Fine Music April Magazine by 2MBS Fine Music Sydney

APRIL 2019

MAGAZINE

2019 CONCERTS IN WILLOUGHBY A Rhapsodic Journey and More

SONS AND MOTHERS: GRIEF AND LOSS An Australian War Requiem for Anzac Day

CELEBRATING 200 YEARS Franz von Suppé, Carl Loewe and Charles Hallé

A UNIQUE FRENCH NEOCLASSICAL STYLE Albert Roussel: 150 years

YOUNG COMPOSER AWARD Applications open: 1 March Applications close: 30 April Prizes 1

$5,000 cash prize

Performance of the composition by Willoughby Symphony Orchestra on Saturday 1 and Sunday 2 June

APPLICATIONS OPEN

To apply visit: finemusicfm.com/yca

ARTIST

RESIDENCE Applications open: 29 April Applications close: 16 June

Our Artist-in-Residence program is open to professional and established musical groups (2 or more members) from the Classical, Contemporary and Jazz genres, who reside in NSW. We support new work and collaborations.

APPLICATIONS OPEN

For more information: finemusicfm.com/air

Contents

VOL 46 No 4 2 2019 Concerts in Willoughby 4 Franz von Suppé: More than Operettas Passing the Baton 5 Sons and Mothers: Grief and Loss 6 Can Music Transcend War? ‘The North German Schubert’ 7 A Unique French Neoclassical style 9 Program Guide and Composer List 38 A Musical Life in Brief: Robert Hughes 39 Verdi and Shakespeare; Kindred Spirits 40 Rarities from the Russian Archives Medieval Russian Knights 41 Musical Families 42 Music Creating Illusion 43 From Operatic Fame to Obscurity 44 What’s On in Music CD Reviews 46 A Perennial Jazz Masterpiece 47 Journeys of Discovery and Exploration: Raj Gopalakrishnan 48 Notes from the Editor

THIS MONTH @ FINE MUSIC This month we launch our 2020 Artistsin-Residence application campaign. As a music lover and supporter of Fine Music, you know that we play an important role in encouraging young musicians in their ambitions to become professional musicians or broadcasters. Fine Music is an integral part of Sydney’s cultural landscape, promoting and encouraging an active live classical, contemporary and jazz music scene in our community. Our Artists-in-Residence program was established in 2014 to support this mission. To date, the recipients have included the Omega Ensemble, the Acacia Quartet and the Streeton Trio. In response to receiving a record number of applications for our 2019 Artists-in-Residence program, we announced three new resident ensembles. In the October 2018 issue, we introduced you to The Marias Project and Elysian Fields, and in the January 2019 issue, to the Michael Griffin Sextet. All three ensembles have performed for us in a variety of live events since their appointment. These musicians have been familiar faces in and around our Founders’ Studio as they produced their new projects. Each Artists-in-Residence program is valued at over $10,000, and gives recipients access to studios for recording, sound engineers, rehearsal facilities, promotional support, and more. Our Artists-in-Residence program is open to professional and established musical groups from the Classical, Contemporary and Jazz genres who reside in New South Wales. We support new work and collaborations and we invite you to help us spread the word. 2020 Artists-in-Residence applications open on 29 April. More information can be found here: finemusicfm.com/AIR Rebecca Beare Fine Music Station Manager

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 Sub-editors and Proof readers: Chris Blower, Paul Cooke, Di Cox, Elizabeth Hill, Sue Jowell, Pamela Newling Contributors: Rebecca Beare, Chris Blower, Rex Burgess, Lloyd Capps, Colleen Chesterman, Lyn Chong, Paul Cooke, Tom ForresterPaton, Elizabeth Hill, Paolo Hooke, Krystal Li, David Ogilvie, Barry O’Sullivan, Catherine Peake, Frank Presley, Katy Rogers-Davies, Elaine Siversen, Stephen Wilson The views expressed by contributors to this magazine do not necessarily reflect or represent the views of the publisher, Fine Music 102.5 Images: Allen Ford Program Logos: Simon Moore Distribution Coordinator: Sissy 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: Benett Tsai

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 © 1975-2019 Music Broadcasting Society of NSW Co-operative Ltd trading as Fine Music 102.5 ABN 64 379 540 010 Honorary Patron: Prof. Dame Marie Bashir AD CVO Artistic Patrons: Elena Kats-Chernin, Simon Tedeschi, Richard Tognetti AO Emerging Artists Patron: Toby Thatcher Young Composer Award 2018: Daniel Dean Young Virtuoso Award 2018: Anna Stephens Kruger Scholar 2019: Nicholas Gentile APRIL 2019

2019 CONCERTS IN WILLOUGHBY CATHERINE PEAKE OUTLINES A RHAPSODIC JOURNEY AND MORE six concerts entitled Gala, Eternity, Pastoral, Enigma, Bravura and Titan. The concerts feature soloists performing both new and established works, with pre-concert talks scheduled for each concert.

Willoughby Symphony Choir and Orchestra Prom Concert

As Chief Conductor of the Willoughby Symphony Orchestra since 2001, Dr Nicholas Milton contemplates his time with the Willoughby Symphony. “I have had so many wonderful years with this amazing orchestra. I still remember, however, the first time I conducted them, and what an amazing experience it was. Brahms’ First Symphony and Dvorák’s Cello Concerto were on the program, and I remember my amazement at the sheer energy and joy that the musicians transmitted. Their enthusiasm was infectious, and I continue to enjoy all of my experiences with this inspiring ensemble. A fantastic spirit of community makes working with the WSO a particular pleasure.” Founded in 1965 by the late Albert Keats, Willoughby Symphony Orchestra was incorporated into Willoughby Council in 2000 as part of the Community Services Division and is the only community orchestra in Australia to have a paid full-time orchestra officer at its council. Located on the Lower North Shore, Willoughby Council is a council that is most conscious of the importance of music and musical opportunities in peoples’ lives and, of course, the Fine Music 102.5 studios are located within the council area. With one of the highest subscription renewal rates of any Australian orchestra, Willoughby Symphony and its Choir have established a position as a ‘professional symphony orchestra of exceptional quality in partnership with the region’s finest symphonic chorus, together serving the wider community of Sydney’s North Shore’. 2

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Nicholas Milton acknowledges the place the orchestra holds in the local community. “Our vision is to inspire our community and to bring it together with the joy of live orchestral music across the widest possible spectrum. We engage with our audiences, interact with them during concerts, and offer a fresh and invigorating approach to orchestral music presentation.” In addition to being Artistic Director and Chief Conductor of the Willoughby Symphony Orchestra, Milton has held similar roles with the State Opera House (Saarländisches Staatstheater) in Saarbrücken, Germany, and the Canberra Symphony Orchestra. Prior to his work as conductor, Milton was Concertmaster of the Adelaide Symphony Orchestra and violinist in the Macquarie Trio. The Willoughby Symphony program for 2019 is based around its subscription series Rhapsodic Journey (to be held in the Concourse at Chatswood) encompassing

The concert for April, Eternity, is of particular interest to Fine Music as it features young musician and cellist Benett Tsai who won the NSW State Finals of the Fine Music Young Virtuoso Award in 2016 at the age of 12, and went on to win the Fine Music Network National Young Virtuoso Award. Tsai explains how he felt at the events. “It was incredibly surreal to me to win these two competitions which were open to all instrumentalists and vocalists under the age of 25. I felt so encouraged and affirmed by the appreciation from the adjudicators and audience.” Tsai will open the Eternity concert with Dvorák’s Cello concerto in B minor, led by conductor Michelle Leonard. The Eternity concert will also feature a composition by the Willoughby Symphony’s Composer-in-Residence for 2019, Kate Moore, with her Lux aeterna: VIVID rearranged for its Australian premiere with the Willoughby Symphony Orchestra and Choir. The piece, commissioned in 2018 by the November Music Festival in association with the Hieronymus Bosch Foundation in the Netherlands, is written in three movements as ‘a requiem that celebrates light, the vividness of life, revelation and transformation’. An Australian composer, recently based in the Netherlands, Moore has had her works released by labels including ECM, Tall Poppies and Cantaloupe Music. They’ve been performed in venues such as the Concertgebouw, Carnegie Hall and the Sydney Opera House. In June 2017, Moore became the first woman to win the Matthijs Vermeulen Award of the Netherlands Performing Arts Fund. Another piece by Moore will be presented in the Pastoral concert in June. Commissioned by the Willoughby Symphony, Piano concerto: Beatrice was inspired by the character Beatrice in Dante’s The Divine Comedy. It represents ‘the beatific vision of divine perfection in harmony with the universal communion of creatures and creations’.

Benett Tsai

The orchestral work of the winner of the 2019 Willoughby Symphony / Fine Music 102.5 Young Composer Award will be premiered at this concert. This competition provides a major opportunity for young musicians to develop

their work. “Giving the next generation of composers a voice by collaborating with Fine Music for the Young Composer Award each year, winners work with the WSO to have their work performed and recorded.” The Willoughby Symphony sees an important part of its program as the promotion of opportunities for young musicians and has developed further partnerships, collaborations and relationships in the music industry designed to support young musicians. “WSO Kate Moore is proud of its distinguished track record in identifying Australian musical stars of tomorrow, and offering them opportunities to perform with a fully professional orchestra, for large audiences in one of Sydney’s most outstanding concert venues.” Willoughby Symphony also works closely with Pacific Opera, ‘the young artists’ opera company’, giving young vocalists the chance to work with a full orchestra. Pacific Opera will take part in three concerts with the orchestra this year. Milton says the orchestra is ‘passionate about providing opportunities to Australian conductors, soloists and composers, and we are actively and constantly mentoring the younger generation of the nation’s most outstanding musicians’. As well as working with students in assisting in the development of their musical careers, the orchestra also encourages young children, introducing them to classical music at an early age. Two children’s concerts are scheduled for 2019, with Mini Maestros: Musical Opposites (held in January) as well as Crowns and Tiaras presenting the concert in conjunction with a learning experience. Mini Maestros: Musical Opposites encouraged children to learn how music can be fast or slow, loud or quiet, happy or sad, allowing ideas to develop in a fun and relaxed atmosphere. It introduced music to children, from babies to 12 years of age, with George Ellis conducting the orchestra. On 17 July Nicholas Milton will conduct the one-hour Crowns and Tiaras, featuring Elgar’s Enigma Variations and the first Pomp and circumstance march. Children will be encouraged to come wearing a crown or tiara, and to add to the learning experience they will be invited to explore and play the instruments of the orchestra after the concert. The Willoughby Symphony will present four special events during 2019, featuring modern and popular music brought together by a

The Willoughby Orchestra has the facility for the players to develop their own programs. Under the artistic leadership of Madeleine Retter, and held in Chatswood’s Zenith Theatre, orchestra players perform repertoire that they have chosen. One concert of the Willoughby Symphony chamber music series has already been held with two more to follow in May and August. Following these Sunday afternoon performances, refreshments will be served to the audience who can then mingle with the musicians. theme or event. The first of these, And Love Will Steer the Stars, will be held on 17 May. Featuring music from the year 1969, the concert will include songs from The Beatles, Elvis and Neil Diamond. George Ellis will conduct this and also the Tribute to George Michael on 7 September when music of the late ‘pop’ star will be presented. Last Night of the Proms, perhaps the best known of the orchestra’s annual events, has been performed each year to sold-out audiences. The full orchestra and choir will be joined this year by Sydney’s Pacific Opera, performing Pomp and circumstance march, op 39 no 1, Jerusalem, Rule Britannia and other well-known pieces. “Forget the Royal Albert Hall in London. The biggest show in town is the Willoughby Symphony’s concert spectacular at the Concourse in Chatswood!” The Magic of Christmas, another seasonal concert, will see Simon Kenway conducting the Willoughby Symphony Choir and Orchestra, combining soloists from the Choir with guest soloists from Pacific Opera to perform carols and music to ‘fill your heart with the joy of the festive season’. The Willoughby Symphony Choir, also governed by Willoughby Council, is regarded as one of Australia’s best community choirs. Founded in 1973, the audition-entry choir performs in at least two major concerts in conjunction with the Willoughby Symphony each year, as well as two concerts of its own. Music Director of the choir since 2015, Peter Ellis has worked with it on three recordings as well as performances in the Concourse and Sydney Opera House. With a repertoire comprising mainly large-scale classical works the choir also performs a cappella and popular music. The Choir’s ‘Big Sing’ concert with the Willoughby Symphony will be conducted by Ellis on 23 June, and the choir will this year perform Eugene Goossens’ re-orchestration of Handel’s Messiah.

The orchestra also has a ‘Hire our musicians’ program, where players can be hired for outside performances. Previous engagements have ranged from a concert at the Sydney Opera House to a special performance for a 100th birthday. In 2000, the year in which the Willoughby Symphony came under the aegis of the Willoughby City Council, the Council received the inaugural Orchestras of Australia Network award for ‘Enlightened or exceptional support to an orchestra’. Nicholas Milton reflects on the work of the orchestra within the community. “The Willoughby Symphony Orchestra takes great pride in presenting extraordinary musical events that enrapture and enrich our audience. Our community is inspired and takes great pride in the orchestra’s terrific achievements.” EVENTS, DATES AND VENUES The following concerts will be held at The Concourse, Chatswood Rhapsodic Journey Eternity: Saturday 6, Sunday 7 April Pastoral (June), Enigma (July), Bravura (Sept), Titan (Nov) Handel’s Messiah (re-orch. Goossens): Sunday 23 June Children’s Concert Crowns and Tiaras: Saturday 27 July Popular Concerts And Love Will Steer the Stars: Friday 17 May Last Night of the Proms (Aug), Tribute to George Michael (Sept), The Magic of Christmas (Dec) Chamber Music Concerts Zenith Theatre, Chatswood Sundays 19 May and 4 August For times and further information check the website or Tel: 9777 7547 APRIL 2019

FRANZ VON SUPPÉ: MORE THAN OPERETTAS LYN CHONG HIGHLIGHTS A BRILLIANT CAREER Francesco Ezechiele Ermenegildo Cavaliere Suppé Demelli: this was a name destined for the stage!

the stage, including 30 operettas, 180 farces, ballets and operas. He delighted his audiences with many productions at the Theater in der Josefstadt, as well as at the Carltheater in Leopoldstadt and the Theater an der Wien. Most of his works have sunk into obscurity; however, some of his operettas, such as Boccaccio, Light Cavalry and The beautiful Galathea, remain popular to this day.

Yet Francesco’s parents had different ideas. When their son was born on 18 April 1819, in Split on the Dalmatian coast, they decided that he would become a lawyer. As a teenager, Francesco was drawn to singing, flute and composition. His first extant composition was a Roman Catholic Mass that premiered at a Franciscan church in Zara in 1832. Three years later, when he was just 16, he wrote Missa dalmatica. So that Francesco could study law the family moved to Padua in Italy, but Francesco neglected his law studies in favour of music. With the sudden passing of his father in 1835 Francesco relocated to Paris (with his mother) and studied at the Conservatoire. He also simplified his name to Franz von Suppé. Suppé became a brilliant musician: he could sing (as a basso profundo), compose and conduct. He was often to be found in theatres in the German-speaking world after being invited to Vienna by Franz Pokorny, Director

Franz von Suppé

of the Theater in der Josefstadt. He was given the opportunity to conduct his own operas there, although at first it was without pay. As a conductor, Suppé was famous for a gimmick in which he took snuff before conducting each of his famous overtures, so each would begin with a big sneeze! Suppé wrote more than 200 compositions for

Owing to his stage successes, Suppé is mostly remembered as a composer of ‘light’ music; however, he also composed a good deal of religious music. The most famous is his Missa pro defunctis (Requiem) composed in 1855 and dedicated to Franz Pokorny, for whom he had composed his early theatrical music. Suppé unashamedly included dramatic moments in this work, which some may find too ‘operatic’ for a religious work; nevertheless, it is an enjoyable musical experience with superb vocal writing by this master composer. Boccaccio can be heard at 3pm on Saturday 13 April and other music of Franz von Suppé at 1pm on Mondays 8 and 15 April.

