover. Discovering that it is Gerald, he plots his murder. Lakmé proposes to run away with Gerald, whose regiment is about to leave. Under cover of a religious procession Gerald is stabbed but not fatally. Lakmé’s slave Hadji carries him to her forest hidingplace. Frederick arrives to remind Gerald of his military duty. Thinking she has lost him, Lakmé eats a deadly datura leaf. The lovers make a pledge with sacred water, protecting Gerald from Nilakantha’s revenge, but Lakmé dies soon after.

22:30 SCHUBERT IN 1827 Schubert, F. Impromptus, D935 (1827).

Claudio Arrau, pf.

Philips 434 101-2 43 Piano trio in E flat, D929 (1827). Beaux Arts Trio.

Philips 438 700-2 41 Schubert composed some of his finest vocal, keyboard and chamber music during his final year, 1827. The climax of his vocal writing was his song cycle Die Wintereisse consisting of 24 songs. For the piano he wrote eight Impromptus (later catalogued in two sets of four as D899 and D935) and the chamber music included Fantasy in C, D934 for violin and piano and two piano trios: Piano trio in B flat, D898 and Piano trio in E flat, D929. It has been said that Schubert was deeply influenced by the Opus 7 Impromptus of the Bohemian Jan Václav Vorísek and also by the music of the latter’s teacher, Václav Tomásek. Schubert’s pieces are typical Romantic-era works, each with a distinctive style, but it was the publisher who denoted them as Impromptus.

Thursday 23 January 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: Strings Prepared by Jacky Ternisien Marais, M. La sonnerie de Ste Geneviève du Mont de Paris (pub. 1723).

Boston Museum Trio.

Centaur CRC 2129 8 Mozart, W. Sonata in C no 15, K545 (1788; arr.). Lipman Harp Duo. sebastien-lipman.com 7 Reser, H. Suite for banjo and orchestra (1922-30). Don Vappie, banjo; Hot Springs Music Festival SO/Richard Rosenberg.

Naxos 8.559647 11 Piccinini, A. Excerpts from The intavolatura di liuto et di chitarrone, bk 1.

Nigel North, chitarrone.

Arcana A 6 17 Hoffmeister, F. Double bass concerto in D. Edicson Ruiz, db; Carreño Youth SO of Venezuela/Christian Vásquez.

Philharmonie PHIL 06020 15 Wesley, S. String quartet in E flat.

Salomon Quartet.

Hyperion CDA66780 22 10:30 CONCERT HALL Prepared by Jennifer Foong Gipps, R. Song for orchestra, op 33 (1948). BBC Welsh NO/Rumon Gamba.

Chandos CHAN 20078 6 Bach, J. Christian Keyboard concerto in G, op 1 no 4 (1763). Ingrid Haebler, fp; Vienna Capella Academica/Eduard Melkus.

Philips 438 712-2 14 Bantock, G. Celtic symphony (1940).

Royal PO/Vernon Handley.

Hyperion CDA66450 20 Strauss, R. Don Quixote: Fantastic variations on a knightly theme, op 35 (1896-97). James Ehnes, vn; Christopher Moore, va; Daniel Müller-Schott, vc; Melbourne SO/Andrew Davis.

ABC 481 7471 42 12:00 JAZZ, PURE AND SIMPLE with Maureen Meers 13:00 SURVIVING MUSIC OF YOUNG COMPOSERS Prepared by Anabela Pina Weber, C.M. Overture to Peter Schmoll

Thursday 23 January und seine Nachbarn (1803). Tapiola Sinfonietta/Jean-Jacques Kantorow.

BIS SACD-1760 8 Linley, T. the younger Violin concerto in F (c1772). Elizabeth Wallfisch, vn; Parley of Instruments/Peter Holman.

Helios CDH55260 16 Field, J. Piano concerto no 1 in E flat (1799). Benjamin Frith, pf; Northern Sinfonia/David Haslam.

Naxos 8.553770 21 Arriaga, J. Overture to Nonetto, op 1 (c1817). Le Concert des Nations/Jordi Savall.

Astrée E 8532 8 14:00 CELEBRATING 2MBS / FINE MUSIC RECORDINGS 2006-2012 Recordings by Greg Ghavalas and Kerry Joyner

45TH

Bach, J.S. Chaconne, from Partita no 2 in D minor, BWV1004 (1720). Sophie Rowell, vn.

Recorded March 2010 15 Mozart, W. Divertimento in D, K205 (1773). John Cran, bn; Robert Johnson, hn; Casey Rippon, hn; Marina Marsden, vn; Jennifer Curl, va; Andrew Raciti, db.

Recorded July 2006 18 Beethoven, L. String quintet in E flat, op 4 (1795). Utzon Ensemble.

Recorded September 2007 30 Bridge, F. Three songs for mezzosoprano, viola and piano, H76 (190607). Victoria Lambourn, mezz; Paul Silverthorne, va; Phillip Shovk, pf.

Recorded August 2012 10 Rojas, D. Little serenade for strings (2008). Bourbaki Ensemble/David Angell.

Recorded October 2008 9 Schumann, R. Piano quartet in E flat, op 47 (1842). Nexus 2MBS Virtuosi.

Recorded March 2011 26 Fine Music concert recordings (all above)

Friday 24 January

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

0:00 CONTEMPORARY COLLECTIVE

19:00 THE NEW JAZZ STANDARD with Frank Presley

6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Annabelle Drumm

20:00 THE WORLD OF A SYMPHONY Prepared by Chris Blower Glazunov, A. A slave festival, op 26 (188688). Moscow SO/Konstantin Krimets.

Naxos 8.553538 13 Rubinstein, A. Don Quixote, humoresque for orchestra, op 87 (1870).

Slovak PO/Michael Halász.

Marco Polo 8.220359 21 Rimsky-Korsakov, N. Overture: Russian Easter festival, op 36 (1888). Gothenburg SO/Neeme Järvi.

DG 423 604-2 15 Glazunov, A. Andante lugubre: To the memory of N. Rimsky-Korsakov, op 85 no 2 (1908). Moscow SO/Igor Golovschin.

Naxos 8.553857 12 Borodin, A. Polovtsian dances, from Prince Igor (1890). London Symphony Ch & O/Georg Solti.

Decca 455 632-2 14 Glazunov, A. Symphony no 4 in E flat, op 48 (1893). USSR Ministry of Culture SO/ Gennady Rozhdestvensky.

Melodiya MA 00113 34 22:00 PLAY BACH AND FORTH Prepared by Jacky Ternisien Bach, J.S. Partita no 3 in E (arr.

Loussier). Vincent Charbonner, db; André Arpino, drums; Jacques Loussier, pf.

Telarc 83693 3 Prelude no 2 in C minor (arr. Loussier).

Vincent Charbonner, db; André Arpino, drums; Jacques Loussier, pf.

Telarc 83693 7 Jesu, joy of man’s desiring, from Cantata, BWV147 (1723; arr. Hess). Jayson Gillham, pf.

ABC 481 7686 4 Bach, J. Christian Sonata in E flat, op 17 no 3 (1762). Robert Woolley, fp.

Chandos CHAN 0543 11 22:30 ULTIMA THULE with Jackson Day

Born on the same day as Wolfgang, Thomas Linley the Younger was known as the ‘English Mozart’. The son of an established composer, Thomas Linley the Elder, young Thomas, at the age of seven, was apprenticed to William Boyce, Master of the King’s Musick. Thomas became an accomplished violinist and, when he was 12, he travelled to Italy to study the violin and composition with Pietro Nardini. There he met Wolfgang and the two became friends exchanging letters for the rest of Thomas’ short life which ended in a boating accident when he was 20.

3:00 CLASSICAL TILL DAWN

9:00 DIVERSIONS IN FINE MUSIC Al fresco Prepared by Di Cox Strauss, J. II Waltz: Where the lemon trees blossom, op 364 (1874). CSSR State PO/Alfred Walter.

Marco Polo 8.223202 9 Bridge, F. Cherry ripe (1916). Delmé String Quartet.

Chandos CHAN 8426 3 Novák, V. In the Tatra mountains, op 26 (1902). Royal Liverpool PO/Libor Pesek.

Virgin 5 45251 2 16 Schubert, F. The stream’s lullaby, from Die schöne Müllerin, D795 no 20 (1823).

Olaf Bär, bar; Geoffrey Parsons, pf.

EMI CDC 7 47947-2 8 Haydn, J. String quartet in E flat, Hob. II:31, Sun (1772). Australian String Quartet.

Fine Music concert recording 22 Chopin, F. Prelude in D flat, op 28 no 15, Raindrop (1836-39). Idil Biret, pf.

Naxos 8.553170 6 Sculthorpe, P. Songs of sea and sky (1987; arr. 1988). Members of Australia Ensemble.

Fine Music tape archive 15 10:30 CONCERT HALL Prepared by Michael Field Reger, M. Four tone poems after A. Böcklin, op 128 (1913). Royal Concertgebouw O/Neeme Järvi.

Chandos CHAN 8794 25 Mozart, W. Bassoon concerto in B flat, K191 (1774) Milan Turkovic, bn; Salzburg Mozarteum O/Leopold Hager.

Teldec 8.44056 18 Pavlova, A. Symphony no 3 (2000).

Russian PO/Alexander Vedernikov.

Naxos 8.557157 41 12:00 A JAZZ HOUR with Barry O’Sullivan 13:00 THE HAITINK LEGACY Prepared by Ray Lemond Debussy, C. Perfumes of the night, from Images (1905-12). Royal Concertgebouw O. Philips 438 742-2 9 Vaughan Williams, R. On Wenlock Edge (1908; orch. 1921-23). Ian Bostridge, ten; JANUARY 2020

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Friday 24 January London PO. EMI 5 56762 2 22 Bruch, M. Violin concerto no 1 in G minor, op 26 (1868). Itzhak Perlman, vn; Concertgebouw O. EMI CMS 7 64922 2 24 Bon, W. Spring (1978). Roberta Alexander, sop; Royal Concertgebouw O. Radio Nederland RCO 06004 8 Wagner, R. Siegmund heiss ich Siegmund bin ich! from Die Walküre (1854-56). Cheryl Studer, sop; Marjana Lipovsek, mezz; Reiner Goldberg, ten; James Morris, bass-bar; Bavarian RSO. EMI 9 73399 2 4 Tchaikovsky, P. Symphony no 1 in G minor, op 13, Winter daydreams (1866).

Concertgebouw O. Decca 478 5867 44 Bernard Haitink, cond (all above) 15:00 GREAT OBOISTS Prepared by Albert Gormley Vivaldi, A. Oboe concerto in A minor, RV463. Heinz Holliger, ob; I Musici.

Philips 411 480-2 10 Albinoni, T. Oboe concerto in D minor, op 9 no 2 (pub. 1722). Pierre Pierlot, ob; I Solisti Veneti/Claudio Scimone.

Apex 0927490202 13 Krein, M. Serenade. Leon Goossens, ob; Marie Goossens, hp; Sidonie Goosens, hp.

Chandos CHAN 7132 4 Strauss, R. Oboe concerto in D (1945/48). Heinz Holliger, ob; New Philharmonia O/Edo de Waart.

Philips 438 733-2 26 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 symphonic poem Prepared by Di Cox Liszt, F. Symphonic poem no 3: Les préludes (1848/53). Gewandhaus O/Kurt Masur.

EMI CDM 1 66431 2 14 Franck, C. Symphonic poem: Les éolides (1875-76). Suisse Romande O/Ernest Ansermet.

Decca 452 890-2 11 Saint-Saens, C. Symphonic poem no 1: Le rouet d’Omphale, op 31 (1871). Lille NO/Jun Märkl.

Naxos 8.573745 8 32

JANUARY 2020

Dvorák, A. Symphonic poem: The noon witch, op 108 (1896). Polish National RSO/Stephen Gunzenhauser.

Naxos 8.550598 13 Honegger, A. Symphonic poem: Pastorale d’été (1920). Bavarian RSO/ Charles Dutoit.

Erato 2292-45242-2 8 Janácek, L. Symphonic poem: The Danube (1923-28). Karolina Dvoráková, sop; Jirí Benes, va; Brno PO/Frántisek Jílek.

Supraphon SU 3888-2 16 Suk, J. Symphonic poem: Ripening, op 34 (1912-17). Female voices of the Czech Philharmonic Ch; Czech PO/ Václav Neumann.

Supraphon 10 3640-2 031 39 22:00 BAROQUE AND BEFORE Devotion and drama in new Spain Morales, C. de Parce mihi, Domine: nihil enim sunt dies mei (c1545-50). La Capella Reial de Catalunya/Jordi Savall.

Astrée E8765 3 Capillas, F. Magnificat quarti toni.

Westminster Cathedral Choir; Andrew Watts, curtal; Iain Simcock, org; James O’Donnell, cond.

Hyperion CDA 66330 10 Anon. In ihuicac cihuapille; Dios itlazu nantzine. David James, ct; Ashley Stafford, ct; John Potter, ten; Rogers Covey-Crump, ten; Gordon Jones, bass.

EMI CDS 7 54341 2 4 Vivaldi, A. Overture; Padre, t’ascondi ...

Gl’oltraggi della sorte, from Motezuma,

RV723 (1733). Roberta Invernizzi, sop; Marijana Mijanovic, cont; Vito Priante, bass; Il Complesso Barocco/Alan Curtis.

Archiv 477 5996 9 Vidales, F. de Los que fueren de buen gusto. Emily Van Evera, sop; Rachel Platt, sop; Catherine King, mezz; Richard Boothby, bass viol; Nigel North, gui; Andrew Lawrence-King, hp.

EMI CDC 7 54529 2 4 Zipoli, D. Verse; Canzona, in G minor (1716). Timothy Uglow, org.

ASV GAU 226 5 Padilla, J. de Incipit oratio Jeremiæ Prophetæ: Recordare, Domine, quid acciderit nobis. Tallis Scholars/Peter Phillips.

Gimell GIMBX 304 12 Araujo, J. de Hola, hola, que vienen gitana. Mária Cristina Kiehr, sop; Adriana Fernández, mezz; Children’s Choir of Córdoba, Argentina; Ensemble Elyma/ Gabriel Garrido.

K617 Records 025 4 Jerúsalem, I. Quæ est ista, quæ processit, from Matines para Neustra Señora de Guadalupe (1764). Chad Runyon, bar; Chanticleer Sinfonia/Joseph Jennings.

Teldec 3984-21829-2 5 Zipoli, D. and others Opera: San Ignacio de Loyola. Pamela Murray, sop; Randall Wong, ct; Steven Rickards, ct; John Elwes, ten; Abendmusik/James David Christie.

Dorian DOR-93243 42

With the conquistadores came the Jesuits bringing a new religion and new music to ‘New Spain’. As the Jesuits spread over the continent converting the natives, and as the invaders’ power and wealth grew, great baroque cathedrals were built.

Each needed a musician to oversee the liturgical music and to train musicians as well as to compose new works. Musicians came from Spain, Portugal and Italy with the Mexican city of Puebla becoming a centre of musical excellence. Among these were Juan Gutiérrez de Padilla and Francisco López Capillas. They and others wrote grand Latin church music in the European style as well as church music based on traditional Spanish songs; some took on rhythmic aspects of the local music and some used the local native language.

In Peru, some composers incorporated aspects of Inca music into church services and, in fact, a manual for priests gave instructions on how to blend Christian and Inca worship. Some of this music with voices and wind instruments was reminiscent of Venetian church music but with added percussion.

The Jesuit missionary Domenico Zipoli worked in what is now Argentina. He lived among the natives, the Guarani, but his music was distributed all over the Mission area. The natives loved the music and one priest wrote, ‘give me an orchestra and I will convert all South America’. Zipoli and others wrote secular music as well as sacred but Zipoli stands out by the fact that his music was essentially Italian, full of colour and flair. It compares most favourably with the works of his betterknown European contemporaries.

Saturday 25 January 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 Glass, P. Opening, from Glassworks (1981). Viking Olafsson, pf.

DG 479 6918 8 Schubert, F. Hungarian melody in B minor, D817 (1824); Allegro moderato, from Moments musicaux, D780 (182328). Andras Schiff, fp.

ECM 481 1572 5 Mussorgsky, M. Pictures at an exhibition. Alice Sara Ott, pf.

DG 479 0088 35 10:00 MUSIC OF THE DANCE Prepared by Stephen Wilson German, E. Gypsy suite (1892). CzechoSlovak RSO/Adrian Leaper.

Naxos 8.554710 14 Matteis, N. Dances. Accentus Austria/ Thomas Wimmer.

DHM G0100034768441 7 Turina, J. Danzas gitanas, op 55 (1930).

BBC PO/Juanjo Mena.

Chandos CHAN 10819 14 Lehár, F. Pas de deux, from The merry widow (1905; arr. Lanchbery, Abbott c1975). Adelaide Singers; Adelaide SO/ John Lanchbery.

EMI 7 54163 2 5 Glazunov, A. Summer, from The seasons, op 34 (1901). Sydney SO/ Wilfred Lehmann.

ABC 442 377-2 12 Strauss, R. Dance suite, after François Couperin’s keyboard works, op 107 (1923). Academy of St Martin in the Fields/Neville Marriner.

Philips 446 696-2 28 11:30 ON PARADE Prepared by Robert Small Simpson, R. Volcano, symphonic study for brass band (1978). John Foster Black Dyke Mills Band/Peter Parkes.

Chandos CHAN 4522 11 Sullivan, A. A Sullivan fantasy (arr.

Langford). John Foster Black Dyke Mills Band/Roy Newsome.

Chandos CHAN 4533 7 Mathias, W. Suite for brass band: Vivat

regina, op 75 (1977). John Foster Black Dyke Mills Band/Roy Newsome.

Chandos CHAN 4510 9 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 Contraltos: funny girls 14:30 SATURDAY MATINEE Operetta in the afternoon Prepared by Elaine Siversen Strauss, J. II Princess Ninetta. Operetta in three acts. Libretto by Hugh Wittmann and Julius Bauer. First performed Vienna, 1891.

NINETTA : Tua Aberg, sop FERDINAND KNAPP: Frederik Strid, ten ADELHEID MÖBIUS: Henriikka Gröndahl, sop BARON MÖRSBURG: Ola Eliasson, bar ANATASIA KNAPP: Elin Rombo, sop PROSPER MÖBIUS: Göran Eliasson, ten CONSUL RÜBKE: Samuel Jarrick, bar CASSIM PASCHA: Jesper Taube, bar Ninetta Chorus; Stockholm Strauss O/ Valéria Csányi.

Naxos 8.66022728 1:47 Russian born Ninetta is the widow of an Italian prince. Disguised as a young man, she arrives at a fashionable beach hotel in Sorrento where she arouses the interest of the female guests. Baron Mörsburg recognises her but remains silent. The marriage of Ferdinand and Adelheid is due to take place that day.

Ferdinand’s widowed mother, Anastasia, and Adelheid’s father Prosper, a widower, had been prevented from marrying when young but, earlier that day, have married. Consul Rübke, who is in love with Adelheid, happily declares that the couple cannot be married as they are now stepbrother and stepsister. The only answer is for the parents to divorce but the only reasons allowed would be infidelity or bodily assault. They will not divorce under false pretences.

Later Ninetta appears as herself and takes a walk on the beach with Cassim Pascha, a Russian former diplomat who has arrived as part of a circus. There is talk of robberies and assaults taking place and when Cassim returns without Ninetta, but holding her cane, the guests are

convinced that he is the robber. The police are called and he is accused of murdering Ninetta and other guests. Cassim declares that he is the owner of the hotel.

Ninetta appears again as a young man.

At a ball in the banqueting room, Baron Mörsburg declares that the charming Ninetta, to whom all the men were attracted, is a man, and the handsome man, whom the ladies desired, is really a woman. Anastasia gives her husband, Prosper, a box on the ear and the baron exclaims: ”Bravissimo! That is the reason for divorce!” The young couple will be free to marry; Cassim and Ninetta realise that they are cousins.

Strauss, J. II The blue Danube (orch.

Désormière 1924). Berlin RSO/Paul Strauss.

DG 477 5349 29 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 19:00 THE DANISH SYMPHONY Prepared by Chris Blower Nielsen, C. Bøhmisk-Dansk folktone (1928). Danish RSO/Herbert Blomstedt.

EMI 5 74188 2 7 Lumbye, H. Pictures from a dream, fantasia (1846). Odense SO/Peter Guth.

Unicorn-Kanchana DKP9089 9 Nielsen, C. Symphony no 3, op 27, Sinfonia espansiva (1910-11). Inger Damm-Jensen, sop; Poul Elming, ten; Danish NSO/Michael Schønwandt.

Dacapo 8.206002 37 20:00 THE LIFE OF A COMPOSER Erik Satie Prepared by Rodrigo Azaola Satie, E. Ogives (1886). Reinbert de Leeuw, pf.

Philips 462 162-2 13 Elegy. Ensemble Saraband.

Dou-Tak NT098 3 Le fils des étoiles (1891). Reinbert de Leeuw, pf.

Philips 454 048-2 15 Ballet réaliste: Parade (1917). Toulouse Capitole O/Michel Plasson.

EMI CDC 7 49471 2 15 The death of Socrates, from Socrates (1918). Hugues Cuénod, ten; Geoffrey Parsons, pf.

Nimbus NIM 5027 16 JANUARY 2020

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Saturday 25 January Trois petites pièces montées (1920).

Pascal Rogé, Jean-Philippe Collard, pf.

Decca 455 401-2 4 Gnossiennes: no 4 (1891); no 1 (1890).

Roland Pöntinen, pf.

BIS CD-317 6 Ballet: Relâche (1924). New London O/ Ronald Corp.

Hyperion CDA66365 22 Trois morceaux en forme de poire (1890-1903). Pascal Rogé, Jean-Philippe Collard, pf.

Decca 455 401-2 14 22:00 SATURDAY NIGHT AT HOME Prepared by Rex Burgess Bach, J.S. Concerto in A minor, BWV1065 (c1730). Anton Heiller, hpd; Erna Hiller, hpd; Kurt Rapf, hpd; Christa Landon, hpd; I Solisti di Zagreb/Antonio Janigro.

Vanguard 08 2025 72 10 Haydn, J. Sinfonia concertante in B flat, Hob.I:105 (1792). Gerhard Turetschek, ob; Michael Werba, bn; Rainer Küchl, vn; Wolfgang Herzer, vc; Austro-Hungarian Haydn O/Adám Fischer.

Nimbus NI 5417/8 22 Saint-Saëns, C. Symphony no 2 in A minor, op 55 (1859). Vienna SO/Georges Prêtre.

Erato 2292-45695-2 23 Grieg, E. Lyric pieces, bk 8, op 65 (1897). Einar Steen-Nøkleberg, pf.

Naxos 8.553396 23 Koechlin, C. Spring’s running, op 95 (1908-27). South West German RSO/ Heinz Holliger.

SWR Music 19046 33

A sinfonia concertante is neither a symphony nor a concerto but an amalgam of the two, emerging as a new musical form during the Classical period. In the Baroque era, the distinction between sinfonia (or symphony) and concerto was not particularly clear with Vivaldi writing some ‘concertos’ that did not highlight individual players. The concerto grosso was similar, although the solo musicians might sometimes be distinguishable from the rest of the orchestra. Following on from the concerto grosso, the sinfonia concertante allowed the soloists to contrast with the orchestra although at times blending in with it. This is distinct from the double or triple concerto that had been in place in the Baroque era and developed further in later eras.

34

JANUARY 2020

Sunday 26 January 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SUNDAY MORNING MUSIC with David Garrett 9:00 MUSICA SACRA Prepared by Nicky Gluch Mozart, W. Mass no 10 in C, K220, Sparrow (1775). Edith Mathis, sop; Tatiana Troyanos, cont; Horst R. Laubenthal, ten; Kieth Engen, bass; Regensburg Cathedral Choir; Bavarian RSO/Raphael Kubelik.

DG 419 060-2 17 Tormis, V. Martinmas songs. Estonian PC Choir/Tönu Kaljuste.

Virgin 5 45185 2 8 Bach, J.S. Mass in A, BWV234 (1738).

Barbara Bonney; sop; Birgit Remmert, cont; Rainter Trost, ten; Olaf Bär, bar; RIAS Chamber Choir; CPE Bach CO/ Peter Schreier.

Decca 478 5564 30 10:00 THE CLASSICAL ERA Prepared by Stephen Wilson Stamitz, C. Orchestral quartet in F, op 14 no 4 (pub. 1776). New Zealand Symphony CO/Donald Armstrong.

Naxos 8.557671 21 Tausch, F. Double clarinet concerto no 1 in B flat, op 27 (1797). Thea King, cl; Nicholas Bucknall, cl; English CO/ Leopold Hager.

Hyperion CDA66504 24 Cannabich, C. Flute quintet in D, op 7 no 5 (1768-69). Camerata Cologne. cpo 999 544-2 17 Stamitz, A. Viola concerto in B flat. Jan Peruska, va; Prague Philharmonia/Jirí Belohlávek.

Supraphon SU 3929-2 21 Richter, F. Trio sonata in A minor, op 4 no 6 (1744). Members of Capricornus Consort Basel/Peter Barczi.

Christophorus CHR 77409 10 Beck, F. Symphony in B flat, op 3 no 2 (c1762). Toronto CO/Kevin Mallon.

Naxos 8.570799 15 12:00 CLASSIC JAZZ AND RAGTIME with John Buchanan 13:00 WORLD MUSIC: Whirled Wide with Linda Marr

“Beethoven’s emotional outbursts ushered in the Romantic era of the 19th century, in which everything in music became bigger, more exciting and just generally louder.”

— David W. Barber

14:00 CELEBRATING 2MBS / FINE MUSIC RECORDINGS 2004 and 2006 Recordings by Kerry Joyner

45TH

Brahms, J. Variations and fugue on a theme of Handel, op 24 (1861). Clemens Leske, pf.

Recorded April 2004 26 Beethoven, L. Piano sonata no 32 in C minor, op 111 (1822). Tamara-Anna Cislowska, pf.

Recorded September 2006 29 Fine Music concert recordings (2 above) 15:00 SUNDAY SPECIAL Australian favourites Prepared by Chris Blower Vine, C. Suite from The tempest (1990).

Tasmanian SO/Ola Rudner.

ABC 476 2267 22 Westlake, N. Suite from Antarctica (1992). Timothy Kain, gui; Alison Lazaroff-Somssich, vn; Vanessa Souter, hp; Tasmanian SO/David Porcelijn.

ABC 462 017-2 22 Palmer, G. Ruritanian dances (1999).

Cove CO/Stephen Williams.

ABC 476 2612 10 Koehne, G. To his servant Bach, God grants a final glimpse: the morning star (1977). Tasmanian SO/Richard Mills.