PASSING THE BATON KATY ROGERS-DAVIES PAYS TRIBUTE TO CHARLES HALLÉ The roots of the Hallé Orchestra lie in an arts exhibition held in Manchester in 1857. Charles Hallé was engaged to provide concerts for the event and, in order to do this, he formed an orchestra of 60 musicians. The exhibition ended and, faced with the horror of disbanding his ensemble, Hallé insisted on continuing with concerts at his own financial risk. Believing that the public who adored the exhibition concerts would continue to support the orchestra, his gamble paid off, and the Hallé Orchestra was born. 11 April 2019 marks 200 years since the birth of Charles Hallé, and these years have encompassed the creation and subsequent soaring success of his namesake ensemble. Since the Hallé Orchestra’s conception in 1858, the conductor’s baton has passed to a number of reputable musicians, many of whom played a vital part in the ensemble’s survival through times of financial difficulty and war. After Hallé’s death in 1895, the baton was held temporarily by Frederick Cowen, and later passed to Hans Richter. This exchange was 4

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for the orchestra. Throughout the wartime period Thomas Beecham conducted the orchestra free of charge, an act of generosity that did much to ensure the survival of the orchestra. When war broke out again in 1939, Malcolm Sargent worked tirelessly to keep the orchestra afloat, promising to conduct them ‘on the street corners if necessary’.

Charles Hallé

recounted with bitterness on Cowen’s part, who claimed he was unaware that he was ‘keeping the place warm’ for Richter to step in at his leisure. Later, in 1914, the orchestra was under the directorship of German conductor, Michael Balling, who was in Germany at the outbreak of the First World War and was unable to return. This marked the beginning of a turbulent era

The achievements of more recent conductors seem somewhat meagre in comparison to the efforts of those embroiled in times of conflict, but nonetheless the Hallé Orchestra has taken great leaps in modernisation. Hamilton Harty led the orchestra’s first commercial recordings in the 1920s, and John Barbirolli oversaw the Hallé’s first television appearance. The Hallé began the 21st century under the leadership of Mark Elder and continues to flourish until this day as one of the world’s most respected ensembles: a fitting tribute to the dedication of Charles Hallé. Evenings with the Orchestra will feature recordings of the Hallé Orchestra at 8pm on Friday 12 April.

SONS AND MOTHERS: GRIEF AND LOSS CATHERINE PEAKE DESCRIBES A MOVING WORK “Thy life is given for freedom’s sake. / Duty done brave soldier blest / Thy battle’s fought, for thee is rest.”

Christian hymn to Mary that portrays her suffering as the mother of Jesus during the crucifixion. Bowen has kept the text in its original Latin and says that he always intended to use the text. “The grief of the mother of Christ, standing at the foot of the cross, looking up at her dying son, was shared by many mothers whose sons were sacriﬁced on the battleﬁeld.” Percussion, with evocative use of the bell, reinforces the sombre tone throughout the piece.

So wrote Private Reginald James Godfrey in his poem On a Dying Soldier in 1915. It was enclosed in a letter that his friend Lance Sergeant Asdruebal James Keast wrote to his mother at home in Australia. Both soldiers survived the war.

Christopher Bowen’s An Australian War Requiem was commissioned by the Sydney University Graduate Choir to The Requiem has a long history in commemorate the beginning of World Henry Edwin Johnson of Perth, WA (died 6 May 1917, Bullecourt, the annals of music composition. War I in 1914 and the Gallipoli campaign France) with mother Margaret Traditionally, the Requiem was a Mass in 1915. It was premiered at the Sydney for the Dead in the Catholic Church, Town Hall in 2014. To evoke the time and place intended for the repose of the soul of one who ‘every day of each year the very best of men, of World War I, librettist Pamela Traynor uses has died and often performed at the funeral. Godfrey’s poem together with letters written by they lie bleeding and dying’. The term ‘requiem’ was later used without soldiers on the battlefield to their families back Juxtaposing the ordinary with the tragic, a religious context and was applied to other home. Scored for five soloists, choir, children’s Tableau 2: Sons and mothers is based on musical compositions associated with death choir and orchestra, performance of the War the letters that soldiers wrote home and their and dying. Requiem also incorporates images from the families’ responses. The interplay of words war displayed on screens next to the stage. between soprano and tenor epitomises Bowen and Traynor researched soldiers’ the exchanges between mother and correspondence at the Australian War son, focusing on a central theme of the Memorial for the composition, and Bowen composition. A miserere (have pity) sung says the War Requiem is ‘a meditation on by children’s choir and semi-chorus conflict and loss, with a uniquely Australian intersects the tableau. perspective’. He adds that the piece is not just dedicated to the memory of those who died at Gallipoli or ‘on the bloody ﬁelds of Flanders and the Somme’, but that it is also dedicated to the families of those who died. “Monuments with the names of fallen soldiers inscribed in stone are to be found in cities, suburbs and rural towns throughout Australia and bear testament to a hidden, less obvious tragedy suffered by those who returned and those who were touched by the death of a son, husband, father, friend or relative.” An Australian War Requiem is divided into three tableaux, each of which depicts an aspect of war and all of which illustrate the bond between mother and son. Tableau 1: The horror of war begins with some conciliatory words sung by bass-baritone Ataturk, commander of Turkish forces at Gallipoli, consoling the mothers of sons who died there. The tableau goes on to depict the horrors of war, with the tenor in the role of soldier singing

Reflecting the power of poetry in wartime, Tableau 3: Reflections on loss, incorporates Godfrey’s poem and also includes the Ode of Remembrance, the fourth stanza of Laurence Binyon’s poem For the Fallen, which has been used in war commemoration services in Australia since Cenotaph, Clydesdale School, Victoria 1921. “They shall grow not old, as we that are left grow old; / Age shall not weary them, nor the years condemn. / At the going down of the sun, and in the morning, / We will remember them.”

Frederick Thomas Locker from Strangways, Victoria; photo taken 30 January 1915, Cairo; died 25 April 1915, Gallipoli

Further traditional elements are incorporated, with The Last Post preceding the Ode and signalling the end of the War Requiem which movingly concludes with bagpipes and percussion in the Lament of the Lone Piper. Interspersed throughout the composition are words from the Stabat Mater, the

By the 19th century the Requiem had become a concert work in its own right, with its composers including Verdi, Berlioz and Fauré. It evolved again in the 20th century, and the War Requiem became known as a dedication to those killed in war. A notable example is the War Requiem of Benjamin Britten, which uses the original Latin text with the poetry of Wilfred Owen. The second performance of An Australian War Requiem was given on Remembrance Day, 11 November 2018, marking 100 years since the end of World War I. The Editor’s mother lost six cousins in World War I. Photos show two of them. The cenotaph has the names of two others. An Australian War Requiem will be broadcast on Anzac Day, 25 April at 2pm. APRIL 2019

CAN MUSIC TRANSCEND WAR? STEPHEN WILSON ANSWERS THE QUESTION World War I, sometimes referred to as ‘The Great War’ or, as former President of the United States, Woodrow Wilson, rather optimistically named it, ‘the war to end all wars’, ended on 11 November 1918.

composer, Alphons Diepenbrock; a suite by Tommasini based on the music of Scarlatti; Prokofiev’s delightful Suite from The love for three oranges; and Milhaud’s Le boeuf sur le toit.

An estimated nine million combatants and seven million civilians died as a direct result of the war, while resulting genocides and the 1918-19 influenza pandemic caused another 50 to 100 million deaths worldwide. Surely then, a pall of gloom must have hung over the world at around the time of Scene from Commedia dell’ arte production war’s end. But, was this reflected in the music of the times? passage. It premiered in Monte Carlo on In 1918 the 73-year-old Gabriel Fauré, then 10 April 1919. The work to be played in our Director of the Paris Conservatoire, received Sunday Special is a suite derived from the a commission from Prince Albert I of Monaco. original score. When arranging it, Fauré The commission called for stage music evoking omitted the vocal and choral components the atmosphere of the Italian commedia found in the original. dell’arte of the 16th and 17th centuries that When we look at contemporary compositions, provided inspiration for several musical works we find that Fauré was far from being alone in the first quarter of the 20th century. in producing works with a spirit that seems to Fauré’s composition, Masques et belie the times. Some of these are included bergamasques, comprised eight pieces, in our program. They include an overture to including two songs for tenor and a choral Aristophanes’ play, The Birds, by the Dutch

Also included is a cello sonata by Fauré and Hindemith’s Violin sonata no 1. That was the first of a group of six stringed-instrument sonatas that Hindemith began in 1918 while still serving in the German army on the Western Front where, on sentry duty, he dodged enemy grenades, recalling in his diary that he survived only by good luck. Yet the music that flowed from the pens of all of these composers did not reflect the gloom that hung over Europe throughout these years. Perhaps it was their way of coping with the horror? To mark the centenary of its premiere, Masques et bergamasques will be broadcast in Sunday Special, Music Transcends War at 3pm on 14 April.

‘THE NORTH GERMAN SCHUBERT’ DAVID OGILVIE DISCOVERS A MASTER OF SONG Aptly described as a medieval strolling minstrel transplanted to the Romantic age, Carl Loewe was a contemporary of Schubert. He wrote some 400 songs over the course of his long life, as against Schubert’s 600-plus, and often from the same texts, although Loewe’s settings are rarely heard in recitals these days. His best music is notable for a strong Carl Loewe sense of feeling as well as technical brilliance, but he is remembered above all as a ballad composer, that now unfashionable genre of song that tells stories of romance, adventure and the uncanny. It’s perhaps invidious to compare Loewe’s and Schubert’s settings of Erlkönig, the famous poem by Goethe, yet the choice of G minor as the key, an agitated piano accompaniment, and use of a recitative-like ending, all make 6

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for striking similarities. Schubert’s treatment is one of the universally acknowledged glories of German song, yet the eminent baritone Dietrich Fischer-Dieskau has said that the way in which Loewe portrays the characters is much truer to the poem; Schubert’s version is only so famous because of its impossible piano part! The Viennese, who especially admired Loewe’s Erlkönig, dubbed him ‘the North German Schubert’. He was born in the village of Löbejün, near Halle. As a boy he had a high soprano voice (he could sing the Queen of the Night’s aria in The magic flute). In later life he was acclaimed for his imposing dramatic presence and his fine tenor voice. He undertook numerous tours performing his own works, first in the provincial capitals of

Germany, and then on a wider international stage. He visited London in 1847 and sang at court, with Prince Albert turning the pages. Between 1820 and 1830, Loewe was especially productive, completing some of his most popular songs and ballads, several piano sonatas, his first of six operas, Rudolf der deutsche Herr, and his settings of Byron’s Hebrew Melodies. Around 1831 he composed his first symphony and a piano concerto, both of which can be heard in our broadcast. Numerous cantatas, 17 oratorios, string quartets, and piano works were to follow. In 1875, six years after Loewe’s death on 20 April 1869, Richard Wagner remarked at Bayreuth, “Ha, that is a serious German Master, authentic and true, one who uses the beautiful German language with meaning, one who cannot be sufficiently revered!” The music of Carl Loewe can be heard in a 150th anniversary program at 1pm on Friday 19 April.

A UNIQUE FRENCH NEOCLASSICAL STYLE REX BURGESS CELEBRATES THE MUSIC OF ALBERT ROUSSEL commissioned his Third Symphony to celebrate the orchestra’s 50th anniversary.

The novels of Jules Verne, particularly 20,000 Leagues under the Sea, fired the imagination of the young Albert Roussel whose initial career choice was the French navy.

In the mid-1930s Roussel served as president of the French section of the International Society for Contemporary Music (ISCM). Although he preferred to remain apart from musical groups or movements ‘in order to have the freedom of personal vision’, he had a strong sense of social responsibility and was always ready to help other musicians, especially younger ones.

Born on 5 April 1869 in Tourcoing, close to the Belgian border in north-eastern France, Albert was the son of wealthy industrial parents for whom music was a hobby: it was not so for their son who was destined to become a highly respected French composer. In 1880, with both parents having died, he was taken into the care of his maternal uncle. The boy had shown a distinct talent for music and became an accomplished pianist. He also made some tentative attempts at composition before joining the navy. It was in 1894, at the age of 25, that Roussel took the long-deferred decision to devote himself to music. His studies thenceforth continued until 1908, despite being appointed Professor of Counterpoint at the Schola Cantorum in 1902, with Erik Satie, Alexis Roland-Manuel, Georges Auric and Edgard Varèse numbered among many of his eminent pupils. He continued at the reactionary and increasingly unpopular Schola until 1914, although already in 1910 he’d ‘posted his colours to the mast’ by joining the progressive Société Musicale Indépendante, a breakaway organisation formed by a group of prominent composers including Gabriel Fauré, Maurice Ravel, Charles Koechlin and Florent Schmitt.

Albert Roussel

direct result being what his English biographer Norman Demuth cites as ‘the splendid set of three Evocations, which lifted Roussel to the highest position in French music’.

Roussel’s first compositional success came in 1897 with two prize-winning a capella madrigals, to be followed over the next ten years with various increasingly significant chamber and orchestral works including, in 1906, the first of four symphonies, entitled Le poème de la forêt.

1912 saw the first of three ballets, Le festin de l’araignée (The spider’s feast), a pure Roussel work sounding like no other composer and receiving 22 performances in Paris alone during 1913. In the year following this success, he started on the extended opéraballet Padmâvatî, based on a Hindu legend, although its composition was interrupted by World War I during which he served as a transport officer. It was completed in 1918, creating a great sensation on its first staging in 1923 and prompting Demuth later to suggest that ‘reasoned history may well rate it of an importance on a level with Wagner’, a prophecy which has yet to be fulfilled!

Having recently married and with his studies now behind him, the year 1910 was a signal one for Roussel. He embarked on a series of tours of countries of which hitherto, as a naval officer, he’d seen only their coasts and seaports. These took him as far afield as Belgium, Spain, North Africa, India and Indo-China. Contact with the music of the Far East had a profound effect on his thinking, sensitising him to subtleties of melodic and rhythmic inflections unfamiliar in the West, one

Shortly before the first performance of the opéra-ballet, the Roussels settled permanently on the Normandy coast, close to Dieppe, where despite indifferent health he worked tirelessly to produce a succession of major orchestral and chamber works. His status as a leading French composer was confirmed by the Roussel Festival held in Paris in 1929 to commemorate his 60th birthday, while his international reputation was further enhanced in 1931 when the Boston Symphony Orchestra

Roussel wrote around 1930: “I have always pursued the design of the construction and the rhythm. The search for form and its proper development have been my constant preoccupation.” Thirty years later Joseph Machlis reinterpreted this statement within a contemporary context. “At a time when Debussy, Ravel, and Satie revealed anew the grace of Gallic art, Albert Roussel pointed the way to the discipline and logic inherent in the large-scale forms of absolute music. Therewith he offered a union between 20th century French music and the spirit of classical symphonism.” Roussel had started out composing highly pictorial music, influenced initially by his teacher and long-term friend, Vincent d’Indy. He was also greatly stimulated by Claude Debussy and the allure of impressionism, although he soon realised that this alone would only lead him to an impasse. Another influence was the rhythmic innovations of the young Igor Stravinsky, while his melodic imagery was nurtured by the old chansons and the charm of French folksong. As his works matured, he synthesised all these elements into an integrated style uniquely his own, in an idiom essentially lyrical, and bearing the imprint of a vigorous thinker with a fastidious musical personality. In doing so, according to Machlis ‘he espoused the cause of a French neoclassicism oriented to the cultivation of the large forms: symphony, concerto, sonata, suite, trio and the like’, each of which has its place in his corpus of around 70 completed works. To celebrate the 150th anniversary of Roussel’s birth, you can hear a selection of his works in Sunday Special at 3pm on 7 April.