ABC 476 6502 4 Kats-Chernin, E. From Anna Magdalena’s notebook (2006). Acacia Quartet.

Vexations 840 840-1202 14 Carr-Boyd, A. Music for an imaginary Italian film (1985). Sydney Mandolins.

Jade JADCD 1025 9 Edwards, R. Maninyas, violin concerto (1988). Dene Olding, vn; Sydney SO/ Stuart Challender.

ABC 438 610-2 25 17:00 HOSANNA Hymn: O worship the Lord in the beauty of holiness. Cantus Choro; Norman Kaye, org; Peter Chapman, cond.

Move MD 3142 3 Leighton, K. Coventry carol. Alison Morgan, sop. 3 Cornelius, P. The three kings. Teddy Tahu Rhodes, bar 3 Cantillation/Brett Weymark (2 above) ABC 476 2916

Sunday 26 January Grieg, E. Ave Maris Stella. 4 Duruflé, M. Ubi caritas et amor. 2 Choir of Trinity College, Melbourne/ Michael Leighton Jones (2 above) ABC 472 310-2 Brahms, J. Wie lieblich sind deine Wohnungen. Choir of St James, King Street; Anthony Hunt, Anthony Legge, pf; Warren Trevelyan-Jones, cond. 6 Tallis, T. If ye love me; O sacrum convivium. Choir of Christ Church St Laurence/Neil McEwan. 7 Edwards, R. Sanctus; Benedictus; Agnus Dei, from Mass of the dreaming. Brisbane Chamber Choir/Graeme Morton.

Tall Poppies TP239 10 Nardone, P. I give to you a new commandment. Choir of Trinity College, Melbourne/Michael Leighton-Jones.

ABC B07C51SHTF 3 Hymn: O praise ye the Lord! Cantus Choro; Norman Kaye, org; Peter Chapman, cond.

Move MD 3142 3 Gigout, E. Toccata in B minor. David Drury, org.

ABC B07TGWB6B5 3 18:00 SMALL FORCES Prepared by Frank Morrison Beethoven, L. Wind sextet in E flat, op 71 (1796). European CO Wind Soloists.

ASV COE 807 20 Dohnányi, E. Serenade, op 10 (1902).

Donald Weilerstein, vn; Atar Arad, va; Paul Katz, vc.

Pro Arte D 238 19 Haydn, J. Piano trio in G, Hob.XV:25, Gypsy (1795). London Fortepiano Trio.

Hyperion CDA66297 15

19:00 SUNDAY NIGHT CONCERT Prepared by Rex Burgess Debussy, C. Images (1905-12). Royal Concertgebouw O/Antal Dorati.

Radio Nederland RCO 08005 36 Mendelssohn, F. Infelice (1843). Cecilia Bartoli, mezz; Maxim Vengerov, vn; O La Scintilla/Adám Fischer.

Decca 475 9077 12 Copland, A. Ballet: Billy the Kid (1938).

Detroit SO/Leonard Slatkin.

Naxos 8.559862 33 20:30 NEW HORIZONS Prepared by James Nightingale Vine, C. Celebrare celeberrime (1993).

Sydney SO/Edo de Waart.

ABC 476 7179 5 Moore, K. Sensitive spot (2005). Saskia Lankhoorn, pf.

ECM New Series 2344 481 0963 9 Ridgeway. Bang on a Can All Stars.

Cantaloupe Records CA21074 13 Fern (2012). Ensemble Offspring. www.ensembleoffspring.com 12 Meale, R. Cantilena pacifica (1980). Erica Kennedy, vn; Tasmanian SO/Richard Mills.

ABC 476 3222 8 Boyd, A. As I crossed a bridge of dreams (1975). Ars Nova Copenhagen/Paul Hillier.

Ars Nova 6.220597 11 Westlake, N. Oboe concerto, Spirit of the wind (2016). Diana Doherty, ob; Sydney SO/Nigel Westlake.

ABC 481 7899 22 22:00 AFTER HOURS JAZZ

Ibéria, the second section of Debussy’s three-movement Images for orchestra, is the most popular part. Not only is it second in a triptych but it is itself a triptych.

The music, inspired by impressions of Spain, has the titles Through the streets and the paths, The fragrance of the night and The morning of a festival day, the latter featuring a band of guitarists. Ibéria was composed between 1905 and 1908 at the same time as the third section.

The first section of Images came later. In Gigues (1909-12) a key theme is the song Dansons la gigue by Charles Bordes. However, Debussy also called on his memories of England for his second theme using the Tyneside folk tune, The keel row. Short motifs, appearing once or twice and reused in fragments, revolve around these dance tunes and other themes appear as long solo passages for the oboe d’amore.

For the third section, Round dances of spring (1905-09), Debussy called on two folk tunes, Do, do l’enfant do and Nous n’irons plus au bois. The latter must have been a favourite because he had already used it twice before in Images oubliées (1894) and in Jardins sous la pluie from Estampes (1903). This song is the more prominent throughout the movement, in solos and in countermelodies.

Monday 27 January 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: 1865 Prepared by Derek Parker Wagner, R. Prelude to Act I and Liebestod, from Tristan and Isolde (1865).

Berlin State Opera O/Siegfried Wagner.

LP Trax TRXLP 112 15 Brahms, J. Waltzes, op 39 nos 1, 2, 5, 6, 10, 14 and 15 (1865. arr.). Dinu Lipatti, pf; Nadia Boulanger, pf.

Philips 456 892-2 8 Bottesini, G. Duet for clarinet, double bass and orchestra (1865). Emma Johnson, cl; Thomas Martin, db; English CO/Andrew Litton.

Naxos 8.570397 8 Grieg, E. Violin sonata no 1 in F, op 8 (1865). Marina Marsden, vn; Robert Chamberlain, pf.

Tall Poppies TP067 20 Fauré, G. Cantique de Jean Racine, op 11 (1865). Choir of St John’s College, Cambridge/Christopher Robinson.

Brilliant Classics 94412 5 Tchaikovsky, P. Piano sonata in C sharp minor, op posth. Michael Ponti, pf.

LP Vox/Record Society S/6538-39-40 21 10:30 CONCERT HALL Prepared by Derek Parker Copland, A. Suite from Billy the Kid (1938). London SO/Aaron Copland.

CBS MK 42431 21 Tchaikovsky, P. Variations on a rococo theme, op 33 (1876). Mstislav Rostropovich, vc; USSR State SO/ Gennady Rozhdestvensky.

Brilliant Classics 9240 18 Glière, R. Symphony no 1 in E flat, op 8 (1900). Slovak PO/Stephen Gunzenhauser.

Naxos 8.550898 35 12:00 SWING SESSIONS with John Buchanan 13:00 OPERA IN CONCERT Prepared by Giovanna Grech Verdi, G. Overture to Joan of Arc (1845).

New Philharmonia O/Richard Bonynge.

Decca 466 431-2 8 Tchaikovsky, P. Yvoya ... I do not understand your silence, from Iolanta (1892). Anna Netrebko, sop; Rolando JANUARY 2020

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Monday 27 January Villazón, ten; Staatskapelle Dresden/ Nicola Luisotti.

DG 477 6457 10 Giordano, U. Nemico della patria? from Andrea Chénier (1895). Tullio Pane, ten; Giorgio Zancanaro, bar; Hungarian State O/Giuseppe Patanè.

CBS M2K 42369 6 Saint-Saëns, C. Air; Bacchanale, from Samson and Delilah (1877). Montreal SO/Charles Dutoit.

Decca 421 527-2 7 Massenet, J. Il est doux, il est bon, from Hérodïade (1881). Angela Gheorghiu, sop; Turin Regio Theatre Ch & O/John Mauceri.

Decca 452 417-2 5 Mussorgsky, M. Your love leaves me indifferent, from Boris Godunov (1874).

Metropolitan Opera Ch & O/Emil Cooper.

LP CBS OD 2012 4 Puccini, G. O saro la più bella, from Manon Lescaut (1893). Kiri Te Kanawa, sop; José Carreras, ten; Bologna Comunale TO/Riccardo Chailly.

Decca 440 844-2 9 14:00 19TH CENTURY WOMEN Prepared by Albert Gormley Mendelssohn, Fanny. Piano trio in D, op 11 (1846). Oliver Butterworth, vn; Michael Evans, vc; Frank Wibaut, pf.

Hyperion CDH55078 27 Viardot, P. Sonatina in A minor (1874).

Reto Kuppel, vn; Wolfgang Manz, pf.

Naxos 8.573607 11 Mendelssohn, Fanny. Sonata in G minor (1843). Béatrice Rauchs, pf.

BIS CD-885 17 Farrenc, L. Trio in E flat, op 44 (185456). Deborah de Graaff, cl; Georg Pedersen, vc; Natalia Sheludiakova, pf.

Fine Music concert recording 27 Szymanowska, M. Nocturne in B flat.

Solveig Funseth, pf.

Swedish Society SCD 1043 5 Schumann, C. Piano concerto in A minor, op 7 (1835-36). Veronica Jochum, pf; Bamberg SO/Joseph Silverstein.

Pro Arte D 395 21 16:00 FINE MUSIC HOLIDAY 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 THE AUSTRALIAN JAZZ SCENE with Susan Gai Dowling and Peter Nelson 36

JANUARY 2020

Tuesday 28 January 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 Corrette, M. Organ concerto in F, op 26 no 5 (pub. 1756). René Saorgin, org; Nice Baroque Ensemble/Gilbert Bezzina.

Harmonia Mundi HMA 2905148 9 Beethoven, L. Cello sonata no 5 in D, op 102 no 2 (1815). Steven Isserlis, vc; Robert Levin, fp.

Hyperion CDA67981/2 19 Bach, J.S. Toccata in G, BWV916 (170708). Trevor Pinnock, hpd.

DG 479 1915 8 Schumann, R. Fantasiestücke, op 88 (1842). Christian Tetzlaff, vn; Tanja Tetzlaff, vc; Leif Ove Andsnes, pf.

EMI 0 94180 2 18 Ravel, M. Gaspard de la nuit (1908).

Lucas Debargue, pf.

Sony G010003457495A 25 10:30 CONCERT HALL Prepared by Paul Hopwood Dvorák, A. Overture: Othello, op 93 (1891). Czech PO/Libor Pesek.

Virgin VC7 91144-2 15 Haydn, J. Violin concerto no 1 in C, Hob. VIIa:1 (1769). Salvatore Accardo, vn; English CO/Edo de Waart.

Philips 438 797-2 22 Balakirev, M. Symphony no 1 in C (1897). Philharmonia O/Yevgeny Svetlanov.

Hyperion CDA66691-2 44 12:00 JAZZ RHYTHM with Jeannie McInnes 13:00 FESTIVAL FOR WIND INSTRUMENTS Prepared by Derek Parker Rossini, G. Fantasia concertante on The Italian girl in Algiers (1813: arr. for winds

by Triebert, Jancourt). European Wind Soloists/Patrick de Ritis.

Naxos 8.573259 10 Hummel, J. Wind sextet in F. Consortium Classicum.

Musikproduktion MD+G L 3440 18 Mozart - Stadler. Wind octet in E flat, Kdeest. Consortium Classicum.

Musikproduktion MDG 301 0496-2 21

Nielsen, C. Wind quintet, op 43 (1922).

New Sydney Wind Quintet. www.nswq.com.au 16 Strauss, R. Serenade for wind instruments, op 7 (1881). Netherlands Wind Ensemble/Edo de Waart.

Philips 438 733-2 9 Handel, G. Aria in F for winds (c1725). Il Complesso Barocco/Alan Curtis. naïve V5326 5 14:30 AIN’T IT GRAND Prepared by Jennifer Foong Offenbach, J. Overture to La grandeduchesse de Gérolstein (1867). Scottish CO/Antonio de Almeida.

RCA 09026 68116 2 4 Bottesini, G. Grande concerto (1880).

Wolfgang Güettler, db; Klaus Stoll, db; Berlin RSO/Matthias Bamert.

Schwann 311 042 H1 14 Beethoven, L. Piano concerto no 5 in E flat, op 73, Emperor (1809). Paul Lewis, pf; BBC SO/Jirí Belohlávek.

Harmonia Mundi HMC 902053/55 39 Boccherini, L. Symphony in C for grand orchestra, op 21 no 3 (1775). Paulo Pollastri, ob; Hélène Devilleneuve, ob; Sonig Tchakerian, vn; Bettina Mussumeli, vn; Glauco Bertagnin, vn; Gianantonio Viero, vc; Dagoberto Linhares, gui; I Solisti Veneti/Claudio Scimone.

Erato 2292-45486-2 24 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 Blow, J. Venus and Adonis, a mournful masque (1683; arr. Knight). Septura.

Naxos 8.573386 16 Grieg, E. String quartet in G minor, op 27 (1877-78). Kontra Quartet.

BIS CD-543 37 Rimsky-Korsakov, N. Quintet in B flat for winds and piano (1876). Les Vents Français.

Warner Classics 0825646231850 28 Bax, A. Violin sonata no 1 in E (1910).

Erich Gruenberg, vn; John McCabe, pf.

Chandos CHAN 8845 32

“There is no truer truth obtainable by man than that which comes of music.” — Robert Browning

Wednesday 29 January 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 Brahms, J. Six songs (arr. Salter 1896).

David Pereira, vc; David Bollard, pf.

Tall Poppies TP078 15 Ibert, J. The ballad of Reading Gaol (1921). Slovak RSO/Adriano.

Naxos 8.555568 23 Schumann, R. Märchenerzähungen, op 132 (1853). Florent Héau, cl; Vinciane Béranger, va; Anne-Lise Gastaldi, pf.

Harmonia Mundi ZZT2010401 15 Griffes, C. Three poems of Fiona MacLeod (1918). Stuart Skelton, ten; West Australian SO/Asher Fisch.

ABC 481 7219 10 Debussy, C. Suite bergamasque (1905).

Claude Helffer, pf.

Harmonia Mundi HMA 190954 16 10:30 CONCERT HALL Prepared by Rita Felton Kodály, Z. Dances of Galánta (1933).

Sydney SO/Tibor Paul.

LP ABC RRCS 1472 16 Chopin, F. Piano concerto no 2 in F minor, op 21 (1829). Murray Perahia, pf; Israel PO/Zubin Mehta.

Sony SX4K 63380 30 Grieg, E. Symphony in C minor (186364). Bergen PO/Ole Kristian Ruud.

BIS CD-1740/42 34 12:00 JAZZ SKETCHES with Robert Vale 13:00 OPERA WITHOUT SONG Verdi, G. Ballet music from opera, Jerusalem (1847). BBC PO/Edward Downes.

Chandos CHAN 9594 23 Gluck, C. Dance of the blessed spirits, from Orpheus and Eurydice (1762).

Australian Brandenburg O/Paul Dyer.

ABC 434 720-2 7 Pasculli, A. Concerto on themes from Donizetti’s La favorita. John Anderson, ob; Gordon Back, pf.

ASV WHL 2100 12 Wagner, R. Overture to Act I of The mastersingers of Nuremberg (1866-67).

Munich PO/Hans Knappertsbusch.

DG 479 1148 11

14:00 IN CONVERSATION with Christopher Waterhouse 15:00 MASTER AND PUPIL Prepared by Jacky Ternisien Tournemire, C. Choral-improvisation on Victimae paschali (1930; transcr.

Duruflé). Pétur Sakari, org.

BIS 1969 10 Franck, C. Panis angelicus, from Mass in A (arr. Langford). Boys of Leeds Parish Church Choir; Phillip McCann, cornet; Simon Lindley, org; Roy Newsome, cond.

Chandos CHAN 4521 3 Les plaintes d’une poupée (1865).

Stephen Hough, pf.

Hyperion CDA66918 2 Tournemire, C. Symphony no 5 in F minor, op 47. Moscow SO/Antonio de Almeida.

Marco Polo 8.223476 37 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 Opera oscura: Love and money in Naples Cimarosa, D. Le astuzie femminili.

Melodramma giocosa in two acts. Libretto

by Giuseppi Palomba. First performed Naples, 1794.

GIAMPAOLA: Nelson Portella, ten BELLINA: Daniela Dessi, sop ROMUALDA: Simone Alaimo, bar FILANDRO: Michele Farruggia, ten LEONORA: Petra Malakova, sop Martina Franca FO/Massimo De Bernart.

Italia CDC 83 2:07 Bellina’s father’s will requires her to marry Giampaolo, a landowner, who will acquire all her family property as a dowry.

Her friends think the lawyer Romualdo has made a mistake, but he defends his knowledge of the law vigorously.

Bellina is in love with Filandro, who is heartbroken about the will and cannot bear to see his rival. Giampaolo arrives, curious to see the face of his wife-tobe. She meets him in the company of Romualdo, and says that she is about to be married to a soldier and that she enjoys dancing. Filandro challenges Romualdo to a duel. Leonora, a friend of Romualdo’s, warns Bellina and Filandro that Giampaolo is searching for them and is armed and very angry. He finds Bellina in a garden; she begs for pity, then appears to acquiesce to the marriage.

Romualdo declares that if Bellina marries another, the contract is void. Filandro affirms that he will join the military if he cannot be with Bellina. Meanwhile, Leonora has explained the situation to the Governor and has a plan. Bellina must assume a disguise. Leonora tells Giampaolo that the lovers have fled. Filandro enters, disguised as a Hungarian soldier and claiming to be searching for his beloved. Bellina’s disguise is also as a Hungarian, claiming that Filandro has betrayed her by falling for Bellina. Romualdo asks the disguised Bellina to deliver the real Bellina to them, which she agrees to do. The group adjourn to a military dance, where the lovers shed their disguises and proclaim that they are already married (to each other). Giampaolo and Romualdo are furious, arguing that the two can marry but that Bellina will not inherit.

Keyboard sonata in F (1799). Andrea Coen, fp.

Stradivarius STR 33416 2 Agitata in tante pene, from La vergine del sole (1788-89). Cecilia Bartoli, mezz; Corrado Giuffredi, cl; I Barocchisti/Diego Fasolis.

Decca 478 6767 8 22:30 EXPLORING CHAMBER Prepared by Ray Lemond Veracini, F. Sonata in G minor, op 2 no 5.

Rachel Podger, vn; Brecon Baroque.

Channel CCS SA 39217 14 Turina, J. Piano quartet in A minor, op 67 (1931). Nash Ensemble.

Hyperion CDA67889 16 Coleridge-Taylor, S. Clarinet quintet in F sharp minor, op 10 (1895). Members of Nash Ensemble.

Hyperion CDA67590 30 Telemann, G. Overture in B flat, from Musique de table III (pub. 1733). Eu Ebbinge, ob; Michel Henry, ob; Monica Huggett, vn; Alison Bury, vn; Amsterdam Baroque O/Ton Koopman.

Erato ECD 75394 23

American Record Guide in reviewing a recording of the 20-year-old Samuel Coleridge-Taylor’s Clarinet quintet in F sharp minor, op 10, offered high praise: “The composer’s lyrical gift, rhythmic energy, and skilful use of colour and harmony are the work of a master.” Gramophone stated: “Coleridge-Taylor’s Op 10 emerges as a quite astonishingly mature achievement.”

JANUARY 2020

37

Thursday 30 January 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Simon Moore 9:00 DIVERSIONS IN FINE MUSIC The instruments: Strings Prepared by Chris Blower 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 Lhoyer, A. de Duo concertant in A, op 31 no 1 (1814). Matteo Mela, gui; Lorenzo Micheli, gui.

Naxos 8.570146 14 Byström, T. Violin sonata no 1, op 1 (pub.

1799). Yoshiko Arai, vn; Izumi Tateno, pf.

Finlandia FACD 012 14 Nielsen, C. Little suite for strings, op 1 (1888/89). Musica Vitae/Wojciech Rajski.

BIS CD-461 15 Saint-Saëns, C. Fantasy in A, op 124 (1907). Tjeerd Top, vn; Lavinia Meijer, hp.

Radio Nederland MCCP122 12 Paganini, N. Viola sonata. Hartmut Lindemann, va; Günther Herzfeld, pf.

Tacet 21 13 10:30 CONCERT HALL Prepared by Frank Morrison Brahms, J. Tragic overture, op 81 (1880/81). Berlin PO/Claudio Abbado.

DG 429 765-2 13 Hummel, J. Piano concerto in A minor, op 85 (c1816). Stephen Hough, pf; English CO/Bryden Thomson.

Chandos CHAN 8507 30 Vaughan Williams, R. Symphony no 3, Pastoral (1921). Rebecca Evans, sop; London SO/Richard Hickox.

Chandos CHAN 10001 39 12:00 JAZZ, PURE AND SIMPLE with Maureen Meers 13:00 CHACONNES Prepared by Jacky Ternisien Rameau, J-P. Chaconne, from Les indes galantes (1735-36). Les Musiciens du Louvre/Marc Minkowski.

Archiv 479 1045 6 Marais, M. Chaconne in G, from Premier livre (pub. 1686). Jordi Savall, va da gamba; Christophe Coin, va da gamba; Hopkinson Smith, theorbo; Ton Koopman, hpd.

Alia Vox AVSA 9872 A/E 7 38

JANUARY 2020

Handel, G. Chaconne in G, HWV435 (1706). Amadeus Guitar Duo. Naxos 8.573440 9 Brahms, J. Chaconne in D minor, from Partita BWV1004 by J.S. Bach, transcr. for piano left hand (pub. 1878). Walter Klien, pf.

Praga Digitals PRD 250 316 14 Boismortier, J. de Chaconne, from Daphnis et Chloè. Le Concert Spirituel/ Hervé Niquet.

Naxos 8.554456 5 Morel, J. Chaconne en trio. Marais Project.

Move MCD 424 6 14:00 CELEBRATING 2MBS / FINE MUSIC RECORDINGS From 2013 onwards Recordings by Peter Bell, Andrew Dixon, Roger Doyle, Greg Ghavalas and Greg Simmons

45TH

Bach, C.P.E. Sonata in A minor for solo flute, Wq132 (1747). Jane Rutter, fl.

Recorded March 2016 12 Bach, J. Christian Cara, la dolce fiamma, from Ariano in Siria (1765; arr.

Ross). David Greco, bar; Australian Haydn Ensemble/Skye McIntosh.

Recorded March 2014 10 Hummel, J. Trumpet concerto in B (1802). David Elton, tpt; Seraphim Trio.

Recorded September 2013 18 Mozart, W. Grand nonet, after Sinfonia concertante no 1 in E flat, K297b (1778; arr. Roman Benedict). 2018 Sydney Symphony Fellows/Roger Benedict.

Recorded September 2018 30 Benjamin, A. Clarinet concerto in C minor, after Cimarosa (1942; arr. from Oboe concerto). Omega Ensemble/David Rowden, cl & dir.

Recorded February 2015 10 Smetana, B. Piano trio in G minor, op 15 (1855). Streeton Trio.

Recorded September 2017 29 Fine Music concert recordings (all above) 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm 19:00 THE NEW JAZZ STANDARD with Frank Presley 20:00 THE WORLD OF A SYMPHONY Prepared by Paul Cooke Wagner, R. Excerpts from Das Rheingold

(1853-54). Donna-Maree Dunlop, sop; Natalie Jones, sop; Zan McKendreeWright, mezz; Elizabeth Campbell, mezz; Andrew Brunsdon, ten; Christopher Doig, ten; Timothy DuFore, bar; John Bröcheler, bass; Adelaide SO/Asher Fisch.

Melba MR 301133-34 11 Bruckner, A. Intermezzo in D minor (1879).

Guus Jeukendrup, va; L’Archibudelli.

Sony SK 66 251 4 Wolf, H. Scherzo and finale (1877). Paris O/Daniel Barenboim.

Apex 0927-49582-2 15 Mahler, G. Piano quartet in A minor, op 33 (c1876-8). Nicola Benedetti, vn; Tom Dunn, va; Leonard Elschenbroich, vc; Alexei Grynyuk, pf.

Decca 478 3529 12 Brahms, J. Rhapsody in B minor, op 79 no 1 (1879). Miriam Hyde, pf.

Fine Music concert recording 8 Rott, H. Symphony in E (1878).

Cincinnati Philharmonia O/Gerhard Samuel.

Hyperion CDA66366 58 22:00 HELLO FROM MOSCOW Prepared by Jacky Ternisien Mussorgsky, M. Dawn on the Moscow River, from Khovanshchina (1872).

Bolshoi TO/Yevgeny Svetlanov.

Melodiya MEL 10011824 6 Trad. Moscow nights. Cambridge Buskers.

DG 482 1785 2 Solovyov-Sedoy, V. Moscow nights (c1962). Aida Garifullina, sop; Osipov State Russian Folk O/Vitaly Gnutov.

Decca 478 8305 2 Wieniawski, H. Souvenir of Moscow, op 6 (1853). Ruggiero Ricci, vn; Joanna Gruenberg, pf.

Unicorn-Kanchana UKCD 2048 7 Shostakovich, D. I used to go to school; The clock on the square is lit up, from Moscow-Cheryomushki (1958). Olga Peretyatko, sop; Ural PO/Dmitry Liss.

Sony 88985352232 5 22:30 ULTIMA THULE with George Cruickshank

Hans Rott died at the age of 25.

Mahler wrote: “It is completely impossible to estimate what music has lost in him. His First Symphony soars to such heights of genius that it makes him … the founder of the New Symphony.”

Friday 31 January 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 Elaine Siversen Kozeluch, L. Cassation in E flat for two clarinets, two horns and bassoon.

Consortium Classicum.

Orfeo 442 981 9 Schubert, F. Ständchen, D920 (1827).

Udo Reinemann, bar; Utrecht Vocal Soloists; Ronald Brautigam, pf.

Globe GLO 5021 6 Giuliani, M. Serenade, op 127 (pub.

1827). Nora Shulman, fl; Norbert Kraft, gui.

Naxos 8.554560 17 Smetana, B. From Bohemia’s fields and groves, from My country (1875). Vienna PO/Nikolaus Harnoncourt.

Teldec 0927-44890-2 14 Mozart, W. Deh, vieni alla finestra, from Don Giovanni, K527 (1787). Erwin Schrott, bass; Boris Tonkov, mand; Valencia Community O/Riccardo Frizza.

Decca 478 0473 2 Divertimento in B flat, K439b no 3 (c1783). Gilles Thomé, bshn; Gili Rinot, bshn; Lorenzo Coppola, bshn.

Pierre Verany PV795021 21 Cherubini, L. Four quick marches and one slow march in F (c1814). Australian Baroque Brass.

Tubicium Records TR761901 9 10:30 CONCERT HALL Prepared by Jacky Ternisien Charpentier, M-A. Ouverture. Ensemble Correspondances/Sébastien Daucé.

Harmonia Mundi HMC 902169 5 Rosetti, A. Horn concerto in D minor (pub. 1786). Compagnia di Punto.