The spider’s feast is a ballet depicting the struggle of life and death in a garden where insect life is evoked by a flute solo at the beginning and end. The spider’s web traps many insects, each group or individual having its own dance. Ants, a dung-beetle, a butterfly and a may-fly are all trapped but when the spider prepares to start its feast, it is in turn killed by a mantis. The funeral procession of the may-fly concludes the work. Roussel’s music is lushly orchestrated and it was praised for its ‘inventive counterpoints, bounding scherzos, gay and uneven rhythms’. APRIL 2019

SPACE JAM APR 7 MEAN GIRLS & CLUELESS APR 12 KARATE I & 2 APR 14 CLERKS APR 26 ALIEN APR 28 AKIRA MAY 10 FOREST GUMP MAY 12 PULP FICTION MAY 17

FROM ICELAND. “A RARE FEEL GOOD FILM THAT TACKLES URGENT GLOBAL ISSUES” VARIETY.

WOMAN AT WAR STARTS APRIL 4

DAME JUDI DENCH TERRIFIC AS JOAN STANLEY, WHO WAS EXPOSED AS THE KGB'S LONGEST-SERVING BRITISH SPY.

RED JOAN APRIL 18

BRADLEY COOPER BRIE LARSON SCARLETT JOHANSSON

AVENGERS: ENDGAME APRIL 24

WILL SMITH BILLY MAGNUSSEN NAOMI SCOTT

RICHARD MADDEN BRYCE DALLAS HOWARD TARON EGERTON

ALADDIN

ROCKETMAN

MAY 23

MAY 30

KEANU REEVES TOM HANKS TIM ALLEN MICHAEL KEATON

TOY STORY 4 JUNE 20

RUPERT EVERETT AS OSCAR WILDE. COLIN FIRTH EMILY WATSON

KENNETH BRANAGH JUDI DENCH IAN MCKELLEN

THE HAPPY PRINCE

ALL IS TRUE

APRIL 25

MAY 9

Monday 1 April 12:00 SWING SESSIONS with John Buchanan

0:00 CONTEMPORARY COLLECTIVE

Featuring bands of the 1930s swing era and the dance bands of the 1920s taken from radio broadcasts, transcriptions and recording sessions

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

13:00 JUST JOKING Prepared by Chris Blower Verdi, G. Prologue, from The lady and the fool (arr. Mackerras 1954). Philharmonia O/ Charles Mackerras. LP HMV SOXLP.7595 9 Peter Schickele

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: 1872 Prepared by Frank Morrison Fibich, Z. Piano trio in F minor (1872). Smetana Trio. Supraphon SU 3927-2 16 Bizet, G. Suite no 1 from L’arlésienne (1872). Philharmonia O/Herbert von Karajan. EMI CDM 1 66424 2 17 Grieg, E. Homage march, from Three orchestral pieces from Sigurd Jorsalfar, op 56 (1872; transcr.). Eva Knardahl, pf. BIS CD-109 10 Delibes, L. The maids of Cádiz (1872; arr. Gamley). Yvonne Kenny, sop; Melbourne SO/ Vladimir Kamirski. ABC 442 509-2 3 Saint-Saëns, C. Le rouet d’Omphale, op 31 (1872). Paris Conservatoire O/Jean Martinon. Decca 478 2826 8

Arnold, M. A grand grand overture, op 57 (1956). Hoffnung alias Morley College SO/ Malcolm Arnold. EMI CMS 7 63302 2 8 Holst, G. Ballet music from The perfect fool, op 39 (1918-22). BBC Welsh NO/Richard Hickox. Chandos CHSA 5069 12 Haydn, J. String quartet in E flat, Hob.III:38, Joke (1781). Emerson String Quartet. DG 471 327-2 16 Schickele, P. Grand serenade for an awful lot of winds and percussion, by P.D.Q. Bach, with introduction. Peter Schikele, narr; Turtle Mountain Naval Base Tactical Wind Ensemble. Telarc CD-80307 11 Mozart, W. A musical joke, K522 (1787). English Concert/Andrew Manze. Harmonia Mundi HMX 2907280 23 14:30 IN CONCERT Prepared by Albert Gormley Dvorák, A. String quartet in F, op 96, American (1893). Brodsky Quartet. Chandos CHAN 10801 28 Moore, K. Fern. Ensemble Offspring. www.ensembleoffspring.com 12

Raff, J. String octet in C, op 176 (1872). Academy of St Martin in the Fields Chamber Ensemble. Chandos CHAN 8790 24

Dvorák, A. Cello concerto in B minor, op 104 (1895). Jacqueline du Pré, vc; Chicago SO/ Daniel Barenboim. EMI CMS 7 63283 2 42

10:30 CONCERT HALL Prepared by Elaine Siversen

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

Smetana, B. Overture and dances from The bartered bride (1866). London SO/Geoffrey Simon. LP Chandos ABRD 1149 24 Balada, L. Concerto for four guitars and orchestra (1976). Versailles Guitar Quartet; Barcelona SO; Catalonia NO/Colman Pearce. Naxos 8.557049 21 Franck, C. Symphony in D minor, op 48 (1887-88). Royal Concertgebouw O/Karel Ancerl. Radio Nederland RCO 06004 37

Tuesday 2 April

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 “It [jazz] is pure fun” — Anon

3:00 CLASSICAL TILL DAWN

9:00 DIVERSIONS IN FINE MUSIC Colours of the keyboard Prepared by Rex Burgess Medtner, N. Sonata-ballade in F sharp, op 27 (1912). Geoffrey Tozer, pf. Chandos CHAN 9039 21 Bach, J.S. Concerto in A minor, after Vivaldi, BWV593 (c1714; arr.). Skip Sempé, hpd; Olivier Fortin, hpd. Astrée E 8645 9 Liszt, F. Fantasia and fugue on BACH (1855). Peter Nicholson, org. LP Move MS 3048 10 Reminiscences, after Mozart’s Don Juan (1841/77). Leslie Howard, pf. Hyperion CDS44537 19 Grainger, P. The warriors: music to an imaginary ballet, for six hands on two pianos (1913-16). David Stanhope, Geoffrey Parsons, pf; Leslie Howard, pf. ABC 481 1601 20 10:30 CONCERT HALL Prepared by Frank Morrison Gounod, C. Ballet music from Faust (1859). Detroit SO/Paul Paray. Mercury 432 014-2 21 Bartók, B. Viola concerto (1945). Rivka Golani, va; Budapest SO/András Ligeti. Conifer CDCF 189 22 Rubinstein, A. Symphony no 1 in F, op 40 (1850). Slovak State PO/Robert Stankovsky. Naxos 8.555476 37 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 MIXED QUARTETS Prepared by James Nightingale Françaix, J. Quartet for flute, oboe, clarinet and bassoon (1933). Members of Aulos Wind Quintet. Musica Mundi 310 022 H1 10 Hummel, J. Clarinet quartet in E flat (1808). Alan Hacker, cl; members of The Music Party. L’Oiseau-Lyre 444 167-2 30 Martinu, B. Quartet (1947). Joel Marangella, ob; Charmian Gadd, vn; Alexander Ivashkin, vc; Kathryn Selby, pf. Naxos 8.553916 12 APRIL 2019

Tuesday 2 April 14:00 MUSICAL FAMILIES Maisky family Prepared by Jennifer Foong Bach, J.S. Cello suite no 6 in D, BWV1012 (c1720). DG 445 373-2 31 Mendelssohn, F. Variations concertantes, op 17 (1829). Sergio Tiempo, pf. DG 471 565-2 8 Mahler, G. Piano quartet in A minor. Sascha Maisky, vn; Lyda Chen, va; Lily Maisky, pf. EMI 7 21119 2 13 Stravinsky, I. Italian suite, from Pulcinella (1920). Martha Argerich, pf. DG 477 5323 18 Falla, M. de Suite populaire espagnole (1914-15; arr. Kochanski, Maréchal). Lily Maisky, pf. DG 477 8100 15 Schumann, R. Cello concerto in A minor, op 129 (1850; arr. M. Maisky). Orpheus CO. DG 469 524-2 24 Mischa Maisky, vc (all above) 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Andrew Dziedzic 19:00 THE JAZZ BEAT with Lloyd Capps Smooth small group jazz from the 50s on, and with a visit from Miles Davis each week 20:00 RECENT RELEASES with Michael Field 22:00 CHAMBER SOIRÉE Prepared by Paul Hopwood Bach, J. Christian Piano sonata in C minor, op 17 no 2 (1762). Robert Woolley, fp. Chandos CHAN 0543 17 Brahms, J. String quartet no 3 in B flat, op 67 (1876). New Budapest String Quartet. Hyperion CDA66652 35 Danzi, F. Wind quintet in E minor, op 67 no 2 (1824). Berlin Philharmonic Wind Quintet. BIS CD-532 18 Schubert, F. Piano trio no 2 in E flat, D929 (1827). Christiaan Bor, vn; Godfried Hoogeveen, vc; Pascal Devoyon, pf. Vanguard 99020 44 Pulcinella is one of a number of early 20th century neoclassical works based on the commedia dell’arte of the 18th century. Diaghilev and Ernest Ansermet were the originators of the work suggesting to Stravinsky a ballet based on music found in various libraries. Stravinsky rewrote selected themes from older music, injecting modern rhythms, cadences and harmonies. 10

APRIL 2019

Wednesday 3 April 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 Composer focus Prepared by Frank Morrison Kodály, Z. Dances of Galánta (1933). Hungarian State SO/Adám Fischer. Nimbus NI 5284 17 Hungarian folk music nos 15, 12 and 27 (193839). Lucia Popp, sop; Geoffrey Parsons, pf. Orfeo C 363 941 B 7 Two folksongs from Zobor (1908). Hungarian RT Ch/Ferenc Sapszon. LP Hungaroton SLPX 12398 6 Hungarian rondo (1917). Christopher WarrenGreen, vn; Philharmonia O/Yondani Butt. ASV DCA 924 9 Suite from Háry János, op 15 (1927). Philharmonia Hungarica/Antal Dorati. Decca 443 006-2 23 Cello sonata, op 4 (1910/21). Miklós Perényi, vc; Jenö Jandó, pf. Hungaroton HCD 31046 18 10:30 CONCERT HALL Prepared by Paul Hopwood Offenbach, J. Overture to Orpheus in the Underworld (1858/74). City of Birmingham SO/Louis Frémaux. EMI CDM 1 66418 2 10 Tchaikovsky, P. Violin concerto in D, op 35 (1878). Dene Olding, vn; Australian CO/ Vladimir Kamirsky. Fine Music tape archive 35 Mozart, W. Symphony no 38 in D, K504, Prague (1787). Royal Concertgebouw O/ Nikolaus Harnoncourt. Teldec 9031-77596-2 38 12:00 JAZZ SKETCHES with Robert Vale World-wide contemporary jazz including contributions from Australian artists and those from culturally emerging nations 13:00 BEGINNING AND END Prepared by Yola Center Shostakovich, D. String quartet no 1 in C, op 49 (1938). Borodin String Quartet. EMI CDC 7 49266-2 14 Romance, from The gadfly, op 97a (1955). Nemanja Radulovic, vn; German SO/Michail Jurowski. DG 479 4922 4 String quartet no 15 in E flat minor, op 144 (1974). Borodin String Quartet. EMI CDC 7 49270 2 37 14:00 IN CONVERSATION with Michael Morton-Evans 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 WALTON EXPLORED Part 1 Prepared by Michael Morton-Evans Walton, W. First string quartet, mvt 3 (1919/22). Doric String Quartet. Chandos CHAN 10661 12 Piano quartet in D minor, mvt 2 (1921/74). Peter Donohoe, pf; Maggini Quartet. Naxos 8.554646 5 Façade (1926-38). New Philharmonia O/ William Walton. EMI 5 65003 2 23 Viola concerto, mvt 3 (1928-29/36/61). Lars Anders Tomter, va; English Northern Philharmonia/Paul Daniel. Naxos 8.553402 13 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Ross Hayes 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 Angela Cockburn Verdi, G. Otello. Opera in four acts. Libretto by Arrigo Boito. First performed Milan, 1887. OTELLO: Simon O’Neill, ten IAGO: Gerald Finley, bass-bar DESDEMONA: Anne Schwanewilms, sop RODRIGO: Ben Johnson, ten London Symphony Ch & O/Colin Davis. LSOLive LSO 0700 2:11 Synopsis at finemusicfm.com/Opera 22:30 IN NATURE’S REALM Prepared by Elaine Siversen Dvorák, A. Overture: In nature’s realm, op 91 (1891). Vienna State Opera O/László Somogyi. Westminster 471 266-2 15 Novák, V. In the Tatra Mountains, op 26 (1902). Royal Liverpool PO/Libor Pesek. Virgin 5 45251 2 16 Smetana, B. From Bohemia’s fields and groves, from My country (1875). Vienna PO/ Nikolaus Harnoncourt. Teldec 0927-44890-2 14 Hovhaness, A. Mountains and rivers without end, op 225 (1968). Manhattan CO/Richard Auldon Clark. Koch 3-7221-2H1 24 Mendelssohn, F. Overture: Calm sea and prosperous voyage, op 27 (1828). Bamberg SO/Claus Peter Flor. RCA Victor RD 87905 12

Thursday 4 April 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 music salon Prepared by Chris Blower Donostia, J. Excerpts from Basque preludes (1912-23). Jordi Masó, pf. Naxos 8.557228 12 Giuliani, M. Rossiniana no 2, op 120. Bruno Giuffredi, gui. Arkadia CDAK 128.1 15

Colin Brumby

Domenico Scarlatti

Bainton, E. Slow, slow, fresh fount; Young love lies dreaming; A cradle song; The triumph of Maeve (1920). Susan Bickley, mezz; Christopher Gillett, ten; Wendy Hiscocks, pf. Naxos 8.571377 11

14:30 SLOW AND SUBLIME Prepared by Chris Blower Haydn, J. String quartet in B minor, Hob. III:37, mvt 3 (1781). Cuarteto Casals. Harmonia Mundi HMX 2962022.23 7

Bach, C.P.E. Flute quartet no 3 in G, Wq95 (1788). Nicholas McGegan, fl; Catherine Mackintosh, va; Anthony Pleeth, vc; Christopher Hogwood, fp. L’Oiseau-Lyre 433189-2 17

Godard, B. Suite in three parts, op 116 (1928). Sharon Bezaly, fl; Love Derwinger, pf. BIS SACD-1639 11 Dauprat, L. Variations on a Scottish air, op 22. Sören Hermansson, hn; Erica Goodman, hp. BIS CD-648 10 Borodin, A. Trio in G. Alexander Detisov, vn; Alexander Polonsky, vn; Alexander Osokin, vc. Brilliant Classics 94410 19 10:30 CONCERT HALL Prepared by James Nightingale Rubinstein, A. Faust, op 68 (1864). George Enescu PO/Horia Andreescu. Naxos 8.557005 20 Sculthorpe, P. Island songs (2012). Amy Dickson, sax; Sydney SO/Benjamin Northey. ABC 481 1703 18 Walton, W. Symphony no 1 in B flat minor (1931-35). London PO/Bryden Thomson. Chandos CHAN 8862 45 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 BEETHOVEN CHORAL WORKS Beethoven, L. Cantata for the death of Emperor Joseph II (1789). Anita Kyle, sop; Simon Lobelson, bass. 42 Mass in C, op 86 (1807). Anita Kyle, sop; Agnes Sarkis, mezz; Nicholas Jones, ten; Simon Lobelson, bass. 38 Sydney University Choir & O/Christopher Bowen (2 above) SUGC recording

Beethoven, L. Sextet in E flat for two horns and string quartet, op 81, mvt 2 (1799-1800). Nury Guarnaschelli, hn; Peter Erdei, hn; Signum Quartet. Capriccio C 5059 3 Mozart, W. Clarinet quintet in in A, K581, mvt 2 (1789). Ludmila Peterková, cl; Bennewitz Quartet. Supraphon SU 4061-2 6

Handel, G. Rejoice greatly, O daughter of Zion, from Messiah, HWV56 (1742). Joan Sutherland, sop; London SO/Adrian Boult. Decca 475 6302 5 Saint-Saëns, C. Caprice brillant (1859). Philippe Graffin, vn; Pascal Devoyon, pf. Helios CDH55353 13 Mertz, J. Funeral laments. Paulo Lambiase, gui; Piero Viti, gui. Nuova Era 7036 14

Onslow, G. Piano trio, op 26, mvt 2. Trio Cascades. cpo 777 232-2 8

Smetana, B. Festive symphony, op 6 (1854/81). ORF SO/Lothar Zagrosek. Marco Polo 8.223120 46

15:00 GARDENS OF MUSICAL DELIGHT Prepared by Brian Drummond Delius, F. In a summer garden (1908). Welsh National Opera O/Charles Mackerras. Argo 430 202-2 14

22:00 SHOWCASING AUSTRALIAN ARTISTS Prepared by James Nightingale

Bax, A. The princess’s rose garden (1915). Ashley Wass, pf. Naxos 8.557769 7 Brumby, C. Gardens of the Villa Taranto (1991). Jane Rayner, fl; Peter Lynch, gui. CBCD 0104 10 Falla, M. de Nights in the gardens of Spain (1909-15). Artur Rubinstein, pf; Philadelphia O/Eugene Ormandy. RCA 5666-2 RC 21 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Debbie Scholem 19:00 THE NEW JAZZ STANDARD with Frank Presley 20:00 THE WORLD OF A SYMPHONY Prepared by Madelina Tresca Liszt, F. Mephisto waltz no 1 (1859-60). Jorge Bolet, pf. Philips 456 814-2 11

Vivaldi, A. Violin concerto in B minor, RV589 (pub. 1711). Australian CO/Richard Tognetti, vn & dir. BIS 2103 9 Castelnuovo-Tedesco, M. Sonata for flute and guitar, op 205 (1965). Karin Hentschel, fl; Richard Charlton, gui. Fine Music concert recording 13 Strozzi, B. Serenata e lamento: Lagrime mie. Jane Edwards, sop; Aurora Musicale. Fine Music tape archive 14 Corelli, A. Violin sonata no 7 in D minor (1700). Members of Sydney Consort. Sydney Consort SC002 8 Scarlatti, D. Stabat Mater (c1715). Sydney Chamber Choir/Nicholas Routley. Fine Music concert recording 24 Giacco, C. The lair of sweet caterpillar blossoms (1997). Marshall McGuire, hp. ABC 456 696-2 6 Paganini, N. Violin concerto no 1 in D, op 6 (1815). Adele Anthony, vn; Tasmanian SO/ Shalom Ronly-Riklis. ABC 838 903-2 34 APRIL 2019

Friday 5 April 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 Something borrowed Prepared by Elaine Siversen Martín y Coll, A. Diferéncias sobre las folias. Jordi Savall, va da gamba; Hopkinson Smith, gui. EMI CDM 7 63418 2 7 Beethoven, L. 12 Variations on See the conqu’ring hero comes, from Handel’s Judas Maccabeus, WoO45 (1796). Zoe Knighton, vc; Amir Farid, pf. Move MD3356 14 Bach, J.S. Concerto in G after Duke Johann Ernst, BWV592. David Rumsey, org. LP Davan LCDS 1001 7 Corelli, A. Sonata in A, op 5 (c1716; arr. Geminiani). Andrew Manze, vn; David Watkin, vc. Harmonia Mundi HMU 907261.62 14 Dukas, P. Variations, interlude and finale on a theme of Rameau (1899-1902). Margaret Fingerhut, pf. Chandos CHAN 8765 19 Stravinsky, I. Suite after Pergolesi (1925). Ray Chen, vn; Timothy Young, pf. Melba MR 301128 18 10:30 CONCERT HALL Prepared by Stephen Wilson Glinka, M. Spanish overture no 1: Capriccio brillante on the jota aragonesa (1845). Armenian PO/Loris Tjeknavorian. ASV DCA 1075 9

Trevor Pinnock

Symphony no 40 in G minor, K550 (1788). New York PO/Bruno Walter. Sony SMK 64 477 24

Kabalevsky, D. Symphony no 4 in C, op 54 (1955-56). Hungarian Radio Ch; North German Radio Ch & PO/Eiji Oue. cpo 999 833-2 41

14:00 ROMANTIC CONTRASTS Prepared by Albert Gormley Mendelssohn, F. Overture: The Hebrides, op 26, Fingal’s Cave (1830). Slovak PO/Oliver Dohnányi. Naxos 8.554433 11 Berlioz, H. Harold in Italy, op 16 (1834). Gérard Caussé, va; O Révolutionnaire et Romantique/John Eliot Gardiner. Philips 446 676-2 41 Love scene, from Romeo and Juliet, op 17 (1839). Sydney SO/Robert Pikler. Chandos CHAN 6587 17 Mendelssohn, F. Symphony no 3 in A minor, op 56, Scottish (1842). CO of Europe/ Nikolaus Harnoncourt. Apex 2564 67391-0 40

Mozart, W. Concerto in C for flute, harp and orchestra, K299 (1778). Julius Baker, fl; Hubert Jelinek, hp; Zagreb Soloists/Antonio Janigro. Vanguard OVC 5011 30

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

Schmidt, F. Symphony no 3 in A (1927-28). Chicago SO/Neeme Järvi. Chandos CHAN 9000 42

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

19:00 FRIDAY JAZZ SESSION with Christopher Waterhouse

12:00 A JAZZ HOUR with Barry O’Sullivan

20:00 EVENINGS WITH THE ORCHESTRA Prepared by Robert Small

13:00 MAKE MINE MOZART Prepared by Rex Burgess

Mozart, L. Sinfonia in G, Neue Lambacher. Toronto CO/Kevin Mallon. Naxos 8.570499 24

Mozart, W. Adagio and rondo in C for glass armonica, flute, oboe, viola and cello, K617 (1791). Marc Grauwels, fl; Dennis James, glass armonica; Brussels Virtuosi. Hyperion CDA66392 13 Oboe quartet in F, K370 (1781). Paul Goodwin, ob; Terzetto. Harmonia Mundi HMU 907220 18 12

Arnold Bax

APRIL 2019

Liszt, F. Two legends (1876). BBC PO/ Gianandrea Noseda. Chandos CHAN 10524 19 Bax, A. Concertante for piano left hand and orchestra (1949). Ashley Wass, pf; Bournemouth SO/James Judd. Naxos 8.570774 22

22:00 BAROQUE AND BEFORE Music for peace Prepared by Susan Foulcher Dufay, G. Supremum est mortalibus (1433). Huelgas Ensemble/Paul van Nevel. Harmonia Mundi HMX 2908250.79 6 Josquin Desprez. Plus nulz regretz. Song Company/Nicholas Routley. Tall Poppies TP077 10 Croft, W. Overture in D (1713). Michael Laird, tpt; members of Parley of Instruments/Peter Holman. Hyperion CDA66817 7 Handel, G. Utrecht Te Deum, HWV278 (1713). Emma Kirkby, sop; Judith Nelson, sop; Charles Brett, ct; Rogers Covey-Crump, ten; Paul Elliott, ten; David Thomas, bass; Choir of Christ Church Cathedral, Oxford; Academy of Ancient Music/Simon Preston. L’Oiseau-Lyre 414 413-2 25 Rameau, J-P. Orchestral suite, from Naïs (1749). Philharmonia Baroque O/Nicholas McGegan. Harmonia Mundi HMU 907121 37 Handel, G. Music for the royal fireworks, HWV351 (1749). English Concert/Trevor Pinnock. Archiv 479 1932 18 Be ye sure that the Lord he is God, from Jubilate in D for the Peace of Utrecht (1713). Charles Brett, ct; David Thomas, bass; Academy of Ancient Music/Simon Preston. L’Oiseau-Lyre 414 413-2 3 Handel wrote a Jubilate and Te Deum to celebrate the signing of one of a series of treaties for the Peace of Utrecht that ended the War of Spanish Succession.

Saturday 6 April 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 Mariko Yata Dorman, A. Piano sonata no 2 (2001). Eliran Avni, pf. Naxos 8.579001 12 Mozart, W. Piano sonata in C minor, K457 (1784). Mitsuko Uchida, pf. Philips 422 115-2 18 Golinelli, S. Piano sonata in D, op 30 (pub. 1845). Francesco Giammarco, pf. Newton 8802181 19 10:00 MUSIC OF THE DANCE Prepared by Gerald Holder José, A. Evocations: Country dance sketches (1926). Castile and León SO/Alejandro Posada. Naxos 8.557634 7 Granados, E. Spanish dances, op 5 (18921900). Pro Arte Guitar Trio. ASV CD WHL 2061 26 Sarasate, P. de Navarra, Spanish dance, op 33 (1889). David Oistrakh, vn; Igor Oistrakh, vn; Vladimir Yampolski, pf. Brilliant Classics 8402 6 Balada, L. Sardana (1979). Barcelona SO/ Matthias Aeschbacher. Naxos 8.554708 17 Falla, M. de Ballet: Love the magician, Andalusian gypsy scenes (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 Fucik, J. Entry of the gladiators. Tokyo Kosie Wind O. Denon 32 CG 1629 3 Anderson, L. Bugler’s holiday. Big Brass Band/Harry Mortimer. LP Decca PFS 4143 2 Sousa, J.P. March: Keeping step with the Union. Allentown Band/Ronald Demkee. AMP 96197 3 Lehár, F. Excerpts from The merry widow. Brighouse and Rastrick Band/James Scott. LP Grosvenor GRS 1023 6 Grieg, E. The last Spring. Skellerup Woolston Band. Rayjon 2CDR 0045 8

12:00 URBAN JAZZ LOUNGE with Leita Hutchings 13:00 CONCERT DOUBLE Part 1: Jennifer Hou plays Rachmaninov Rachmaninov, S. Rhapsody on a theme of Paganini. Jennifer Hou, pf; North Sydney SO/ Steven Hillinger. 27 Bach, C.P.E. Sinfonia in C, Wq174 (1755). Australian Haydn Ensemble/Erin Helyard. Fine Music concert recording 11 Part 2: Classical masterpieces Recorded for FINE MUSIC by Greg Ghavalas Rameau, J-P. Suite from Dardanus (1739).14 Mozart, W. Oboe concerto in C, K314 (1777). Shefali Pryor, ob. 22 Beethoven, L. Symphony no 2 in D, op 36 (1803). 35 Ku-ring-gai PO/Colin Piper (3 above) 15:00 SATURDAY MATINEE Medieval Russian knights Prepared by Dan Bickel Rachmaninov, S. Prince Rostislav (1891). Sydney SO/Vladimir Ashkenazy. Exton EXCL-00018 16 Prokofiev, S. Excerpts frm Alexander Nevsky (1938; arr Brohn). Evgenia Gorohovskay, mezz; St Petersburg Teleradio Company Ch; St Petersburg Chamber Ch; St Petersburg Capella Ch; St St Petersburg PO/Yuri Temirkanov. RCA 09026 61926 2 51

Excerpts from The leopard (1963). La Scala PO/Ricardo Muti. Sony SK 63359 24 Rustichelli, C. Excerpts from Seduced and abandoned (1964). O/Luigi Urbini. CAM CSE084 10 20:00 THE WORD TRANSFORMED Prepared by Paul Cooke Sibelius, J. Music from Kuolema: Valse triste, op 44 no 1 (1904); Scene with cranes, op 44 no 2 (1906); Canzonetta, op 62 no 1 (1906/11); Valse romantique, op 62 no 2 (1911). New Zealand SO/Pietari Inkinen. Naxos 8.570763 20 Thomas, M. Encore: Variations on a theme of Banjo Paterson, Waltzing Matilda. Brodsky Quartet. Silva Classics D31203 9 Burrell, D. Das Meer so gross und weit ist da wimmelts ohne Zahlgrosse kleine Tiere (1992). Northern Sinfonia of England/John Lubbock. ASV DCA 977 16 Haydn, J. Excerpts from Arianna auf Naxos, Hob.XXVIb:2 (1789). Jane Edwards, sop; Geoffrey Lancaster, pf. ABC 465 693-2 19 Franck, C. Psyche (1887-88). Belgian RT Choir; Liège O/Paul Strauss. EMI 5 65162 2 47 22:00 SATURDAY NIGHT AT HOME Prepared by Adam Bowen

Glière, R. Symphony no 3 in B minor, op 42, Il’ya Mouromets (1909-11). BBC PO/Edward Downes. Chandos CHAN 9041 1:18

Mozart, W. Symphony no 31 in D, K297, Paris (1778). Freiburg Baroque O/Gottfried von der Goltz. Harmonia Mundi HMX 2908601.30 21

17:30 STAGING MUSIC Prepared by Angela Cockburn

d’Indy, V. Symphony on a French mountain song, op 25 (1886). Duncan Gifford, pf; Tasmanian SO/Sebastian Lang-Lessing. ABC 476 192-8 27

US politicians 18:00 SOCIETY SPOT Folk Federation of NSW 19:00 THE MAGIC OF STAGE AND SCREEN Italian film music of the 1960s Prepared by Adam Bowen Rota, N. Radiolina, from Boccaccio 70 (1962) O/Franco Ferrara. BMG 057116 5 Piccioni, P. Theme from Mafioso (1962). O/ Luigi Urbini. EL Records ACMEM276CD 3 Rota, N. Theme from Eight and a half (1962). Massimo Palumbo, pf. Chandos CHAN 9771 2 La Paserella d’Addio, from Eight and a half. O/Carlo Sarina. CAM 493091-2 5

Bach, J.S. Suite no 1 in D minor, BWV812, French (c1722). Angela Hewitt, pf. Hyperion CDA67121/2 15 Couperin, F. La Françoise, from Les nations (pub. 1726). Academy of Ancient Music/ Christopher Hogwood. L’Oiseau-Lyre 436 185-2 14 Marais, M. L’arabesque (1717). Jordi Savall, bass viol; Rolf Lislevand, theorbo; Pierre Hantaï, hpd. Valois V4640 6 Debussy, C. La mer (1903-05). St Cecilia Academy O/Leonard Bernstein. DG 429 728-2 26 Kuolema (Finnish for ‘Death’) is a play by Finnish writer Arvid Järnefelt. APRIL 2019

Sunday 7 April 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SUNDAY MORNING MUSIC with Terry McMullen 9:00 MUSICA SACRA Prepared by Brian Drummond Homilius, G. Cantata: Gott fähret auf mit Jauchzen. Vasilijka Jezovsek, sop; Anne Buter, cont; Hubert Nettinger, ten; Dresden Kreuz Choir; Dresden Baroque O/Roderich Kreile. Carus 83.183 15 Williamson, M. Harvest Thanksgiving. Cathy Weber, sop; Adelaide Singers; James Thiele, org; Patrick Thomas, cond. LP ABC RRCS 400 7 Howells, H. A sequence for St Michael (1961). Susan Gritton, sop; Mark Milhofer, ten; Finzi Singers; Jonathan FreemanAttwood, tpt; Harry Bicket, org; Paul Spicer, cond. Chandos CHAN 9019 12 Handel, G. Jubilate in D for the Peace of Utrecht (1713). Emma Kirkby, sop; Judith Nelson, sop; Charles Brett, ct; Rogers CoveyCrump, ten; Paul Elliott, ten; David Thomas, bass; Choir of Christ Church Cathedral, Oxford; Academy of Ancient Music/Simon Preston. L’Oiseau-Lyre 414 413-2 19 10:00 THE CLASSICAL ERA Prepared by Rex Burgess Crusell, B. Bassoon concertino in B flat (1829). Karen Geoghegan, bn; BBC PO/ Gianandrea Noseda. Chandos CHAN 10613 17 Cherubini, L. String quartet no 2 in C (1829). Quartetto David. BIS CD-1003 28 Chopin, F. Piano trio in G minor, op 8 (1829). Trio Orfeo. Calig CAL 50 880 28 Berlioz, H. Eight scenes from Faust, op 1 (1829). Susan Graham, sop; Susanne Mentzer, mezz; John Mark Ainsley, ten; Philip Corokinos, bar; Montreal SO & Ch/Charles Dutoit. Decca 475 0972 36 12:00 CLASSIC JAZZ AND RAGTIME 13:00 WORLD MUSIC: Whirled Wide Showcases diverse music from cultures around the world, both traditional and modern, featuring musicians from all corners of the globe, including Australia 14:00 CHAMBER MUSIC GEMS 1840-2018 Prepared by James Nightingale Sutherland, M. Clarinet sonata (1949). Nigel 14