DHM 88875143452 24 Lully, J-B. fils Concert for the king’s supper. Musica Florea/Marek Stryncl.

MBF 1108 24 Gyrowetz, A. Symphony in D, op 12 no 1 (c1790). London Mozart Players/Matthias Bamert.

Chandos CHAN 9791 26 12:00 A JAZZ HOUR with Barry O’Sullivan 13:00 MUSIC FOR A FEW Massonneau, L. Oboe quartet in F

(c1798). Paul Goodwin, ob; Terzetto.

Harmonia Mundi HMU 907220 14 Saint-Saëns, C. Fantasy for violin and harp in A, op 124 (1907). Renaud Capuçon, vn; Marie-Pierre Langlamet, hp.

Virgin 5 45602 2 13 Fauré, G. Cello sonata no 1 in D, op 109 (1917). Frédéric Lodéon, vc; JeanPhilippe Collard, pf.

EMI CMS 7 62545-2 19 Hotteterre, J-M. La noce champêtre (c1700). Jesse Read, bn, Doug McNames, vc; Karen Flint, hpd.

Etcetera KTC 1087 6 Ravel, M. String quartet in F (1902).

Kodály Quartet.

Naxos 8.550249 27 14:30 FRITZ HART REMEMBERED Stanford, C. Villiers Gloria in excelsis (1953). Choir of Westminster Abbey; English CO/Martin Neary.

Cantoris-Griffin CSACD3050 5 Hart, F. Idyll, op 169 (1949). Ronald Woodcock, vn; Adelaide SO/Graham Abbott.

Canberra School of music CSM.38 18 Bishop, H. Home, sweet home (1823).

Nellie Melba, sop.

Larrikin LRH 475 4 Hill, A. The sacred mountain. Melbourne SO/Wilfred Lehmann.

Marco Polo 8.220345 5 Hart, F. Five songs to texts by William Sharp, op 64 (1927). Merlyn Quaife, sop; Michael Kieran Harvey, pf.

Tall Poppies TP155 7 The bush, op 59 (1923). Melbourne SO/ Richard Divall.

Canberra School of Music CSM.38 40 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 Chris Blower Massenet, J. Suite no 1 (1865). Kenneth Jean, cond.

Naxos 8.555986 24 Handel, G. For unto us a child is born; Hallelujah chorus, from Messiah, HWV56 (1742). Choir of Winchester College Chapel; William Lacey, cond.

Naxos 8.557965 8

Cui, C. Concert suite, op 25 (1884).

Takako Nishizaki, vn; Kenneth Schermerhorn, cond.

LP Marco Polo 6.220308 21 Glière, R. Coloratura concerto in F minor, op 82 (1943). Beverly Hoch, sop; Kenneth Schermerhorn, cond.

IMP PCD 827 12 Stravinsky, I. Ballet: Le baiser de la fée (1928/50). David Atherton, cond.

Virgin 5 61281 2 44 Hong Kong PO (all above) 22:00 BAROQUE AND BEFORE Dresden, Florence of the Elbe Prepared by Rodrigo Azaola Lotti, A. Oboe concerto in A. Heinz Holliger, ob; I Musici.

Philips 420 189-2 15 Pisendel, J. Violin concerto in D. Concerto Amsterdam; Jaap Schröder, vn & dir.

Pro Arte CDD 330 12 Heinichen, J. Mass no 11 in D (1728).

Christine Wolff, sop; Patrick Van Goethem, alto; Uwe Stickert, ten; Jochen Kupfer, bass; Dresden Chamber Choir; Dresden Baroque O/Hans-Christoph Rademann.

Carus 83.272 32 Hasse, J. Overture to Didone abbandonata (1742). Capella Gabetta/ Andrés Gabetta.

Sony 88691944592 6 Zelenka, J. Hipocondrie in A à 7 concertante. Camerata Bern/Alexander van Wijnkoop.

Archiv 479 1045 10 Porpora, N. Cantata no 9: Destatevi, o pastori (pub. 1735). Iestyn Davies, ct; Arcangelo/Jonathan Cohen.

Hyperion CDA 67894 17 Quantz, J. Flute concerto in G. Patrick Gallois, fl; Carl Phillip Emanuel Bach CO/ Peter Schreier.

DG 439 895-2 17

Johann Heinichen studied at the Thomasschule in Leipzig with Johann Schelle and Johann Kuhnau.

He worked in Venice as an opera composer where he met Prince Augustus II of Poland, son of King Augustus II. Through the Prince’s influence, Heinichen was appointed Kapellmeister at the Dresden court, where he introduced the musical styles of Venice.

JANUARY 2020

39

The following composers have works of at least five minutes on the January dates listed Adam de la Halle. c1245-c1288 17 Adams, J. b1947 22 Adès, T. b1971 17 Albéniz, I. 1860-1909 10 Albinoni, T. 1671-1751 24 Alfano, F. 1875-1954 11 Alfvén, H. 1872-1960 9 Alwyn, W. 1905-1985 9 Arban, J-B. 1825-1889 4 Arne, T. 1710-1778 22 Arnold, M. 1921-2006 21 Arriaga, J. 1806-1826 5,13,23

Cherubini, L. 1760-1842 31 Chopin, F. 1810-1849 4,9,12,24,29 Cimarosa, D. 1749-1801 29 Ciurlionis, M. 1875-1911 15 Clementi, M. 1752-1832 2,6,11 Coates, E. 1886-1957 2,6,17 Coleridge-Taylor, S. 1875-1912 29 Copland, A. 1900-1990 3,8,9,14,20,26,27 Corigliano, J. b1938 11 Corrette, M. 1709-1795 15,28 Couperin, F. 1668-1733 17 Crusell, B. 1775-1838 12 Cui, C. 1835-1918 31 Czerny, C. 1791-1857 1

Granados, E. 1867-1916 10 Graziani, C. d 1787 9 Grechaninov, A. 1864-1956 7 Greene, M. 1696-1755 12 Grieg, E. 1843-1907 2,3,12,18,19,21,22,25,27,28,29 Griffes, C. 1884-1920 29 Grusin, D. b1934 21 Gyrowetz, A. 1763-1850 31

Hahn, R. 1875-1947 20 Halévy, F. 1799-1862 8 Handel, G. 1685-1759 3,6,7,10,15,17,28,30,31 Bach, C.P.E. 1714-1788 Harris, R. 1898-1979 8 4,12,30 Hart, F. 1874-1949 31 Bach, J. Christian 1735-1782 Hasse, J. 1699-1783 15,31 8,19,23,30 Haydn, J. 1732-1809 Bach, J.S. 1685-1750 1,5,14,16,17,18,19,24,25,26,28 2,4,5,7,14,17,19,21,23,25,26,28 d’Indy, V. 1851-1931 1,11,14,15 Haydn, M. 1737-1806 10,19 Dean, B. b1961 5 Baguer, C. 1768-1808 5 Heinichen, J. 1683-1729 5,31 Debussy, C. 1862-1918 Bairstow, E. 1874-1946 5 Herz, H. 1803-1888 1,15 2,6,16,20,24,26,29 Balakirev, M. 1837-1910 28 Hill, A. 1870-1960 7,31 Delibes, L. 1836-1891 22 Bantock, G. 1868-1946 23 Hill, M. 1889-1986 7 Delius, F. 1862-1934 2 Bartók, B. 1881-1945 17,18 Hindemith, P. 1895-1963 3,4 Diamond, D. 1915-2005 12 Bax, A. 1883-1953 4,28 Hoffmeister, F. 1754-1812 2,23 Dittersdorf, C. 1739-1799 16 Beach, A. 1867-1944 6,9,14 Holmboe, V. 1909-1996 4 Dohnányi, E. 1877-1960 26 Beck, F. 1734-1809 26 Holst, G. 1874-1934 3,6 Donato da Cascia.

14th c 3 Beethoven, L. 1770-1827 4,5,7, Honegger, A. 1892-1955 1,24 Donizetti, G. 1797-1848 8 10,13,16,17,19,21,23,26,28 Hotteterre, J-M. 1674-1763 31 Dreyfus, G. b1928 15 Bellini, V. 1801-1835 3,19 Hovhaness, A. 1911-2000 8,11 Dufay, G. c1400-1474 3 Bellman, C. 1740-1795 12 Dukas, P. 1865-1935 1,9,16,22 Howells, H. 1892-1983 16 Benjamin, A. 1893-1960 30 Hummel, J. 1778-1837 Berlioz, H. 1803-1869 10,11,13 Dupré, M. 1886-1971 6,19 13,14,28,30 Dvorák, A. 1841-1904 Berwald, F. 1796-1868 4,7,12 Hurel, C. 17th c 9 1,2,8,14,20,24,28 Bizet, G. 1838-1875 21 Blow, J. 1649-1708 28 Ibert, J. 1890-1962 20,29 Boccherini, L. 1743-1805 16,28 Eberl, A. 1765-1807 20 Ireland, J. 1879-1962 15 Boismortier, J. de 1689-1755 30 Edwards, R. b1943 26 Ives, C. 1874-1954 9 Elgar, E. 1857-1934 17 Bon, W. 1940-1983 24 Enescu, G. 1881-1955 14 Borodin, A. 1833-1887 5,23 Janácek, L. 1854-1928 1,7,24 Bottesini, G. 1821-1889 9,27,28 Jerúsalem, I. 1710-1769 24 Falla, M. de 1876-1946 4,10 Bourgault-Ducoudray, L-A. Jolivet, A. 1905-1974 1 Farrenc, L. 1804-1895 27 1840-1910 10 Fauré, G. 1845-1924 Boyd, A. b1946 26 1,12,16,20,22,27,31 Brahms, J. 1833-1897 1,7,13, Kalinnikov, Vasily.

Field, J. 1782-1837 2,13,23 14,17,18,21,22,26,27,29,30 1866-1901 2 Finch, C. b1980 2 Bridge, F. 1879-1941 21,23 Kats-Chernin, E. b1957 8,26 Foote, A. 1853-1937 6 Britten, B. 1913-1976 2,3,7 Ketèlbey, A. 1875-1959 2,8 Fossa, F. de 1775-1849 5 Bruch, M. 1838-1920 14,24 Khachaturian, A. 1903-1978 22 Françaix, J. 1912-1997 1 Bruckner, A. 1824-1896 10 Kodály, Z. 1882-1967 29 Franck, C. 1822-1890 4,6,11,24 Koechlin, C. 1867-1950 16,25 Bryant, S. b1972 11 Burgmüller, N. 1810-1836 16 Koehne, G. b1956 14 Busoni, F. 1866-1924 11 Korngold, E. 1897-1957 1,8 Gade, N. 1817-1890 11,15 Buxtehude, D. 1637-1707 12 Kozeluch, L. 1747-1818 31 German, E. 1862-1936 25 Byrd, W. 1543-1623 2 Kraus, J.M. 1756-1792 10,12 Gershwin, G. 1898-1937 8 Byström, T. 1772-1839 30 Kreisler, F. 1875-1962 2 Giordano, U. 1867-1948 27 Krumpholtz, J-B. 1742-1790 6 Gipps, R. 1921-1999 10,23 Caccini, G. c1545-1618 17 Giuliani, M. 1781-1829 3,21,31 Kuhlau, F. 1786-1832 9 Cannabich, C. 1731-1798 26 Gjeilo, O. b1978 12 Capillas, F. 1615-1673 24 Glass, P. b1937 3,25 Lalo, E. 1823-1892 20,21 Carr-Boyd, A. b1938 26 Glazunov, A. 1865-1936 Lambert, C. 1905-1951 17 Castelnuovo-Tedesco, M. 12,18,19,23,25 Langgaard, R. 1893-1962 18 1895-1968 3 Glière, R. 1875-1976 14,27,31 Le Gallienne, D. 1915-1963 2 Chabrier, E. 1841-1894 5 Glinka, M. 1804-1857 10 Lekeu, G. 1870-1894 19 Charpentier, M-A. 1635-1704 Gluck, C. 1714-1787 8,18,29 Lemmoné, J. 1862-1949 14 8,22,31 Goossens, E. 1893-1962 3,7 Lhoyer, A. de 1768-1852 30 Chausson, E. 1855-1899 Gorécki, H. b1933 11 Lindblad, A. 1801-1978 17 1,13,16

Linley, T. the younger 1756-1778 23 Liszt, F. 1811-1886 18,24 Lokshin, A. 1920-1987 8 Lotti, A. c1667-1740 31 Lully, J-B. 1632-1687 8 Lully, J-B. fils 1665-1743 31 Lumbye, H. 1810-1874 25 Lyadov, A. 1855-1914 3 MacDowell, E. 1860-1908 9 Mahler, G. 1860-1911 17,18,19,30 Malvezzi, C. 1547-1599 3 Marais, M. 1656-1728 23,30 Mascagni, P. 1863-1945 21 Massenet, J. 1842-1912 15,20,22,31 Massonneau, L. 1766-1848 31 Mathias, W. 1934-1992 25 Matteis, N. d c1707 25 Mayuzumi, T. 1929-1997 8 Meale, R. 1932-2009 26 Mendelssohn, F. 1809-1847 1,9,10,11,12,13,14,15,16,19, 20,21,26 Mendelssohn, Fanny.

1805-1847 27 Messiaen, O. 1908-1992 1,12 Meyerbeer, G. 1791-1864 11,15,21 Milhaud, D. 1892-1974 8 Molique, B. 1802-1869 21 Monteverdi, C. 1567-1643 19 Moore, K. b1979 26 Morel, J. b1931 30 Moscheles, I. 1794-1870 10 Mozart, L. 1719-1787 10 Mozart, W. 1756-1791 2,3,5,7,8, 9,10,12,13,14,16,19,21,22, 23,24,26,30 Mussorgsky, M. 1839-1881 25,30 Newman, M. b1962 1 Nielsen, C. 1865-1931 4,25,28,30 Novák, V. 1870-1949 24 Offenbach, J. 1819-1880 4 Orlandini, G. 1676-1760 3 Padilla, J. de c1590-1664 24 Paganini, N. 1782-1840 9,13,16,30 Paisiello, G. 1740-1816 16 Palmer, G. b1947 26 Parry, H. 1848-1918 6 Pärt, A. b1935 3 Pasculli, A. 1842-1924 29 Pavlova, A. b1952 24 Penderecki, K. b1933 5 Pergolesi, G. 1710-1736 10 Pezel, J. 1639-1704 7 Piccinini, A. 1566-1638 23 Pisendel, J. 1687-1755 31 Piston, W. 1894-1976 8

Pleyel, I. 1757-1831 20 Ponchielli, A. 1834-1886 21 Porpora, N. 1686-1768 31 Poulenc, F. 1899-1963 4,6,18,20 Praetorius, M. c1571-1621 18 Preisner, Z. 20th c 19 Prestini, P. b1975 12 Prokofiev, S. 1891-1953 22 Puccini, G. 1858-1924 27 Purcell, H. 1659-1695 6 Quantz, J. 1697-1773 19,31 Rachmaninov, S. 1873-1943 2,6,19 Rameau, J-P. 1683-1764 4,15,30 Rautavaara, E. 1928-2016 2 Ravel, M. 1875-1937 1,11,13,16,28,31 Reger, M. 1873-1916 24 Reicha, A. 1770-1836 11,13 Reinecke, C. 1824-1910 17 Reser, H. 1896-1965 23 Respighi, O. 1879-1936 3,7,16 Richter, F. 1709-1789 26 Ries, F. 1784-1838 19 Rimsky-Korsakov, N. 18441908 8,11,23,28 Rodrigo, J. 1901-1999 2 Rojas, D. b1974 23 Rosetti, A. c1750-1792 31 Rosetti, F. 1746-1792 7,17 Roslavets, N. 1881-1944 8 Rossi, Lauro. 1810-1885 1 Rossini, G. 1792-1868 9,13,19,28 Rota, N. 1911-1979 3 Rott, H. 1858-1884 30 Roussel, A. 1869-1937 18 Rubinstein, A. 1829-1894 23 Saint-Saens, C. 1835-1921 3,9,16,18,22,24,25,27,30,31 Saint-Saëns, C. 1835-1921 3,9,16,18,22,24,25,27,30,31 Salieri, A. 1750-1825 11 Salzedo, C. 1885-1961 2 Sarasate, P. de 1844-1908 1 Satie, E. 1866-1925 1,6,25 Scarlatti, A. 1659-1725 17 Schubert, F. 1797-1828 12,13,1 4,16,17,18,19,22,24,25,31 Schulhoff, E. 1894-1942 10 Schumann, C. 1819-1896 22,27 Schumann, R. 1810-1856 3,4,5,10,11,18,23,28,29 Schütz, H. 1585-1672 10 Sculthorpe, P. 1929-2014 24 Séverac, D. de 1872-1921 3 Sibelius, J. 1865-1957 3,19,21 Simpson, R. 1921-1997 25 Smetana, B. 1824-1884 3,17,30,31 Soler, A. 1729-1783 5 Somervell, A. 1863-1937 15

Sor, F. 1778-1839 5 Sousa, J.P. 1854-1932 4 Stamitz, A. 1750-c1789 26 Stamitz, C. 1745-1801 21,26 Stanford, C. Villiers 1852-1924 2,19, 31 Steffani, A. 1654-1728 4 Strauss, J. II 1825-1899 16,24,25 Strauss, R. 1864-1949 7,8,12,13,15,17,18,23,24,25,28 Stravinsky, I. 1882-1971 4,8,31 Striggio, A. c1535-1592 3 Strozzi, B. 1619-1664 17 Suk, J. 1874-1935 24 Sullivan, A. 1842-1900 11,25 Tallis, T. c1505-1585 22,26 Taneyev, A. 1850-1918 2 Tartini, G. 1692-1770 15 Tausch, F. 1762-1817 26 Tchaikovsky, P. 1840-1893 1,2,7,10,12,15,17,24,27 Telemann, G. 1681-1767 16,17,29 Thomas, A. 1811-1896 8 Thomas, Augusta. b1964 12 Thomas, J. 1826-1913 9 Tippett, M. 1905-1998 12 Tormis, V. 1930-2017 26 Tournemire, C. 1870-1939 19,29 Turina, J. 1882-1949 4,25,29 Vaughan Williams, R. 1872-1958 3,6,11,21,24,30 Veracini, F. 1690-1768 3,29 Verdelot, P. c1470-1552 3 Verdi, G. 1813-1901 15,21,22,27,29 Viardot, P. 1821-1910 27 Villa-Lobos, H. 1887-1959 3 Vine, C. b1954 12,26 Viotti, G. 1755-1824 19 Visée, R. de c1660-c1720 9 Vivaldi, A. 1678-1741 12,21,24 Vivanco, S. de c1551-1622 5 Wagner, R. 1813-1883 8,13,15,17,27,29,30 Walton, W. 1902-1983 4,5,15 Warlock, P. 1894-1930 1 Weber, C.M. 1786-1826 2,14,23 Wesley, S. 1766-1837 23 Wesström, A. 1720-1781 12 Westlake, N. b1958 26 Whitlock, L. b1978 3 Widor, C-M. 1844-1937 20 Wieniawski, H. 1835-1880 30 Wikmanson, J. 1753-1800 12 Winding, A. 1835-1899 12,20 Wolf, H. 1860-1903 30 Wood, Haydn. 1882-1959 18 Wright, C. b1954 12 Zappa, F. 20th c 12 Zelenka, J. 1679-1745 5,31

Key Music duration is shown after the record and citation Ch & O: Chorus & Orchestra CO: Chamber Orchestra FO: Festival Orchestra NO: National Orchestra NSO: National Symphony Orchestra PO: Philharmonic Orchestra RO: Radio Orchestra RSO: Radio Symphony

Orchestra RTO: Radio & Television Orchestra RTV SO: Radio and Television Symphony Orchestra SO: Symphony Orchestra TO: Theatre Orchestra alto: male alto ban: bandoneon

bar: baritone bshn: basset horn bass: bass bn: bassoon bass bar: bass baritone cl: clarinet clvd: clavichord cont: contralto cora: cor anglais ct: counter-tenor

db: double bass dbn: double bassoon did: didjeridu elec: electronic fl: flute fp: fortepiano gui: guitar hn: french horn hp: harp hpd: harpsichord

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

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

EIGHTEEN LOVE SONGS NICKY GLUCH RECALLS AN INTIMATE PREMIERE It’s January 1870. You are gathered at your friend’s home, with a fire burning in the room, when two of the guests sit down at the piano, a quartet of singers assembles and Brahms’ Liebeslieder-Walzer are performed. You are charmed, for with these 18 love songs, settings of words from Georg Friedrich Daumer’s Polydora, the composer has taken simplicity and made it his own. That they are waltzes is undeniable, with the ‘oom-pah-pah’ of the three beats but, to this, Brahms has added his love of syncopation and hemiola, the sense of metre shifting ever slightly; the attention of the audience, rapt!

This image is designed to capture how Brahms conceived his work. Written during the summer of 1869, the Liebeslieder were not initially an ordered set but were rather a collection to be performed at the whim of the home musician. 1869 was a dance-filled year for Brahms, as it was also when he wrote the first two books of Hungarian dances. Similarly intended for piano four-hands, it suggested a world of social music making and chamber performance.

At the premiere of the Liebeslieder-Walzer on

5 January 1870, Brahms would have been 36 years old. With a long-established musical career, at this stage he was beginning to find the confidence necessary to complete some of his major works. 1868 had seen the premiere of A German Requiem, to great acclaim, and the popular success of the Hungarian dances; these and the Liebeslieder-Walzer seem to mark a turning point in Brahms’ career.

It is interesting to listen to these vocal waltzes with this thought in mind, for it reminds one that no great work was a foregone conclusion. Composers lived very human lives, their struggles and trials hampering, or inspiring, them along the way. Brahms, for example, remained forever hapless in love.

It is unknown whether Clara Schumann, her daughter Julie, or another enamoured one inspired the Liebeslieder but, by the time Brahms published the Neue LiebesliederWalzer in 1874, his hope of finding love had all but vanished. Indeed, that set ends with a tribute to the muses, music having been Brahms’ great passion and solace.

In our program to recognise the 150th anniversary of the 1870 first performance of

Johannes Brahms

Photo: Alamy

the Liebeslieder-Walzer you will also hear works by Clara Schumann and Schubert.

It is hoped that they will speak to Brahms’ influences and inspiration, evoking his sound world and sentiment. Listen on Wednesday 22 January at 1pm.

A MUSICAL LIFE IN BRIEF KRYSTAL LI PROFILES FRITZ HART Fritz Hart’s symphonic suite, The bush, was his emotional response after encountering the Australian bush, but it also combines some of the folk-song characteristics heard in the works of his English friends. However, it is ultimately this description by Hart that best reveals his feelings about Australia and its landscape: “It is apart from us, and greater than us, and doesn’t care about us – the bush, that is.”

The life of Fritz Hart can be divided into three stages. His early life, from his birth in London in 1874 to young adulthood, was spent in England where he studied at the Royal College of Music. Although he was not a composition student, he was influenced by Charles Villiers Stanford and he numbered Holst, ColeridgeTaylor, Vaughan Williams and Ireland among his friends. Hart began his career as a theatre conductor for touring companies until a call

from a new comic opera company in Australia opened a new chapter in his life. From 1909 to 1934 he was based in Melbourne where he filled the roles of conductor, composer and educator. The final stage of his career found him in Hawaii as chief conductor of the Honolulu Symphony Orchestra. Here he remained until the end of his life in 1949.

Although Hart no doubt left a mark on each of his homelands, native or adopted, the place where he made his most significant impact was Australia. His initial year-long contract at the comic opera company turned into four years. Following this, he became a lecturer at the Conservatorium of Music in Melbourne and was promoted to Director a year later in 1914. Highly regarded as a teacher, Hart’s students included Peggy Glanville-Hicks, Margaret Sutherland and Robert Hughes.

From 1928 Hart was the permanent conductor of the Melbourne Symphony Orchestra until its amalgamation with the rival Melbourne University Conservatorium Orchestra, when he shared the role with Bernard Heinze.

Melbourne was also the site of his most fruitful years of composition. His output was dominated by songs, most of them settings of English poets whom he admired. He wrote 18 operas in Melbourne, six of which were staged with Nellie Melba’s support. Although it was short-lived, in 1913 Hart founded the Australian Opera League with fellow composer, Alfred Hill. Their vision was to create an Australian operatic tradition. That vision has been fulfilled.

You can hear some of Fritz Hart’s music at 2pm on Friday 31 January.

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‘A GRAND MANSION OF SOUND’ DAVID OGILVIE PAYS TRIBUTE TO JESSYE NORMAN In September 2019, the renowned American opera star Jessye Norman died at the age of 74 due to complications from a spinal cord injury.

have mentioned the moment when she swept regally on to the stage, enthralling the audience immediately. The roles that suited her best were often statuesque, where her character’s emotional presence was able to dominate.

Her Elisabeth in Wagner’s Tannhäuser and, in particular, her Cassandre in Berlioz’s Les Troyens, were typical examples. Later, the tragic dignity of her vocal breadth was perfectly suited to her acclaimed title role in Strauss’ Ariadne auf Naxos.

Although generally billed as a soprano, she had a gloriously rich middle and lower register that she exploited to great effect in repertoire associated with mezzo-sopranos. The New York Times reviewer Edward Rothstein famously described her voice as ‘a grand mansion of sound … it is impossible to classify the voice by range and type … each descriptive term is too limited, made for other, more constrained talents’.

Norman was proud of her African-American heritage, following in the footsteps of Marian Anderson and Leontyne Price, who each broke through into the whites-only world of classical music and opera. Growing up in Augusta, Georgia, Norman was aware from a very early age of the misery and injustice generated by segregation. While acknowledging the advances made by the civil rights movement, she said that racism still existed in classical music and in society in general: “It’s one thing to have a set of laws, and quite another to

Jessye Norman (2007) taken at a screening of Charlie Wilson’s War Photo: Alamy

change the hearts and minds of men. That takes longer.”

Several people who were present at her 1986 concert at the Sydney Opera House

But, for my money, she will most likely be remembered for her fabulous 1983 recording of Richard Strauss’s Four last songs, that won just about every accolade that mattered.

Strauss wrote the music with an ideal voice in mind, and it was his dying wish that the Norwegian soprano Kirsten Flagstad sing the premiere. As Gramophone’s Alan Blyth wrote of Norman at the time, ‘Her breath seems almost endless at times, her tone refulgent and full so that I doubt if the Vier letzte Lieder have sounded so rich in texture since Flagstad’.

A tribute program for Jessye Norman will include Four last songs and can be heard at 1pm on 13 January.