APRIL 2019

Westlake, cl; David Bollard, pf. Tall Poppies TP004 8 Boulanger, L. D’un matin de printemps (1918). Yehudi Menuhin, vn; Clifford Curzon, pf. EMI CDM 7 64281 2 5

Pärt, A. Magnificat. Choir of King’s College, Cambridge/Stephen Cleobury. Warner 5054197719028 6

Edwards, R. Laikan (1979). Australia Ensemble. Tall Poppies TP176 13

Hymns: When I survey the wondrous Cross; The strife is o’er, the battle done. Choir of Liverpool Cathedral; Ian Tracey, org; David Poulter, cond. Priory 1180 6

Ravel, M. Piano trio (1914). Streeton Trio. Streeton Trio 2011 28

18:00 SMALL FORCES Prepared by Di Cox

15:00 SUNDAY SPECIAL Albert Roussel Prepared by Rex Burgess

Dohnányi, E. Serenade in C for string trio, op 10 (1902). Mayumi Seiler, vn; Douglas Paterson, va; Jane Salmon, vc. Hyperion CDA66786 21

Roussel, A. Sinfonietta for string orchestra (1934). Tapiola Sinfonietta/Paavo Järvi. BIS CD-630 8 Trio for flute, viola and cello, op 40 (1929). Members of Czech Nonet. Praga Da Camera PRD 350 018 15 Piano concerto, op 36 (1927). Danielle Laval, pf; Paris O/Jean-Pierre Jacquillat. EMI 5 65154 2 17 Two Ronsard melodies, opp 26, 182 (1924). Evelyne Ruzimowsky, sop; Xavier Aragau, fl. ADDA 581064 7 Le marchand de sable qui passe, op 13 (1908). Czech Nonet. Praga Da Camera PRD 350 018 17 Évocations, op 15 (1910-11). Kathryn Rudge, mezz; Alessandro Fisher, ten; François le Roux, bar; CBSO Ch; BBC PO/Yan Pascal Tortelier. Chandos CHAN 10957 46 17:00 HOSANNA Prepared by Stephen Matthews Hymns: O sacred head now wounded; The head that once was crowned with thorns; Let all mortal flesh keep silence. Choir of USAF Protestant Chapel; Kingsway O/Charles Smart. Decca 452 252-2 8 Telemann, G. Easter cantata. Ex Tempore; Mannheim Hofkapelle/Florian Heyerick. cpo 555 083-2 17 Ryba, J. Fugue in E. Michal Novenko. org. Rosa RDO760 4 Agnelli, L. O vos omnes. Cappella Artemisia/ Candace Smith. Brilliant Classics 94638 4 Bach, J.S. So gehst du nun, mein Jesu, hin, BWV500. Barbara Schlick, sop; Klaus Mertens, bar; Wouter Moller, vc; Bob van Asperen, hpd. cpo 999 407-2 5

Berwald, F. Grand septet (1828). Gervase de Peyer, cl; Melos Ensemble. EMI 5 65995 2 23 Fauré, G. Elegy in C minor, op 24 (1880). Frédéric Lodéon, vc; Jean-Philippe Collard, pf. EMI CMS 7 62545 2 7 19:00 SUNDAY NIGHT CONCERT Prepared by Stephen Matthews Verdi, G. Overture to La battaglia di Legnano. La Scala PO/Riccardo Muti. Sony 88985465182 9 Vaughan Williams, R. Symphony no 3, Pastoral (1921). London PO/Bernard Haitink. Warner 9 84762 2 39 Elgar, E. Cello concerto in E minor, op 85. Jacqueline du Pré, vc; London SO/John Barbirolli. Warner 0 91937 2 30 20:30 NEW HORIZONS Prepared by Calogero Panvino Riley, T. In C (1964). Piano Circus. Argo 430 380-2 20 Turnage, M-A. Lament for a hanging man (1983). Fiona Kimm, mezz; Nash Ensemble/ Oliver Knussen. NMC D024M 11 Scodanibbio, S. Mas Lugares (2003). Del Sol String Quartet. Sono Lumininus DSL- 92215 21 Turnage, M-A. Release (1988). Nash Ensemble/Oliver Knussen. NMC NMC D024M 8 Reich, S. Six pianos (1973). Piano Circus. Argo 430 380-2 22 Birtwistle, H. Lullaby (2006). Roderick Williams, bar; BBC Singers; Nash Ensemble/ Nicholas Kok. Signum SIGCD368 2 22:00 AFTER HOURS JAZZ with Kevin Jones

Monday 8 April 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: 1819 Prepared by Madilina Tresca Schubert, F. Die Forelle, D550 (1819). Teddy Tahu Rhodes, bass-bar; Kristian Chong, pf. ABC 476 4363 2 Romberg, A. Clarinet quintet in E flat, op 57 (1819). Dieter Klöcker, cl; members of Consortium Classicum. Orfeo C314 941 A 20 Weber, C.M. Invitation to the dance, op 65 (1819). Garrick Ohlsson, pf. Hyperion CDD22076 10 Donizetti, G. Flute concertino in C minor (1819; orch. Hoffmann). Camerata Budapest/ Lászlo Kovács. Marco Polo 8.223701 9 Paganini, N. Introduction and variations on Di tanti palpiti, from Rossini’s Tancredi (1819). Livia Sohn, vn; Benjamin Loeb, pf. Naxos 8.570202 11 Rossini, G. Introduction, theme and variations from Edoardo e Cristina (1819). Alessandro Carbonare, cl; Quatuor Z. Harmonia Mundi HMA 1951722 10 Lhoyer, A. de Duo concertant in D minor, op 34 no 2 (1819). Matteo Mela, gui; Lorenzo Micheli, gui. Naxos 8.570146 15 10:30 CONCERT HALL Prepared by Derek Parker Beethoven, L. Leonore overture no 3, op 72b (1805). London SO/Antal Dorati. Mercury 478 5092 14 Tippett, M. Concerto for double string orchestra. Academy of St Martin in the Fields/ Neville Marriner. EMI 5 55452 2 23 Brahms, J. Symphony no 1 in C minor, op 68 (1855-76). Vienna SO/Wolfgang Sawallisch. Decca 478 5609 44 12:00 SWING SESSIONS with John Buchanan

Tuesday 9 April

13:00 FRANZ VON SUPPÉ: 200 YEARS Prepared by Elaine Siversen Suppé, F. Overture to The torments of Tantalus (1868). Academy of St Martin in the Fields/Neville Marriner. EMI CDC 7 54056 2 6 Overture to Morning, noon and night in Vienna (1844). Royal Scottish NO/Neeme Järvi. Chandos CHSA 5110 8 Missa pro defunctis (1855). Sarah Toth, sop; Anna Dowsley, cont; David Hamilton, ten; Adrian Tamburini, bass; Sydney University Graduate Ch & O/Christopher Bowen. SUGC recording 1:09 14:30 ROMANTIC CHAMBER AND KEYBOARD WORKS Borodin, A. String sextet in D minor (1860-61). Alexander Detisov, vn; Alexander Polonsky, vn; Igor Suliga, va; Alexander Bobrovsky, va; Alexander Osokin, vc; Alexander Gotthelf, vc. Brilliant Classics 94410 8

James Ehnes

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 Chris Blower

Bizet, G. Chants du Rhin (1865). Julia Severus, pf. Naxos 8.570831-32 21

Haydn, J. Keyboard sonata no 30 in D, Hob. XVI:19 (1767). Lola Odiaga, fp. Titanic Ti-156 15

Burgmüller, N. Duo, op 15 (1834). Michael Collins, cl; Michael McHale, pf. Chandos CHAN 10637 11

Pierné, G. Prelude in G minor, op 29 no 1 (1805). Stanislas Deriemaeker, org. NCRV 9089 4

Grieg, E. Waltz-caprices, op 37 (1887). Eva Knardahl, pf. BIS CD110 11

Balbastre, C-B. La Monmartel ou La Brunoy; La Laporte. Sophie Yates, hpd. Chandos CHAN 0777 7

Schumann, C. Piano trio in G minor, op 17 (c1820). Rodolfo Bonucci, vn; Andrea Noferini, vc; Francesco Nicolosi, pf. Naxos 8.557552 30

Mendelssohn, F. Concert piece no 2 in D minor, op 114 (1832). Alan Hacker, cl; Lesley Schatzberger, bshn; Richard Burnett, pf. Amon Ra CD-SAR 38 9

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

Rachmaninov, S. Variations on a theme of Corelli, op 42 (1931). Steven Osborne, pf. Hyperion CDA67936 18

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

CONTINUING PROGRAM SERIES

Musical Families prepared by Jennifer Foong: Tuesdays 2, 16 at 2pm British Symphonists prepared by Ron Walledge: Fridays 12, 26 at 2pm Evenings with the Orchestra, Music from the New World prepared by David Brett: Friday 19 at 8pm Come to the Opera prepared by Derek Parker: Saturday 20 at 1pm Sunday Special, Rarities from the Russian Archives prepared by Paolo Hooke: Sunday 21 at 3pm

Schumann, R. Adagio and allegro in A flat, op 70 (1849). Vinciane Béranger, hn; AnneLise Gastaldi, pf. Harmonia Mundi ZZT2010401 9 Berwald, F. Piano trio in C (1853). Susan Tomes, pf; Gaudier Ensemble. Hyperion CDA66835 17 10:30 CONCERT HALL Prepared by Paul Cooke Strong, G. Suite no 3, from A notebook of sketches (c1890). Moscow SO/Adriano. Naxos 8.559078 16 Tchaikovsky, P. Violin concerto in D, op 35 (1878). James Ehnes, vn; Sydney SO/ Vladimir Ashkenazy. Sydney Symphony SSO201206 35 Gipps, R. Symphony no 4, op 61 (1972). BBC Welsh NO/Rumon Gamba. Chandos CHAN 20078 32 APRIL 2019

Tuesday 9 April

Wednesday 10 April 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 Composer focus Prepared by Rex Burgess Weber, C.M. Overture to Oberon (1826). Berlin PO/Herbert von Karajan. DG 419 070-2 9

Zoltán Kodály

Cécile Chaminade

12:00 JAZZ RHYTHM with Jeannie McInnes

Mozart, W. String quartet no 12 in B flat, K172 (1773). Festetics Quartet. Hungaroton HCD 31443-45 19

13:00 FROM FOLKTALES AND LEGENDS Prepared by Elaine Siversen Dvorák, A. Symphonic poem: The noon witch, op 108 (1896). Czech PO/Charles Mackerras. Supraphon SU 4012-2 14 Janácek, L. The little bench; Little apples; Musicians, from Moravian folk poetry in songs (1908). Magdalena Kozená, mezz; Malcolm Martineau, pf. DG 479 2557 5

16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Derek Parker 18:00 SYDNEY SYMPHONY 2019 Produced by Andrew Bukenya

Clarinet concertino in C minor, op 26 (1811). Alan Vivian, cl; Sydney SO/Patrick Thomas. ABC 476 4664 9 Three songs, from Ten Scottish national songs (1825). Dietrich Fischer-Dieskau, bar; Aurèle Nicolet, fl; Karl Engel, pf. DG 480 0385 8 Grand duo concertant for clarinet and piano, op 48 (1815-16). Dieter Klöcker, cl; Werner Genuit, pf. cpo 999 626-2 21

19:00 THE JAZZ BEAT with Lloyd Capps

Flute trio, op 63 (1819). Jean-Christophe Falala, fl; Cecilia Tsan, vc; Jean-Louise Haguenauer, pf. Timpani 1 C 1007 23

Shostakovich, D. From Jewish folk poetry, op 79a (1948; orch. 1964). Luba Orgonasova, sop; Nathalie Stutzman, cont; Philip Langridge, ten; Gothenburg SO/Neeme Järvi. DG 439 860-2 27

20:00 RECENT RELEASES with James Nightingale

10:30 CONCERT HALL Prepared by James Nightingale

Chausson, E. Viviane, symphonic poem on a legend of the round table, op 5 (1882). Nancy Lyric SO/Jérôme Kaltenbach. Naxos 8.553652 12

Handel, G. Recorder sonata in A minor, HWV362. Genevieve Lacey, rec; Daniel Yeadon, vc; Neal Peres da Costa, hpd. ABC 476 5105 11

Kodály, Z. Suite from Háry János, op 15 (1927). London SO/István Kertész. Decca 480 4873 24

Martinu, B. Two songs to negro folk poems (1932). Jana Hrochová Wallingerová, mezz; Giorgio Koukl, pf. Naxos 8.573387 9 Sibelius, J. Lemminkaïnen’s return, from Four legends of the Kalevala, op 22 no 4 (1895/97). Bournemouth SO/Paavo Berglund. EMI 5 69773 2 6 Smetana, B. Sárka, from Má vlast (1875). Vienna PO/Nikolaus Harnoncourt. Teldec 0927-44890-2 11 15:00 CLASSICAL SALZBURG Prepared by James Nightingale Weber, C.M. Overture to Rübezahl (1804-05). Alexander Paley, Brian Zeger, pf. Naxos 8.553308 6 16

Haydn, M. Symphony no 5 in A. Slovak CO/ Bohdan Warchal. cpo 999 152-2 26

Ocean, thou mighty monster! from Oberon (1826). Gundula Janowitz, sop; German Opera O/Ferdinand Leitner. Decca 467 910-2 9

APRIL 2019

What’s on in concerts during the next month

22:00 CHAMBER SOIRÉE Prepared by Mariko Yata

Chaminade, C. Piano trio no 1 in G minor, op 11 (1881). Tzigane Piano Trio. ASV DCA 965 22 Beethoven, L. String quartet in F, op 18 no 1 (1800). Goldner String Quartet. ABC 476 3541 29 Hindemith, P. Little chamber music for wind quintet, op 24 no 2 (1922). Bergen Wind Quintet. BIS CD-291 14 Saint-Saëns, C. String quartet no 1 in E minor, op 112 (1899). Fine Arts Quartet. Naxos 8.572454 34 Alternative programs are still being broadcast on DAB+ between midnight and 6am.