RAVISHING AND PASSIONATE SOUND ROBERT GILCHRIST PAYS TRIBUTE TO PAUL BADURA-SKODA Paul Badura-Skoda could make a piano sing! Although he didn’t have the most immediately recognisable or ravishing sound at the keyboard, his playing was rich in revelatory spontaneity and passion. Born in 1927 in Vienna, he graduated from the city’s Conservatory of Music with high distinctions in both piano playing and conducting. In 1950, and at short notice, he replaced pianist Edwin Fisher at the Salzburg Festival. He immediately became an international celebrity and concert tours in Australia, the Americas and even Africa followed quickly.

for museums, or worse: to be used as heating material for your room in winter’. That bias was shattered when, in his early 20s, he heard the Austrian harpsichordist and fortepianist Isolde Ahlgrimm perform. Her playing revealed to him, he said, the ‘beauty and originality’ of these instruments. As a result, he began buying fortepianos and early 19th century pianos. His collection grew so large that he had

to acquire a house next to his own in Vienna to store and maintain them. He is thought to be the only pianist to have recorded all of the piano sonatas of Mozart, Beethoven and Schubert on both period and modern pianos.

His refined approach to playing allowed him to adjust to the lighter keyboard action and gentler, yet pinging, sound of fortepianos. He and his recording company quickly embraced the then new media of LPs.

He was part of a generation of Viennese musicians, including cellist, viola da gambist and conductor Nikolaus Harnoncourt, and fortepianist Jörg Demus, who turned that city into a hotbed of experimentation with historical instruments and practices.

Badura-Skoda grew up believing in the Vienna University of Performing Arts and Music (also known as superiority of the modern piano over Vienna Conservatory) where Paul Badura-Skoda studied period instruments. He held a ‘prejudice’ Photo: Paul Shun Osawa (Alamy) feeling that ‘old instruments were good 42

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In 2017, Deutsche Grammophon released The Paul Badura-Skoda Edition of 20 CDs. It included many of his earlier recordings under the Westminster label, among them Beethoven’s five piano concertos. That same year, he gave a Beethoven recital in Vienna that included the master’s last three sonatas.

When asked by a music critic if he was ready for such a demanding program, he replied: “Ninety is a good age. I’m very well prepared.” Paul Badura-Skoda died on 25 September last year, aged 91.

You can hear Paul Badura-Skoda’s artistry in a tribute program at 2.30pm on 13 January.

MUSICAL FAMILIES ELIZABETH HILL DISCUSSES HUSBANDS AND WIVES with Charles Harding’s Grand Opera Company at the age of 14.

Recognising Alfred and his brother John’s exceptional musical talents their father sent them to Leipzig in 1886 to study at the Royal Conservatorium of Music. Here, Alfred won numerous awards, and after graduation he played second violin for a while with the Gewandhaus Orchestra, under the conductorship of such composers as Brahms, Grieg and Tchaikovsky.

Moving back to Australia in 1897, Alfred involved himself in opera and operetta, and teaching at the New South Wales State Conservatorium of Music, retiring from this position in 1937 to concentrate on composing.

In 1921, Alfred married Mirrie Irma Solomon, a former pupil and composer. Within four years of Pinchas Zukerman, left, and Canadian cellist Amanda Forsyth Photo: Alamy beginning composition studies at Pinchas Zukerman’s ‘road to Damascus’ world, and as a champion of young musicians age 13, Mirrie’s first major work, Rhapsody moment came 50 years ago on 20 July 1969 he has served for 25 years as chair of the for piano and orchestra, had been performed. when, at the age of 20, he debuted in his first Pinchas Zukerman Performance Program at A scholarship enabled her to attend the New South Wales State Conservatorium of Music, solo performance at Tanglewood on the day of the Manhattan School of Music. where, after graduating, she was appointed the Apollo 11 moon landing. Decades later he Zukerman is married to Amanda Forsyth, an Assistant Professor of harmony, counterpoint vividly recalled the moment: “I felt like I landed internationally acclaimed cellist, who is also and composition. Her marriage to Alfred had a on the moon.” the daughter of composer Malcolm Forsyth. considerable impact on her ability to establish He was talent spotted in 1961 by Pablo Casals Inspired by her father, she studied cello from a reputation as a composer in her own right. and Isaac Stern. Stern was so impressed that the age of three and became a protégé of the Shy and self-effacing, she willingly allowed he became the young violinist’s legal guardian British cellist William Pleeth, becoming only Alfred’s composing career to come before her in order to guide the course of his education. his second child pupil after Jacqueline du Pré. own. She composed over 500 works across Zukerman attended the Juilliard School at the She later studied with Harvey Shapiro at the many genres but a few of her compositions age of 14 to study violin and viola and also Juilliard School and with Lynn Harrell in Los were published under male pseudonyms. attended the Professional Children’s School Angeles.

It was not until several years after her and the High School of Performing Arts, living Zukerman, the Director, and Forsyth, Principal husband’s death in 1960 that she received with the parents of pianist Eugene Istomin.

Cello, both left their posts at Canada’s National recognition. Almost half of her compositions Zukerman admits that he was an arrogant Arts Centre Orchestra in 2015 to pursue other were published in Australia and many of her and rebellious child prodigy, finding it difficult interests. Now, as an international classical orchestral works were performed, broadcast to adjust to life in New York City, but in 1966 music glamour couple, they travel the world, and recorded during her lifetime. She was he jointly won the Leventritt Competition with frequently playing together, appearing with appointed an honorary life member of the Kyung-Wha Chung, and the rest, as they leading orchestras and in the Zukerman Trio Fellowship of Australian Composers in 1975 say, is history. Zukerman soon became a which includes pianist Angela Cheng. and received an OBE in 1980. Mirrie Hill was household name, playing with the dream-team of Jacqueline du Pré, Daniel Barenboim, Zubin The other husband and wife duo featured well-liked by her peers, composer Dorothy Mehta and Itzhak Perlman. In interviews, this month is Alfred Hill and his wife Mirrie. Dodd observing: “With her innate sense of Zukerman regularly pays tribute to Isaac As a composer of over 500 compositions humour and serenity, she radiated such quiet Stern, saying that his guidance and his belief (including comic operas, film scores and a happiness to those around her.” variety of classical genres from string quartets The compositions and the artistry of these in him was an inspiration. to full orchestral works) Alfred Hill was New couples can be enjoyed on Tuesdays 7 and Zukerman has now been dazzling audiences Zealand’s first fully professional composer 21 January at 2pm. for over 50 years with the lyricism of his and the man most responsible for introducing violin playing, singular beauty of tone and the country’s indigenous music to western Articles on Mirrie Hill and Alfred Hill were impeccable musicianship. At 70, he still gives styles of composition. His family moved to published in the 2019 August and December over 100 concerts a year and is equally known New Zealand from Melbourne when Alfred editions respectively. as a conductor, viola player, chamber musician was about 18 months old. As a child, Alfred and pedagogue. His devotion to teaching has learned the cornet and later the violin, touring resulted in innovative programs around the JANUARY 2020

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WHAT’S ON IN MUSIC AUSTRALIAN FESTIVAL OF CHAMBER MUSIC 31 July – 8 August 2020 Townsville, North Queensland afcm.com.au Become an AFCM Friend to buy tickets now. AFCM Friends enjoy a 12-week priority booking period, discounts and a program preview. General public tickets are on sale from 26 February.

Experience some of the world’s finest classical music in a tropical winter setting at the Australian Festival of Chamber Music. Over 45 musicians from around the world will perform in Townsville, with four making their Australian debut, including famed British royal wedding cellist Sheku KannehMason.

The program features an abundance of music spanning centuries and continents with exciting commissions, premieres and performances of the most celebrated chamber music repertoire ever written.

CD REVIEWS PUCCINI – CHINDAMO ARIAS Joe Chindamo

OR104

HHHHH

Puccini reinvented grand opera on an intimate human scale painting the lives of everyday men and women through music of exquisite and timeless beauty with arias that speak directly to the heart. On this evocative recording Jazz pianist, arranger and composer, Joe Chindamo, has taken seven classic Puccini arias and reimagined them with just a hint of the original melodies from the operatic masterpieces. Chindamo has created a fresh interpretation in a subtle piano performance assisted by Nigel MacLean (violin), Doug De Vries (exquisite on guitar), Ben Robertson (bass) and Rajiv Jayawerra (drums).

The eerie stillness of Chindamo’s arrangements on this recording is achieved by multi-tracking the violin a note at a time in order to create a series of chord clusters.

Interspersed and dovetailed throughout, they

SUREFIRE SWEAT www.surefiresweat.com 8 75531 01696 3 HHHH½

The quintet Surefire Sweat is the brainchild of the Toronto-based multi-percussionist and composer Larry Graves. On this debut, the quintet is augmented by the baritone saxophonist Paul Metcalfe, flautist Rob Neal Christian, and Dave Chan who adds further percussion and Hammond organ. It’s a big sound and it looms larger as the disc progresses. All eight tracks are composed

by Graves who mastered his writing skills at Berklee then perfected his polyrhythmic skills in Nigeria, Ghana, Senegal and Burkina Faso.

This album really has it all for anyone who enjoys the space where jazz, funk and world grooves collide. Brad Eaton’s trumpet, Elana Kapeieris’ tenor saxophone and the baritone combine to fill the arrangements with punchy horn lines while Paul MacDougall’s guitar acts as a wondrous melodic counterweight to the

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have been reworked into a unique jazz-infused soundscape. All the favourites are here: O mio babbino caro, E lucevan le stelle, Chi il bel sogno di Doretta and even a unique treatment of Ch’ella mi creda (first sung by Caruso in 1910 at the Met).

Of course, this process is not new to jazz.

Musicians have been making the classics cool for some time now, releasing them from so-called rhythmic shackles. On this recording Chindamo unearths the very essence of Puccini’s music perhaps discovering something new that no one knew was there all along. This is Puccini stripped back to his rawest elements, without the constraints of harmonic and rhythmic structures: lust, longing and love laid bare and highly recommended.

Barry O’Sullivan horns on these catchy melodies. Graves locks in the grooves but largely avoids the limelight preferring to allow the sum of all parts, not to mention the twists and turns in each of the arrangements, to keep the audience captivated. Kapeleris’ tenor particularly shines bright on the middle-eastern-tinged On the Phrynge.

Number nine is a nod to the Nigerian drummer, Tony Allen. It has a sweaty township shuffling beat which underpins a funky but complex horn arrangement under which Brad Eaton takes a jubilant solo on trumpet. The final piece Scoffle strut takes inspiration from John Scofield’s She’s so lucky. It’s a slower burn taken at loping pace, but just as funky. I can’t wait to hear their next album.

Frank Presley

JAZZ AT FINE MUSIC JEANNIE McINNES FOLLOWS THE JAZZ JOURNEY

Ric Prestidge

Kevin Jones

Robin Forsaith

Dick Hughes

Bruce Johnson

Following the official launch of 2MBS on Saturday 1 February 1975, the first listed jazz program came on Monday, just two days later, with a program presented by Mike Williams.

Jazz continued every day that week under the title of Jazz Action, then on the following Saturday, Ric Prestidge began presenting The Jazz Record, the first program in a long tradition of jazz on Saturday. In the initial months when we began broadcasts at 12 noon, it was jazz that opened proceedings, and before long there were programs by Geoff Gilbert, Terry Widdowson, Laurie Lewis, Inga and Ken LeLievre, Chris Qua and Anton Crouch, all of whom helped establish the name of our station as the premier place to listen to jazz on Sydney radio. Some of these presenters were only active for a short time while others stayed for many years, but one name stands out. By mid-1976, Kevin Jones had joined the team, becoming one of the most respected jazz broadcasters; he remained active for 43 years until his death in April 2019.

These early days of jazz at 2MBS were also the time when jazz was prevalent on the local music scene. One could walk into a pub in Sydney and listen to the band for a while, cross the street to another pub to hear a different band, then maybe hear another within walking distance as well. It was to this fertile ground of live music gig attendees that we were able to bring further choice and delight through the wide range of jazz that was now available on stereo radio.

Over the following decades, 2MBS was leading the way and soon became known as THE station for listening to jazz. Robin Forsaith (Robin’s Nest) and Joya Jensen (Joya-Jazz) brought their individual ears and love of the music to regular programs as well as writing noted magazine articles, while Wally Norman, Sid Bromley and Derek Davey, well known on the scene, also broadcast. If you wanted to be educated in the jazz genre, then Bill Haesler was the expert on the early days of jazz, while Bruce Johnson presented Jazz: Traditional to Modern, where listeners were taken on a joy ride from early sounds through to the contemporary. Between 1988 and 1990, Bruce also presented an awardwinning monthly series A History of Jazz in Australia. The inimitable Dick Hughes (known as Richard on air), made a huge contribution to the airwaves through his 20 years of presenting Speak Easy, Swing Hard. Dick was a looming figure on the Australian jazz scene as a pianist, bandleader, journalist and

raconteur, but considered his radio programs to be his greatest contribution to Australian music.This decade has brought even more jazz to the airwaves of Fine Music. With the advent of Fine Music DAB+ multi-streaming, the team brought special dedicated programs over a range of themes: biography, standards, concerts, Australian and traditional jazz programs. It was also at this time that Kevin Jones developed his After Hours program delving into the music that he had heard as he grew up. After Hours still continues with different presenters.

While DAB+ is now simulcasting to accommodate the variety of listening devices available, the jazz team continues to broadcast a wide range of jazz genres, so you are able to hear the roots of jazz in early New Orleans, right through the 20th century to the contemporary scene. Jazz is the true world music where Australia makes a huge contribution and we continue to expand the range of jazz as new volunteers join the team.