Respighi, O. Suite from ballet, Belkis, Queen of Sheba (1934). Liège Royal PO/John Neschling. BIS 2130 25 Beethoven, L. Piano concerto no 2 in B flat, op 19 (1795). Martha Argerich, pf; Royal Concertgebouw O/Neeme Järvi. Radio Nederland RCO 08005 30 Haydn, J. Symphony in B flat, Hob.I:85, Queen (c1785). O of the Age of Enlightenment/Sigiswald Kuijken. Virgin VC 790844-2 28 12:00 JAZZ SKETCHES with Robert Vale 13:00 FROM THE ROMANTIC ERA Prepared by Jacky Ternisien Boïeldieu, A. Harp concerto in C (1801). Lily Laskine, hp; Jean-François Paillard CO/JeanFrançois Paillard. Erato 2292-45084-2 21 Fauré, G. Cantique de Jean Racine, op 11 (1873). Groupe Vocal de France; FrançoisHenri Houbart, org; John Alldis, cond. EMI 5 65562 2 5

Wednesday 10 April

Thursday 11 April

Walter Boeykens

John Eliot Gardiner

Gaetano Donizetti

Weber, C.M. Grand duet for clarinet and piano, op 48 (1815-16). Walter Boeykens, cl; Robert Groslot, pf. Harmonia Mundi HMC 901481 17

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

0:00 CONTEMPORARY COLLECTIVE

Dukas, P. The sorcerer’s apprentice (1897). French NO/Lorin Maazel. CBS MYK 42610 12 14:00 IN CONVERSATION with Michael Morton-Evans 15:00 WALTON EXPLORED Part 2 Prepared by Michael Morton-Evans Walton, W. Praise ye god of gold, from Belshazzar’s feast (1930-31/48/57). Peter Coleman-Wright, bar; London Symphony Ch & O/Colin Davis. LSO Live LSO 0681 5 Symphony no 1 in B flat minor, mvt 2 (193135). London PO/Adrian Boult. First Hand Records FHR06 7 Violin concerto, mvt 2 (1939). Dong-Suk Kang, vn; Paul Daniel, cond. Naxos 8.554325 6 Sheep may safely graze, from The wise virgins, suite after J.S. Bach (1943). David Lloyd-Jones, cond. Naxos 8.555868 6 English Northern Philharmonia (2 above) Henry V: Two pieces for strings (1944). English String O/William Boughton. Nimbus NI 5450/3 5 Major Barbara: a Shavian sequence for orchestra (1941; arr. Palmer). Chandos CHAN 8841 11 Spitfire prelude and fugue (1942). Chandos CHAN 8870 9 Academy of St Martin in the Fields/Neville Marriner (2 above) Scherzetto (1951). Lydia Mordkovitch, vn; London PO/Jan Latham-Koenig. Chandos CHAN 9073 2

3:00 CLASSICAL TILL DAWN

19:00 JAZZ STARS AND STRIPES with Peter Mitchell

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

20:00 AT THE OPERA Prepared By Elaine Siversen

9:00 DIVERSIONS IN FINE MUSIC The music salon Prepared by Chris Blower

Verdi, G. Falstaff. Opera in three acts. Libretto by Arrigo Boito after Shakespeare. First performed Milan, 1893. FALSTAFF: Jean-Philippe Lafont, bar FORD: Anthony Michaels-Moore, bar MISTRESS FORD: Hillevi Martinpelto, sop MISTRESS QUICKLY: Sara Mingardo, cont MISTRESS PAGE: Eirian James, mezz Monteverdi Choir; O Révolutionnaire et Romantique/John Eliot Gardiner. Philips 462 603-2 2:01 Synopsis at finemusicfm.com/Opera Rigoletto, concert fantasy (1851; arr. Herlinger, Gampieri). Sabine Meyer, cl; Zurich Opera O/Franz Welser-Möst. EMI 5 56137 2 12 22:30 THE ARCHDUKE Prepared by Di Cox Beethoven, L. Piano trio in B flat, op 97, Archduke (1810-11). Macquarie Trio. ABC 446 626-2 40 Bach, C.P.E. Flute quartet no 1 in A minor, Wq93 (1788). Nicholas McGegan, fl; Catherine Mackintosh, va; Anthony Pleeth, vc; Christopher Hogwood, fp. L’Oiseau-Lyre 433189-2 15 Haydn, M. Divertimento in E flat (1790). Divertimento Salzburg. Claves CD 50-8703 25 Weber’s beautiful works for clarinet were inspired by his friendship with the virtuoso clarinettist Heinrich Baermann with his ‘bright genial character and sterling worth’.

Haydn, J. Piano trio no 39, Hob.XV:25, Gypsy (1794-95). Patrick Cohen, pf; Erich Höbarth, vn; Christophe Coin, vc. Harmonia Mundi HMX 2908250.79 16 Carulli, F. Nocturne. Jan Carter, gui; Alfred Alexander gui. LP RCA VRL1 0125 10 Dvorák, A. Songs my mother taught me; The strings are tuned; And the wood is quiet all round, from Seven gypsy melodies, op 55 (1880). Magdalena Kozená, mezz; Malcolm Martineau, pf. DG 479 2557 7 Glinka, M. Variations on a theme by Mozart (1822). Victor Ryabchikov, pf. BIS CD-981 13 Donizetti, G. Larghetto, theme and variations (1819). Massimo Belli, vn; Victoria Terekiev, pf. Nuova Era 7100/01 16 Giuliani, M. Sérénade, op 127 (pub. 1827). Nora Shulman, fl; Norbert Kraft, gui. Naxos 8.554560 17 10:30 CONCERT HALL Prepared by Rex Burgess Shostakovich, D. Zoya suite, op 64a (1944). State Choir of Latvia; Helsinki PO/Vladimir Ashkenazy. Ondine ODE 1225-2 29 Liszt, F. Piano concerto no 2 in A (1839/61). Leslie Howard, pf; Budapest SO/Karl Anton Rickenbacher. Hyperion CDS44597 21 APRIL 2019

Thursday 11 April

Eric Coates

Ross Pople

Marina Marsden

Hovhaness, A. Symphony no 50, op 360, Mount Saint Helens (1982). Seattle SO/ Gerard Schwarz. Naxos 8.559717 32

Albrechtsberger, J. Double concerto in F (1770; arr. Behrend). Marianne Klatt, fl; Michael Tröster, gui; German Plucked-String CO/Siegfried Behrend. Thorofon CTH 2025 14

Ries, F. Piano sonatina in A minor, op 45 (1811-12). Susan Kagan, pf. Naxos 8.570796 8

12:00 JAZZ, PURE AND SIMPLE with Maureen Meers 13:00 SUMMERTIME Prepared by Michael Morton-Evans Trad. Summer is icumen in (c1280). Choir of New College, Oxford/Edward Higginbottom. Apex 2564 67545-9 1 Glazunov, A. Summer, from The seasons, op 34 (1901). Sydney SO/Wilfred Lehmann. ABC 442 377-2 12 Suk, J. Summer impressions, op 22b (1902). Niel Immelman, pf. Meridian CDE 84317 13 Coates, E. Suite: Summer days (1919). New Queen’s Hall Light O/Eric Coates. Naxos 8.110173 10

Britten, B. Serenade for tenor, horn and strings, op 31 (1943) Peter Pears, ten; Dennis Brain, hn; Boyd Neel String O/Benjamin Britten. Decca 478 5364 24 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Marilyn Schock 19:00 THE NEW JAZZ STANDARD with Frank Presley 20:00 THE WORLD OF A SYMPHONY Prepared by Brian Drummond

Gershwin, G. Summertime, from Porgy and Bess (1935). Kiri Te Kanawa, sop; New Princess TO/John McGlinn. EMI CDC 7 47454 2 3

Beethoven, L. Overture to King Stephen, op 117 (1811). Nicolaus Esterházy Sinfonia/Béla Drahos. Naxos 8.553431 7

Flotow, F. The last rose of summer, from Martha (1847). Joan Sutherland, sop; New Philharmonia O/Richard Bonynge. ABC 468 513-2 3

Piano sonata no 26 in E flat, op 81a, Les adieux (1809-10). Claudio Arrau, pf. Philips 416 146-2 18

Bax, A. Summer music (1917-20). Ulster O/ Bryden Thomson. Chandos CHAN 8307 10 14:00 MAINLY STRINGS Prepared by Stephen Wilson Prokofiev, S. Overture on Hebrew themes, op 34 (1919/34). Angela Malsbury, cl; David Pettit, pf; Coull String Quartet. Hyperion CDA66573 9 Raff, J. String octet in C, op 176 (1872). Academy of St Martin in the Fields Chamber Ensemble. Chandos CHAN 8790 24 18

Mendelssohn, F. String symphony no 11 in F (1821). London FO/Ross Pople. Hyperion CDS44081/3 36

APRIL 2019

Weber, C.M. Violin sonata in C, op 10 no 6 (1810). Isabelle Faust, vn; Alexander Melnikov, fp. Harmonia Mundi HMC 902108 9 Hummel, J. Piano trio no 3 in G, op 35 (1811). Alessandro Deljavan, pf; Daniela Cammarano, vn; Luca Magariello, vc. Brilliant Classics 94898 14 Spohr, L. Potpourri in F, op 80 (1811). Michael Collins, cl; Swedish CO/Robin O’Neill. Hyperion CDA67509 10 Beethoven, L. An die Geliebte, WoO140 (1811). Stephan Genz, bar; Roger Vignoles, pf. Hyperion CDA67055 1

Beethoven, L. Piano trio no 7 in B flat, WoO39 (1812). Itzhak Perlman, vn; Lynn Harrell, vc; Vladimir Ashkenazy, pf. EMI CDC 7 47010 2 5 Wife, children and friends, WoO152 no 19 (1812). Felicity Lott, sop; John Mark Ainsley, ten; Marieke Blankestijn, vn; Ursula Smith, vc; Malcolm Martineau, pf. DG 477 5128 4 Symphony no 8 in F, op 93 (1812). CO of Europe/Nikolaus Harnoncourt. Teldec 2292-46452-2 27 22:00 SHOWCASING AUSTRALIAN ARTISTS Prepared by Paul Cooke Fauré, G. Violin sonata no 1 in A, op 13 (1876). Marina Marsden, vn; David Miller, pf. Fine Music concert recording 24 Delany, J. Ave Maria (c1905). Jennifer Bates, sop; Choir of St Mary’s Cathedral; Sydney Conservatorium Chorale/David Russell. Walsingham WAL 8010-2 3 Poulenc, F. Piano concerto (1949). Simon Tedeschi, pf; SBS Youth O/Matthew Krel. YME 1 21 Devienne, F. Bassoon quartet in C, op 73 no 1 (c1800). Sydney Omega Ensemble/David Rowden. Fine Music concert recording 14 Buffardin, P-G. Concerto in E minor for transverse flute and strings (1730). Kate Clarke, fl; Ensemble Battistin. ABC 476 6182 14 Sutherland, M. Extension (1967). David Lockett, pf. ABC 441 934-2 7 Chausson, E. Poem of love and the sea, op 19 (1893). Steve Davislim, ten; Queensland SO/Guillaume Tourniaire. Melba MR 301123 28

Friday 12 April

Kurt Redel

Janine Jansen

St Antoni Chorale

0:00 CONTEMPORARY COLLECTIVE

Masseurs, tpt; Ronald Brautigam, pf; Royal Concertgebouw O/Riccardo Chailly. Decca 433 702-2 22

19:00 FRIDAY JAZZ SESSION with Christopher Waterhouse

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 Something borrowed Prepared by Stephen Wilson Puccini, G. Mimi, Rodolfo, Musetta and Marcello go their separate ways, from La bohème (arr. Hocking). West Australian SO/ Dobbs Franks. ABC 476 1999 8 Vivaldi, A. Concerto no 4 in G minor, RV316a (transcr. J.S. Bach). Pierre Bardon, org; Munich Pro Arte O/Kurt Redel. Pierre Verany PV79801 10 Tchaikovsky, P. Theme and variations in A minor (1863-64). Viktoria Postnikova, pf. Erato 2292-45968-2 14 Debussy, C. Suite bergamasque (1890/1905; arr. E. Grigoryan). Slava Grigoryan, gui; Leonard Grigoryan, gui. ABC 476 6088 17 Dvorák, A. Moravian quartets, after op 32 (1876, arr. Janácek). Song Company; Josephine Allen, pf; Roland Peelman, cond. Fine Music concert recording 11 Ogínski, M. Polonaise in A minor (transcr. Landowska). Wanda Landowska, hpd. Naxos 8.111055 5 Bellini, V. Paraphrase, from La sonnambula (1831). Gilbert Monier, picc, cl; Alessandro Carbonare, cl; Andrea Dindo, pf; Quatuor Z. Harmonia Mundi HMA 1951722 12 10:30 CONCERT HALL Prepared by Paul Hopwood Taneyev, S. Overture to The Oresteia, op 6 (pub. 1897). Philharmonia O/Neeme Järvi. Chandos CHAN 8953 18 Shostakovich, D. Concerto for piano, trumpet and strings, op 35 (1933). Peter

Prokofiev, S. Symphony no 6 in E flat minor, op 111 (1945-47). Los Angeles PO/André Previn. Philips 420 934-2 41 12:00 A JAZZ HOUR with Barry O’Sullivan 13:00 CLASSICAL VIENNA Prepared by James Nightingale Salieri, A. Overture to Semiramide (1782). Philharmonia O/Pietro Spada. ASV DCA 955 5 Mozart, W. Fantasie in C minor, K475 (1785). Glenn Gould, pf. CBS M2YK 45613 15 Dittersdorf, C. String quartet no 1 in D (pub. 1789). Franz Schubert Quartet. cpo 999 038-2 14 Krommer, F. Wind partita in E flat, op 71. Budapest Wind Ensemble/Kálmán Berkes. Naxos 8.553498 19 14:00 BRITISH SYMPHONISTS Prepared by Ron Walledge Britten, B. Simple symphony, op 4 (1934). English Northern Sinfonia/Richard Hickox. ASV DC QS 6214 15 Four sea interludes, from Peter Grimes, op 33a (1945). BBC PO/Edward Gardner. Chandos CHAN 10658 16 Violin concerto in D minor, op 15 (1939/58). Janine Jansen, vn; London SO/Paavo Järvi. Decca 478 2826 33 A Spring symphony, op 44 (1949). Elizabeth Gale, sop; Alfreda Hodgson, cont; Martyn Hill, ten; Southend Boys Choir; London Symphony Ch & O/Richard Hickox. Chandos CHAN 8855 45 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Lloyd Capps

20:00 EVENINGS WITH THE ORCHESTRA The Hallé Orcestra: Passing the baton Prepared by Katy Rogers-Davies Delius, F. Idylle de Printemps (1889). Hallé CD HLL 7528 11 Debussy, C. Les collines d’Anacapri, from Preludes, bk I (1910). BBC Music BBC MM289 4 Mark Elder, cond (2 above) Britten, B. Sinfonietta, op 1 (1932). Kent Nagano, cond. Apex 2564 67391 7 15 Brahms, J. Variations on a theme by J. Haydn, op 56a, St Antoni chorale (1873). James Loughran, cond. EMI CDM 1 66425 2 19 Dvorák, A. Overture: Carnival, op 92 (1893). Hamilton Harty, cond. BBC Music BBC MM289 7 Elgar, E. Symphony no 2 in E flat, op 63 (1911). John Barbirolli, cond. EMI CDM 7 64724 2 56 Hallé O (all above) 22:00 BAROQUE AND BEFORE Prepared by Andrew Dziedzic Vivaldi, A. Excerpts from La Verità in Cimento, RV739 (1720). Gemma Bertagnolli, sop; Guillemette Laurens, mezz; Sara Mingardo, cont; Philippe Jaroussky, ct; Anthony Rolfe Johnson, ten; Ensemble Matheus/Jean-Christophe Spinosi. naïve OP 30452 1:07 Bach, J.S. Lasst uns sorgen, lasst uns wachen (Hercules at the crossroads), BWV213 (1733). Akademie für Alte Musik/ Stephan Mai. Harmonia Mundi HMC 901544/45 47 “After silence that which comes nearest to expressing the inexpressible is music.” — Aldous Huxley APRIL 2019

Saturday 13 April 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 Anne Irish Mendelssohn, F. Variations sérieuses, op 54. Alfred Brendel, pf. Philips 456 733-2 11 Granados, E. Queja, o la maja y el ruiseñor (1911). Alicia de Larrocha, pf. Decca 417 795-2 7 Schumann, R. Fantasia in C, op 17 (183638). Wilhelm Kempff, pf. DG 435 045-2 32 10:00 MUSIC OF THE DANCE Prepared by Paul Cooke Saint-Saëns, C. Tarantelle in A minor, op 6 (1857). Philippa Davies, fl; Richard Hosford, cl; Ian Brown, pf. Hyperion CDA67431/2 6 Schubert, F. Excerpts from 31 Original dances, D365 (arr. Schubert). Gil Shaham, vn; Göran Söllscher, gui. DG 479 2565 12 Kodály, Z. Dances of Galánta (1933). Philharmonia Hungarica/Antal Dorati. Decca 443 006-2 15 Thompson, B. Saxophone quartet no 3, Body language (2003). Apollo Saxophone Quartet. Celestial Harmonies 13263-2 17 Glazunov, A. Scènes de ballet, op 52 (1894). Moscow SO/Alexander Anissimov. Naxos 8.553915 30 11:30 ON PARADE Prepared by Robert Small Jenkins, J.W. American overture (1955). 5 Bryant, S. Radiant joy (2006). 5 Naxos 8.570968 (2 above) Koh, S. Korean dances (2002). Naxos 8.572837 17 Lone Star Wind O/Eugene Migliaro Corporon (all above) 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 20

APRIL 2019

14:00 PIANO PLUS Prepared by Paul Hopwood

20:00 THE WORD TRANSFORMED Prepared by Krystal Li

Kraus, J.M. Violin sonata in C (1785). Jaap Schröder, vn; Lucia Negro, pf. Musica Sveciae MSCD 415 23

Schumann, R. Overture to Hermann and Dorothea, op 136 (1851). Swedish CO/ Thomas Dausgaard. BIS SACD-1619 9

Arensky, A. Piano trio no 1 in D minor, op 32 (1894). Borodin Trio. Chandos CHAN 8477 32 15:00 SATURDAY MATINEE Operetta in the afternoon Prepared by Elaine Siversen Suppé, F. Boccaccio. Operetta in three acts. Libretto by Friedrich Zell (aka Camillo Walzel) and Richard Genée after a play based on The Decameron by Giovanni Boccaccio. First performed Vienna, 1879. GIOVANNI BOCCACCIO: Rupert Glawitsch/ Erwin Linder, bar PIETRO, PRINCE OF PALERMO: Horst Günter/Hans Quest, ten FIAMETTA: Rita Streich/Evy Gotthardt, sop LAMBERTUCCIO: Gustav Neidlinger/Rudolf Fenner, ten North German Hamburg Choir; Hamburg RO/ Wilhelm Schüchter. Membran Music 223983-311 1:58 Synopsis at finemusicfm.com/Opera Overture to Morning, noon and night in Vienna (1844). Royal Scottish NO/Neeme Järvi. Chandos CHSA 5110 8 Overture to The beautiful Galathea (1865). New York PO/Leonard Bernstein. CBS MYK 44719 8 17:30 THE VOICES, THE ROLES Prepared by Angela Cockburn Seduced sopranos 18:00 SOCIETY SPOT Organ Music Society of Sydney Prepared by Andrew Grahame 19:00 THE MAGIC OF STAGE AND SCREEN Prepared by Maureen Meers Omadel, C. Excerpts from Pickwick (1963). Harry Secombe, Ruth Madoc, Glyn Houston, voices. TER MUS C N13 19 Herman, J. Excerpts from Mack and Mabel (1974). Members of original cast. MCA MCLD 19089 14 Perritti - Creatore - Weiss. Excerpts from Maggie Flynn (1968). Shirley Jones, Jack Cassidy, voices; members of original Broadway cast. DRG Records DRG-19123 18

Vaughan Williams, R. On Wenlock Edge (1908; orch. 1921-23). Gerald English, ten; West Australian SO/David Measham. Unicorn-Kanchana UKCD 2062 22 MacDowell, E. Six idylls after Goethe, op 28 (pub. 1887). James Barbagallo, pf. Marco Polo 8.223632 12 Franck, C. Symphonic poem: Les éolides (1875-6). Suisse Romande O/Ernest Ansermet. Decca 452 890-2 11 Lambert, C. Eight poems of Li-Po for voice, flute, oboe, clarinet, string quartet and double bass (1926-29). Philip Langridge, ten; Nash Ensemble/Lionel Friend. Helios CDH55397 14 Klughardt, A. Schilflieder, op 28 (1873). Albrecht Mayer, ob; Tabea Zimmerman, va; Markus Becker, pf. Decca 478 3564 19 Bridge, F. Two poems (1915). BBC Welsh NO/Richard Hickox. Chandos CHAN 10729(6) 13 Mussorgsky, M. Peasant’s lullaby (pub. 1871). Galina Vishnevskaya, sop; Mstislav Rostropovich, pf. EMI 5 65716 2 5 22:00 SATURDAY NIGHT AT HOME Prepared by Gerald Holder Bach, J.S. Orchestral suite no 1 in C, BWV1066 (c1724). Amsterdam Baroque O/ Ton Koopman. Erato 0630-17868-2 20 Ravel, M. Piano trio in A minor (1914). Macquarie Trio. Fine Music concert recording 27 Grieg, E. Holberg suite, op 40 (1884). Australian CO/Richard Tognetti. Sony SK 53356 19 Schubert, F. Ständchen, D920 (1827); Die Nachtigall, D724 (1821). Utrecht Vocal Soloists; Ronald Brautigam, pf; Udo Reinemann, bar & dir. Globe GLO 5021 9 Goldmark, K. Violin concerto no 1 in A minor, op 28. Vera Tsu, vn; Razumovsky Sinfonia/ Yu Long. Naxos 8.553579 36 “Goldmark’s Violin Concerto has a slow movement of grave beauty.” — Neville Garden

Sunday 14 April 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SUNDAY MORNING MUSIC with Robert Small

15:00 SUNDAY SPECIAL Music transcends war Prepared by Stephen Wilson

9:00 MUSICA SACRA Prepared by Elaine Siversen Bach, J.S. Cantata, BWV197: Gott ist unsre Zuversicht (1736-37). Bach Collegium Japan/ Masaaki Suzuki. BIS BIS-9052 29 Vivaldi, A. Psalm 111 (112): Beatus vir, RV795. Namur Chamber Choir; Les Agrémens/Leonardo Garcia Alarcón. Ambronay AMY029 26 10:00 THE CLASSICAL ERA Prepared by Frank Morrison Beethoven, L. Sextet in E flat for two horns and string quartet, op 81 (1799-1800). Nury Guarnaschelli, hn; Peter Erdel, hn; Signum Quartet. Capriccio C 5059 17 Sacchini, A. Sinfonia, from La contadina in Corte (1766). English CO/Richard Bonynge. Decca 466 434-2 6 Gluck, C. Cette nuit ... O toi qui prolongeas mes jours, from Iphigénie en Tauride (1779). Régine Crespin, sop; Suisse Romande O/Alain Lombard. Decca 440 844-2 7 Field, J. Piano concerto no 3 in E flat (c1805). Míceál O’Rourke, pf; London Mozart Players/Matthias Bamert. Chandos CHAN 9495 33 Schubert, F. Incidental music to Rosamunde, D797 (1823). Vienna PO/Riccardo Muti. EMI CDC 7 54873 2 16 Onslow, G. Piano trio, op 14 no 2 (1818). Trio Cascades. cpo 777 230-2 29 12:00 CLASSIC JAZZ AND RAGTIME with John Buchanan The early days of jazz and ragtime as recorded during the first 30 years of the 20th century 13:00 WORLD MUSIC: Whirled Wide 14:00 INSTRUMENTAL MUSIC FROM THE MANNHEIM SCHOOL Prepared by James Nightingale Stamitz, C. Concerto in B flat for clarinet, bassoon and orchestra (1984). Koji Okazaki, bn; Nicolaus Esterházy Sinfonia/Kálmán Berkes, cl & dir. Naxos 8.553584 24 Cannabich, C. Flute quintet in E minor, op 7 no 3 (1768-69). Camerata Cologne. cpo 999 544-2 15 Richter, F. Sinfonia XI in G minor, no 27 (1744). Helsinki Baroque O/Aapo Häkkinen. Naxos 8.570597 14

Diepenbrock, A. Overture to The birds (1917). Emmy Verhey, vn; The Hague Residency O/Hans Vonk. Chandos CHAN 8821 10 Fauré, G. Cello sonata no 2 in G minor, op 117 (1918). Alban Gerhardt, vc; Cecile Licad, pf. Hyperion CDA67872 18 Tommasini, V. Ballet: The good-humoured ladies, after Scarlatti (1917). Concert Arts O/ Robert Irving. EMI 5 65911 2 15 Prokofiev, S. Suite from The love for three oranges, op 33 (1919). Vienna PO/Constantin Silvestri. EMI 5 74115 2 17 Bridge, F. Blow out, you bugles (1918). Philip Langridge, ten; BBC Welsh NO/Richard Hickox. Chandos CHAN 10729(6) 6

London; Henry Parkes, org; Paul Brough, cond. Priory 1060 4 Brahms, J. Wie lieblich sind deine Wohnungen; Denn wir haben hie Keine bleibende Statt, from A German Requiem (1854-68). Jorma Hynninen, bar; London Philharmonic Ch & O/Klaus Tennstedt. EMI 7 678 19 2 19 Handel, G. O death where is thy sting?; Amen, from Messiah (1789; arr. Mozart as K572). Birgit Finnilä, cont; Peter Schreier, ten; Austrian Radio Ch & O/Charles Mackerras. Archiv 427 173-2 6 18:00 MUSIC FOR SMALL FORCES Prepared by Paul Hopwood Dvorák, A. Piano quintet in A, op 81 (1887). Nash Ensemble. Virgin VC 7 90736-2 40 Haydn, J. Piano trio in E flat minor, Hob. XV:31 (1795). Yuuko Shiokawa, vn; Boris Pergamenshikov, vc; András Schiff, pf. Decca 444 862-2 14 19:00 SUNDAY NIGHT CONCERT Prepared by James Nightingale

Milhaud, D. Ballet: Le boeuf sur le toit, op 58 (1919). Lille NO/Jean-Claude Casadesus. Naxos 8.557287 17

Farrar, E. The forsaken merman, op 20 (1902). Philharmonia O/Alasdair Mitchell. Chandos CHAN 9586 28

Hindemith, P. Violin sonata in E flat, op 11 no 1 (1918). Frank Peter Zimmermann, vn; Enrico Pace, pf. BIS BIS-2024 9

Hummel, J. Trumpet concerto in E (1803). Urban Agnas, tpt; London Mozart Players/ Howard Shelley. Chandos CHAN 9925 19

Fauré, G. Masques et bergamasques, op 112 (1918). RTE Sinfonietta/John Georgiadis. Naxos 8.553360 15

Brahms, J. Symphony no 3 in F, op 90 (1883). Scottish CO/Charles Mackerras. Telarc 80450 36

17:00 HOSANNA Prepared by Meg Matthews

20:30 NEW HORIZONS Prepared by James Nightingale

Hymns: Palms of glory. Choir of Wells Cathedral; Rupert Gough, org; Malcolm Archer, cond. Hyperion CDP 12103 2

Chin, U. Fantaisie mécanique (1994). Ensemble Intercontemporain/Patrick Davin. Kairos 00113062KAI 13

Ride on, ride on in majesty. Cantus Choro; Norman Kaye, org; Peter Chapman, cond. Move MD 3062 2 Bach, J.S. Benedictus; Osanna in excelsis, from Mass in B minor (1747-50). Gerd Türk, ten; Bach Collegium, Japan Ch & O/Masaaki Suzuki. BIS-CD MD 3062 2 For love my Saviour is willing to die, from St Matthew Passion (1728-36). Vienna Boys’ Choir soloist; Concentus Musicus of Vienna/ Nikolaus Harnoncourt. Teldec 4509-93705-2 5 Bramma, H. I will receive the cup of salvation. Choir of All Saints, Margaret Street,

Lang, D. Before Glory; Glory, from Mystery sonatas. Augustin Hadelich, vn. Cantaloupe Records CA21142 12 Saariaho, K. Cloud string trio (2009). Trio Aristos. BIS BIS-2269 17 Crane, L. Solo for Claire Edwardes (2005). Claire Edwardes, perc. Tall Poppies TP223 9 Tüür, E-S. Symphony no 4, Magma (2002). Evelyn Glennie, perc; Estonian SO/Paavo Järvi. Virgin 3 85785 2 31 22:00 AFTER HOURS JAZZ with Kevin Jones APRIL 2019

Monday 15 April

Einojuhani Rautavaara

Nicolai Malko

Katia and Marielle Labèque

0:00 CLASSIC-ALL THROUGH THE NIGHT

13:00 FRANZ VON SUPPÉ: 200 YEARS Prepared by Elaine Siversen

0:00 CONTEMPORARY COLLECTIVE

Suppé, F. Overture to Poet and peasant (1846). Royal Scottish NO/Neeme Järvi. Chandos CHSA 5110 9

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

6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with James Hunter 9:00 DIVERSIONS IN FINE MUSIC A year in retrospect: 1815 Prepared by Rex Burgess Rossini, G. Overture to Torvaldo e Dorliska (1815). Academy of St Martin in the Fields/ Neville Marriner. Philips 473 967-2 9 Paganini, N. Violin concerto no 1 in D, op 6 (1815). Michael Rabin, vn; Philharmonia O/ Eugene Goossens. EMI 5 72854 2 29 Field, J. Piano quintet in A flat (1815). David Juritz, vn; Jennifer Godson, vn; Sarah-Jane Bradley, va; Julia Desbruslais, vc; Míceál O’Rourke, pf. Chandos CHAN 9534 11 Salieri, A. Magnificat anima mea Dominum in C (1815). St Florian Boys’ Choir; Leonding SO/Uwe Christian Harrer. Koch 3-1288-2 H1 6 Spohr, L. String quartet in E flat, op 29 no 1 (1815). Sonare Quartet. LP MD+G G1144 25 10:30 CONCERT HALL Prepared by James Nightingale Sibelius, J. Symphonic poem: En saga, op 9 (1892/1901). Bournemouth SO/Paavo Berglund. EMI 5 69773 2 19 Grieg, E. Piano concerto in A minor, op 16 (1868). Leif Ove Andnes, pf; Berlin PO/Mariss Jansons. EMI 5 57486 2 29 Rautavaara, E. Symphony no 7, Angel of light (1994-95). Lahti SO/Osmo Vänskä. BIS CD-1038 34 12:00 SWING SESSIONS with John Buchanan 22

Tuesday 16 April

APRIL 2019

Overture to The beautiful Galathea (1865). Vienna PO/Willi Boskovsky. Decca 478 2826 8 Missa dalmatica (1835/76). Lords of the Chords; Jens Wollenschläger, org. Carus 83.455 49 Overture to Light Cavalry (1866). Staatskapelle Dresden/Otmar Suitner. Berlin Classics 0300249BC 7 Overture: Vienna Jubilee (pub. 1890). Vienna PO/Zubin Mehta. CBS MK 44932 7 14:30 REMEMBERING ROBERT HUGHES Prepared by Ron Walledge Hughes, R. Sinfonietta (1957). Sydney SO/ Nicolai Malko. LP RCA VRL1 6233 19 Suite: The forbidden rite (1961). Yuval Zaliouk, cond.