Fine Music jazz embraces new technology, with program pages on the website providing a way to both listen and be informed about the music played.

Not only does Fine Music bring you recorded jazz, but we also support young musicians through several special projects. Ken Weatherley was part of the team of presenters until his death in 2017. He generously bequeathed funds to Fine Music that have been used to create the Ken Weatherley Jazz Scholarship enabling young musicians to further their careers through the support of our station.

The Fine Music School Jazz Combo Competition began in 2018 as an opportunity for young school groups to experience performing live-to-air, and to showcase the wonderful teaching in our high school music departments. Students perform under broadcast conditions and also participate in an interview discussing what the music means to them. Through both these programs we endeavour to support the next generation of jazz musicians.

Why listen to jazz on Fine Music? What we have always provided and continue to provide is well-selected music along with interesting information about the music being played: much better than the lack of enlightenment that comes from a computer-generated alternative. So, keep listening to the fine jazz on Fine Music!

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2019 YOUNG VIRTUOSO AWARD MAUREEN CHAFFEY REPORTS ON THE NSW FINALS Fine Music was buzzing with November. Sako Dermenjian anticipation last October as we was awarded second place waited for the start of the 2019 to the delight of the audience.

Young Virtuoso Award NSW His cash prize was $1000.

Finals while six talented young Later SMS and on-line voting performers warmed up. Vocal opened to receive votes from scales, keyboard runs, snatches listeners for the Audience of saxophone and guitar filled the Choice prize. After many corridors. Preparing to compete votes were counted, two were pianist Calvin Abdiel, soprano days later Leanne Yang Jin Anna Stephens accompanied by was announced on air as Antonio Fernandez, saxophonist the recipient of the Audience Justinn Lu accompanied by Choice prize.

Jeremy So, soprano Michelle We extend hearty Ryan accompanied by Jonathan congratulations to all of our Wilson, pianist Leanne Yang 2019 YVA Finalists l to r: Calvin Abdiel, Michelle Ryan, Anna Stephens, finalists for their exciting Jin, and classical guitarist Sako Leanne Yang Jin and Sako Dermenjian, holding winner Justinn Lu. performances. More details Yakoub Dermenjian. These artists were hand- foremost vocal coaches and accompanists; can be found at www.finemusicfm.com/yva. picked to participate in this event by our Arts and Stephanie McCallum, international piano html.

Partner, Sydney Eisteddfod, from its opera, soloist and currently Associate Professor of Heartfelt thanks to Francis Frank and the Frank piano and instrumental finals.

Piano at Sydney Conservatorium of Music.

Family, and to Cameron Williams, for their The competition was broadcast live from the Justinn Lu was announced as the winner to untiring support for young emerging artists. An Founders’ Studio by our sound engineer, Peter the cheers and applause from an audience event such as this is six months in the planning.

Bell, assisted by Serina Connelley. Christopher of family, friends, donors, supporters and The logistics involved in organising a competition Waterhouse warmed up the studio audience volunteers who had gathered to watch the that is broadcast live-to-air are enormous and before compering the event and Nicky Gluch performances via video link in the Fine it has been my privilege and pleasure to work was in the anchor studio. Adjudicators were Music Centre. Justinn won $3000 cash and a with wonderful young artists and coordinate an Steven Hillinger, a conductor of symphony, performance with the North Sydney Symphony extraordinary team of volunteers and staff. Thank philharmonic and chamber orchestras across Orchestra and the opportunity to compete you to each and every one.

Australia; Alan Hicks, one of Australia’s in the National Finals in Adelaide later in

Justinn Lu: exciting young saxophonist Symphony and his musical career so far has included winning, or being highly-placed, at various eisteddfods and also winning the Sydney Conservatorium High School Concerto Competition, performing chamber music at the Sydney Opera House at ENCORE 2019 and playing at the Melbourne International Saxophone Festival and other festivals in Melbourne, Bangkok and Singapore where he has also attended master classes.

Although he was doubtful about his chances of winning the NSW Finals of the Fine Music Young Virtuoso Award, as the time approached to compete, saxophonist Justinn Lu said that he found it ‘liberating’ and exciting knowing that he had reached the Finals and that he now had the chance to show what he could offer, playing ‘some really cool pieces on a really cool instrument in my style of interpretation’.

Although the pieces that he played were some of the hardest of his repertoire, he had a feeling after performing that he had done very well.

He said after being announced as the winner: “It was a mixture of being really shocked and really excited that all the hard work had really paid off … it was such an amazing bonus that I had another opportunity to be able to play at the National Finals.”

Studying with Andrew Smith and Mark Walton, Justinn completed his AMusA and LMusA with distinctions in 2017 and 2018 respectively while he was still completing his secondary education at the Sydney Conservatorium High School. After graduating with his HSC in 2018, Justinn began studying on a Bachelor of Music Scholarship with Joseph Lallo at the 46

JANUARY 2020

Justinn Lu

Melbourne Conservatorium. Justinn is the saxophone leader of the university’s Wind

After a busy year in 2019 travelling to compete and perform, Justinn says that he needed to take a break, spending time with family over Christmas and New Year and doing ‘some technical stuff on the saxophone like scales and studies’ before starting university again. His goal for the next few years is to go overseas for his post-graduate studies and, during his current studies in Melbourne, he will be searching for opportunities that will enable his goal. “I am aiming to study somewhere in France after my studies in Melbourne as that’s where I feel like I can push my playing and artistry in all genres of performing which I love doing on the instrument!” — ES

A FOUNDING MEMBER OF FINE MUSIC PAMELA NEWLING TALKS TO MAX BENYON How many Fine Music listeners give any thought to the technical complexities of delivering outstanding classical, jazz and other specialist programs 24 hours, seven days a week? Very few, I suggest.

Max was closely involved in the presentation of the case for community-operated FM stations. He comments: “I believe our proposals were of critical significance in persuading the Government to adopt our ideas for the introduction of FM broadcasting in Australia.”

Max Benyon, one of the founders of 2MBS/ Fine Music in 1974, has spent much of the last 45 years devoted to the technical excellence of the station: a remarkable contribution.

He worked as a professional engineer in the electricity industry for over 40 years, where much of his work involved cooperation with major city and regional councils in the joint planning for augmentation and growth of the State transmission system.

Max’s interest in broadcasting arose while working in England, where for three years he enjoyed FM broadcasts by the BBC. Returning to Australia in 1957 he listened to experimental FM mono broadcasts by the PMG’s department, but was disgusted when these were terminated by the government to allow 13 TV channels to be assigned to cover the whole of the continent ‘because there was no interest in FM’!

Max Benyon

Max joined others in the fight for appropriate technical parameters. In 1974, they designed and built two small FM transmitters to enable the broadcast of separate music programs.

These were demonstrated at two hi-fi shows in Sydney and sparked much community interest. One unit became the heart of the first licensed 2MBS transmitter. The other was sent Australia-wide to help aspirant community groups to gain local support for their own licences.

Heavily involved in the construction of the original transmitter used in the first three years, Max was also a major player in the building of the high power transmitter used for the next 11 years. This covered the search for a new transmitting site at the AMP Centre and later at the Governor Phillip Tower, from which the signal is still transmitted. The latter project was ‘a multi-year effort’!

Max gains huge satisfaction from the continuing concept of community broadcasting and the spread of this model to other states and internationally. He loves orchestral and chamber music and attends many concerts but says: “I regret not having any skill in playing or reading music.”

In 2013 Max was awarded an OAM ‘for services to Radio Broadcasting and to the Community’.

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 102.5; annual membership fee is $33 and members are entitled to vote at Society general meetings. Enquiries: admin@finemusicfm.com VOLUNTEERS Fine Music 102.5 is run by volunteers supported by a small team of staff. To find out how to join our volunteers, visit finemusicfm.com or call 9439 4777.

DIRECTORS Chair: David James; Deputy Chair: Christopher Waterhouse; Secretary: Katy Rogers-Davies; Roger Doyle, Robert Gilchrist, Peter Kurti, Jayson McBride, Susan Ping Kee, Peter Poole 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 JANUARY Rodrigo Azaola, Charles Barton, David Bearne, Peter Bell, Nena Beretin, Dan Bickel, Chris Blower, Adam Bowen, David Brett, John Buchanan, Andrew Bukenya, Rex Burgess, Janine Burrus, Lloyd Capps, Vince Carnovale, Adam Cockburn, Angela Cockburn, Liam Collins, Paul Cooke, Marc Cottee, Di Cox, George Cruickshank, Nick Dan, Jackson Day, Nev Dorrington, Susan Gai Dowling, Annabelle Drumm, Brian Drummond, Andrew Dziedzic, Rita Felton, Michael Field, Troy Fil, Owen Fisher, Jennifer Foong, Tom Forrester-Paton, Susan Foulcher, David Garrett, Robert Gilchrist, Nicky Gluch, Joe Goddard, Albert Gormley, Giovanna Grech, Austin Harrison, Celeste Haworth, Ross Hayes, Gerald Holder, Paul Hopwood, James Hunter, Leita Hutchings, Anne Irish, Sue Jowell, Peter Kurti, Ray Lemond, Ray Levis, Krystal Li, Christina MacGuinness, Lachlan Mahoney, Linda Marr, Meg Matthews, Stephen Matthews, Neil McEwan, Jeannie McInnes, Terry McMullen, Maureen Meers, Camille Mercep, Peter Mitchell, Simon Moore, Frank Morrison, Michael Morton-Evans, Richard Munge, Peter Nelson, James Nightingale, David Ogilvie, Barry O’Sullivan, Calogero Panvino, Derek Parker, Keith Pettigrew, Anabela Pina, Peter Poole, Frank Presley, Karoline Ren, Katy Rogers-Davies, Darryl Rule, Marilyn Schock, Debbie Scholem, Julie Simonds, Elaine Siversen, Robert Small, Garth Sundberg, Jacky Ternisien, Anna Tranter, 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, Daniela Hartman, 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 JANUARY 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, 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, Hon Mr Justice David Davies SC, Mr Francis Frank, Mr Ian & Mrs Pam McGaw, Ms Jeannie McInnes, Mrs Judith McKernan, Ms Nola Nettheim, Dr W J Poate, Mr John Selby, Mr Anthony 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, Mr Heinz Gager, Mrs Freda Hugenberger, Dr Peter Ingle,

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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, Mr A G 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, Mr David Jacobs, Mrs Barbara Johnson, Mr Reginald John Lamble AO, Mr Verdon Morcom, Mr Trevor Parkin, Mr Iain Thompson, Ms Caroline Wilkinson, Anonymous 4

Silver Patrons ($500 – $999) Mr Claus Blunck, Mr Colin Boston, Mr Robert E S Clark, 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 Morton-Evans OAM, Mr Julius Opit, Mr Andrew Patterson, Ms Susan Ping Kee, Dr Neil A Radford, Mr Gwynn Roberts, Mr J A Roberts, Ms Catherine Ruff, Mrs Ruth A Staples, Mr John Stevenson, Mr Larry Turner, Dr Paul Wormell, Anonymous 23

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, Mr Dom Cottam & Ms Kanako Imamura, Prof Stephen J 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 M Gilchrist, Mrs Jocelyn Hackett, Mr Geoffrey Hogbin, Prof Wendy Hu, Mr Paul Jackson, Mr Bill and Eva Johnstone, Mr Darren Jones, Mr Robert F King, Mr Gerhard Koller, Mr Philip A Levy, Mr Geoffery Magney, Mrs Robyn E Manoy, Dr Jim Masselos, Mr Stephen W 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 38

Throughout this month, in our broadcasts and our magazine stories, we continue the celebrations for the 45th anniversary of the founding of 2MBS/Fine Music. You can read a second profile on a founding member who is still an active volunteer. Other volunteers have been searching the archives, or their own personal files, to bring us more articles about longrunning programs and, in doing so, they have recalled to mind some of the memorable personalities who were involved in those programs.

located then in Alexander Street, Crows Nest. Later, in July 1975, 3MBS in Melbourne began broadcasting in stereo and the ABC followed much later. It was a significant milestone in Australian broadcasting and it was wonderful, if not amazing, that two volunteer-operated radio stations should be the first to achieve this. This should be proudly ‘trumpeted from the rooftops’ by all Fine Music volunteers and supporters in Sydney and in Melbourne.

We also highlight two of the Fine Music youth initiatives. Featured on the cover and in an article is Kate Wadey, the inaugural recipient of the Ken Weatherley Jazz Scholarship. There’s a report on the Young Virtuoso Award State Finals held in November and a profile on the winner, saxophonist Justinn Lu, who unfortunately As we lead up to the anniversary of the official opening in February, did not win the national award later in the month. We wish both it’s good to remember that, after 2MBS began to broadcast in Kate and Justinn great success in their future careers in music.

December 1974 in mono, it was in January 1975 that the first To everyone, Happy New Year! Elaine FM stereo broadcast in Australia was transmitted from 2MBS,

JANUARY 2020

FOR THE LOVE OF MUSIC Make your final act an overture – become a Fine Music 102.5 Bequestor and join a group of passionate philanthropists who pledge a bequest with the knowledge that they are securing the future of classical music for future generations to come.

Throughout our 44 year history Bequests have facilitated significant strides forward funding studio refurbishments and equipment purchases, broadcast opportunities for emerging and established ensembles as well as awards and scholarships to support emerging musicians.

Your financial gift will enable us to keep broadcasting the music we all love and value. Please contact us today to discuss leaving a gift to Fine Music 102.5 in your will.

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