Synthesis (1969). Willem van Otterloo, cond. 9 Melbourne SO (2 above) RCA VRL1 0192 Sea spell (1973). Willem van Otterloo, cond. RCA VRL1 0191 9 Symphony no 1 (1951-71). Joseph Post, cond. ABC/Festival L 42016 29 Sydney SO (2 above) 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Stephen Wilson 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

3:00 CLASSICAL TILL DAWN

9:00 DIVERSIONS IN FINE MUSIC The colours of the keyboard Prepared by Frank Morrison Stravinsky, I. Concerto for two pianos (193135). Katia Labèque, pf; Marielle Labèque, pf. Philips 420 822-2 18 Bach, W.F. Polonaise no 3 in D (c1765). Steve Barrell, clvd. Globe GLO 5035 5 Gade, N. Andante (1874). Ralph Gustafsson, org. BIS CD-496 4 Turina, J. Sextet for viola and piano quintet, op 7, Scène andalouse (1912). Nash Ensemble. Hyperion CDA67889 12 Debussy, C. Première rhapsodie (1911). Paul Meyer, cl; Maria Raspopova, pf. Fine Music concert recording 7 Mozart, W. Fantasia in C minor, K396 (1782). Gary Cooper, fp. Channel CCS SA 28109 10 Saint-Saëns, C. Piano quartet in E (1853). Quatuor Élyséen. Arion ARN 68242 21 10:30 CONCERT HALL Prepared by Stephen Wilson Ginastera, A. Dances from Estancia, op 8a (1943). New World SO/Michael Tilson Thomas. Decca 467 603-2 13 Haydn, J. Cello concerto no 2 in D, Hob. VIIb:2 (1783). Jacqueline du Pré, vc; London SO/John Barbirolli. EMI CZS 5 68132 2 30 Rimsky-Korsakov, N. Symphony no 3 in C,

Tuesday 16 April

Wednesday 17 April

Ernö Dohnányi

Charles Dieupart

Nigel Westlake

op 32 (1886). USSR Academic SO/Yevgeny Svetlanov. Melodiya MA 3016 39

Meyers, vn; Adam Neiman, pf. Naxos 8.559298 13

0:00 CONTEMPORARY COLLECTIVE

Elgar, E. Cello concerto in E minor, op 85 (1919). Staatskapelle Berlin/Daniel Barenboim. Decca 478 2735 29

6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Troy Fil

12:00 JAZZ RHYTHM with Jeannie McInnes 13:00 IT’S AUTUMN Prepared by Michael Morton-Evans Agnew, R. An autumn morning (1927). Ray Lemond, pf. Jade JADCD 1041 3 Prokofiev, S. Autumnal sketch, op 8 (191112). Scottish CO. ASV DCA 760 8 Chaminade, C. Autumn (c1890; orch. Uy). Michael Guttman, vn; Royal PO. ASV DCA 855 7 José Serebrier, cond (2 above) Kats-Chernin, E. Autumn (2006). TamaraAnna Cislowska, pf. ABC 481 6430 3 Grieg, E. In autumn, op 11 (1866-87). Gothenburg SO/Neeme Järvi. DG 427 321-2 11 Respighi, O. Autumn poem (1920-25). Ruggiero Ricci, vn; Pacific SO/Keith Clark. Reference RR-15CD 15 Kosma, J. Autumn leaves (1945). Edith Piaf, voice. EMI 56521 2 3 14:00 MUSICAL FAMILIES Weilerstein family Prepared by Jennifer Foong Dohnányi, E. Piano quintet in C minor, op 1 (1895). Peter Salaff, vn; Atar Arad va; Paul Katz, vc; Barry Snyder, pf. Pro Arte CDD 238 28 Bloch, E. Violin sonata no 1 (1920). Vivian Hornik Weilerstein, pf. 27 Violin suite no 1 (1958). 11 Donald Weilerstein, vn (3 above) Arabesque Z 6605 Higdon, J. Piano trio (2003). Anne Akiko

Alisa Weilerstein, vc (2 above) 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Andrew Dziedzic 19:00 THE JAZZ BEAT with Lloyd Capps 20:00 RECENT RELEASES with Charles Barton 22:00 CHAMBER SOIRÉE Prepared by Rex Burgess Frescobaldi, G. Canzona no 6 (1628). Christian Lindberg, tb; Neal Peres da Costa, hpd. BIS CD-1688 5 Dieupart, C. Suite no 5 in F for flûte à voix and harpsichord (1701). Ruth Wilkinson, flûte à voix; Linda Kent, hpd. Move MD 3161 14 Lalo, E. Piano trio no 3 in A minor, op 26 (1880). Barbican Piano Trio. ASV DCA 899 27 Yvon, C. Cor anglais sonata in F minor. Hans de Vries, ob; Rudolph Jansen, pf. Astoria 90004/5 18 Schubert, F. String quartet in G, D887 (1826). Australian String Quartet. Fine Music concert recording 47 French-born Charles Dieupart spent half of his life in London and was a prominent figure in the Drury Lane theatre scene. He was a harpsichordist and violinist and actively participated as a performer in the city’s musical life. In later years he confined himself to teaching which, unfortunately, didn’t provide enough income to stave off poverty.

3:00 CLASSICAL TILL DAWN

9:00 DIVERSIONS IN FINE MUSIC Composer focus Prepared by Jennifer Foong Busoni, F. Introduction and elegy (1921). Dieter Klöcker, cl; members of Consortium Classicum. Orfeo C 213 901 A 9 Ten variations on a Chopin prelude in C minor (1884). Jonathan Plowright, pf. Hyperion CDA67803 11 Bach, J.S. Chorale prelude: Nun komm der Heiden Heiland (arr. Busoni c1914). John Buttrick, pf. Jecklin JD623-2 5 Busoni, F. Ich sah die Trane, from Hebrew songs, op 15 (1884/1901). Martin Bruns, bar; Ulrich Eisenlohr, pf. Naxos 8.557245 3 Concert piece in D minor, op 31a (1890). JeanFrançois Antonioli, pf; Lausanne CO/Lawrence Foster. Claves 50-8806 20 Sonatina no 6: Piano fantasy on Bizet’s Carmen (1920). Marc-André Hamelin, pf. Hyperion CDA66765 8 Violin sonata no 1 in E minor, op 29 (1890). Cristiano Rossi, vn; Marco Vincenzi, pf. Dynamic CDS 87 23 10:30 CONCERT HALL Prepared by Michael Field Vaughan Williams, R. Fantasia on a theme by Thomas Tallis (1910). Australian CO; ACO2/Richard Tognetti. aco.com.au 16 Westlake, N. Invocations: concerto for bass clarinet, violin and chamber orchestra (1994). Nigel Westlake, cl; Alison Lazaroff-Somssich, vn; Tasmanian SO/David Porcelijn. ABC 462 017-2 21 APRIL 2019

Wednesday 17 April

Thursday 18 April 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 SUNDAY MORNING MUSIC with David Garrett 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Simon Moore 9:00 DIVERSIONS IN FINE MUSIC The music salon Prepared by Madilina Tresca

Ignaz Pleyel

Paul Daniel

Bruckner, A. Symphony no 1 in C minor (1866). London SO/Claudio Abbado. Decca 478 5365 46

English Northern Philharmonia/Paul Daniel (2 above) Naxos 8.553869

12:00 JAZZ SKETCHES with Robert Vale

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

13:00 MOZART’S CONTEMPORARIES Mozart, L. Sinfonia in F (1750). New Zealand CO/Donald Armstrong. Naxos 8.553347 12 Salieri, A. Concerto in C for flute, oboe and orchestra. Richard Adeney, fl; James Brown, ob; English CO/Richard Bonynge. ABC 475 070-2 18 Krumpholtz, J-B. L’amante abandonée (1762). Isabelle Poulenard, sop; Stephanie Paulet, vn; Sandrine Chatron, hp. Ambroisie AM 179 4 Pleyel, I. Serenade no 1 in F for wind octet (1790). Strasbourg PO Wind Octet. LP Erato STU 71278 18 14:00 IN CONVERSATION with Michael Morton-Evans 15:00 WALTON EXPLORED Part 3 Prepared by Michael Morton-Evans Walton, W. Violin sonata, mvt 1 (1947-48/4950). Lorraine McAslan, vn; John Blakely, pf. ASV QS 6191 13 Cello concerto, mvt 2 (1955-56). Paul Watkins, vc; BBC SO/Edward Gardner. Chandos CHSA 5153 6

20:00 AT THE OPERA Prepared by Camllle Mercep Nicolai, O. The merry wives of Windsor. Opera in three acts. Libretto by Hermann von Mosenthal. First performed Berlin, 1849. SIR JOHN FALSTAFF: Kurt Moll, bass MR FORD: Bernd Weikl, bar MISTRESS FORD: Edith Mathis, sop MISTRESS PAGE: Hanna Schwarz, mezz Berlin State Opera Ch & O/Bernard Klee. Berlin Classics BC 2115-2 2:22 Synopsis at finemusicfm.com/Opera Vaughan Williams, R. In Windsor Forest (1931). Bournemouth Symphony Ch; Bournemouth Sinfonietta/Norman Del Mar. EMI CDC 7 49738 2 18 Verdi, G. Ninfe! Elfi! Silfi! Doridi! Sirene! from Falstaff (1893). Mirella Freni, sop; Liva Ligabue, sop; RCA Italiana Opera Ch & O/ Georg Solti. Decca 460 805-2 6 23:00 PIANO PLUS Prepared by Paul Hopwood

Coronation march: Crown Imperial (1937; arr. Wills). Arthur Wills, org; Cambridge Cooperative Band/David Read. Helios CDH88005 6

Brahms, J. Piano trio in C, op 87 (1880-82). Itzhak Perlman, vn; Lynn Harrell, vc; Vladimir Ashkenazy, pf. EMI 7 54725 2 28

Coronation Te Deum (1952-53). Choir of St John’s College, Cambridge; Christopher Whitton, org; Christopher Robinson, cond. Naxos 8.555793 10

Grieg, E. Violin sonata no 1 in F, op 8 (1865). Lydia Mordkovitch, vn; Elena Mordkovitch, pf. Chandos CHAN 9184 25

Variations on a theme by Hindemith (1963). 10 March for A history of the English speaking peoples (1959). 5 24

19:00 JAZZ STARS AND STRIPES with Peter Mitchell

APRIL 2019

“For me music has always been a way of life. A day without a few minutes of it is a day incomplete.” — Neville Garden

Jacquet de la Guerre, E-C. Sonata IV in G (1707). Lina Tur Bonet, vn; Patxi Montero, bass viol; Kenneth Weiss, hpd. Panclassics PC 10380 10 Mozart, F. Romanze: In der Väter Hallen ruhte, op 12 (1808). Barbara Bonney, sop; Malcolm Martineau, pf. Decca 475 6936 8 Bach, J.S. Toccata in G minor, BWV915 (1707-08). Glenn Gould, pf. Sony SM2K 52612 9 Reger, M. String trio in A minor, op 77b (1904). Gernot Süßmuth, vn; Stefan Fehlandt, va; Hans-Jakob Eschenburg, vc. Naxos 8.570785 24 Schmitt, F. Huit courtes pièces for piano duo, op 41 (1907-08). Invencia Piano Duo. Grand Piano GP730X 19 Daquin, L-C. The cuckoo (pub. 1735). George Malcolm, hpd. Decca 482 5181 2 Tchaikovsky, P. Valse-scherzo, op 34 (1878). Graf Mourja, vn; Natalia Gous, pf. Harmonia Mundi HMA 1951785 6 10:30 CONCERT HALL Prepared by Di Cox Berlioz, H. Overture: Le corsaire, op 21 (1844). Montreal SO/Charles Dutoit. Decca 452 480-2 8 Rodrigo, J. Summer concerto (1943). Michael Guttman, vn; Royal PO/José Serebrier. Resonance RSN 3069 22 Brahms, J. Serenade no 1 in D, op 11 (185758). Scottish CO/Charles Mackerras. Telarc 80522 48 12:00 JAZZ, PURE AND SIMPLE with Maureen Meers 13:00 SOUVENIRS Prepared by Krystal Li Elgar, E. Overture: In the South, op 50, Alassio (1903). Vienna PO/John Eliot Gardiner. DG 479 1044 21 Milhaud, D. Saudades do Brasil, op 67 (1920-21). Alexandre Tharaud, pf. Naxos 8.553443 20

Thursday 18 April

Friday 19 April

Holst, G. Oriental suite, Beni Mora (1909-10). Royal Scottish NO/David Lloyd-Jones. Naxos 8.553696 17 Gershwin, G. An American in Paris (1928). New York PO/Leonard Bernstein. CBS MYK 42611 18 Tchaikovsky, P. Souvenir de Florence, op 70 (1891). Academy of St Martin in the Fields Chamber Ensemble. Chandos CHAN 9387 34 15:00 DANISH ODYSSEY Prepared by Francis Frank Kuhlau, F. Overture to William Shakespeare (1826). Odense SO/Eduard Serov. Unicorn-Kanchana DKP(CD)9132 10 Holmboe, V. Quintet, op 79 (1961). Swedish Brass Quintet. BIS CD-78 13 Riisager, K. Fools’ paradise, suite I, op 33 (1936). Helsingborg SO/Thomas Dausgaard. Marco Polo 8.224082 16 Lumbye, H. The sandman galop fantastique (1851). Odense SO/Peter Guth. Unicorn-Kanchana DKP(CD)9089 11 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Sue Jowell 19:00 THE NEW JAZZ STANDARD with Frank Presley 20:00 THE WORLD OF A SYMPHONY Prepared by Krystal Li Copland, A. Fanfare for the common man (1942). Cincinnati Pops O/Erich Kunzel. Telarc 80339 3 Boulanger, N. Fantasy for piano and orchestra (1912). David Greilsammer, pf; French RPO/Steven Sloane. naïve V 5224 20 Stravinsky, I. Renard (1915-16). George Shirley, ten; Loren Driscoll, ten; William Murphy, bar; Donald Gramm, bassbar; Columbia Chamber Ensemble/Igor Stravinsky. Sony SM3K 46 291-302 15 Ives, C. Variations on America (c1891; orch. Schuman). Los Angeles PO/Zubin Mehta. Decca 475 7470 7 Harris, R. American ballads, set 1 (1945). Geoffrey Burleson, pf. Naxos 8.559664 9 Bernstein, L. Three dance episodes: On the town (1945). New York PO/Leonard Bernstein. CBS MYK 44773 10 Copland, A. Symphony no 3 (1946). New Zealand SO/James Judd. Naxos 8.559106 43

Thomas Edmonds

Edmund Rubbra

22:00 SHOWCASING AUSTRALIAN ARTISTS Prepared by Chris Blower

0:00 CLASSIC-ALL THROUGH THE NIGHT

Edwards, R. Guitar concerto (1995). Karin Schaupp, gui; Tasmanian SO/Richard Mills. ABC 476 227-0 19 Liszt, F. Grand fantasy on The Tyrolean girl, from Auber’s La fiancée (1829). Leslie Howard, pf. Hyperion CDS44547 15 Chopin, F. Variations on Non più mesta, from Rossini’s Cinderella (arr. Adams, Giacomantonio). Genevieve Lacey, rec; Karin Schaupp, gui. ABC 476 524-9 7 Haydn, J. Trumpet concerto in E flat, Hob. VIIe:1 (1796). Geoffrey Payne, tpt; Melbourne SO/Michael Halász. ABC 982 697-6 15 Molnar, J. Phantasy on themes of Japanese folk songs (1967). Kathryn Moorhead, fl; Megan Reeve, hp. Move MCD 447 7 Vierne, L. String quartet in D minor, op 12 (1894). Goldner String Quartet. Hyperion CDA68036 23 Britten, B. Serenade for tenor, horn and strings, op 31 (1943). Thomas Edmonds, ten; Hector McDonald, hn; Australian CO/Max MacBride. Fine Music tape archive 24

Britten’s Serenade, op 31 is a song cycle for tenor and horn with orchestra. It was composed at the request of the noted horn player Dennis Brain who premiered the work with tenor Peter Pears. The horn features as a solo in the Prologue and Epilogue, the latter played off stage as a far-off echo. In between are settings by noted English poets but it also includes the Lyke wake dirge, an anonymous 15th century poem.

6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Annabelle Drumm 9:00 DIVERSIONS IN FINE MUSIC Something borrowed Prepared by Paul Cooke Rubbra, E. Improvisations on virginal pieces by Giles Farnaby, op 50 (1939). Bournemouth Sinfonietta/Hans-Hubert Schönzeler. Chandos CHAN 6599 16 Tailleferre, G. Hommage à Rameau (1964). Aldo Orvieto, pf; Renato Maioli, pf; Támmitam Percussion Ensemble/Guido Facchin. Dynamic CDS 97 10 Poulenc, F. Flute sonata (1956-57; orch. Berkeley). Sharon Bezaly, fl; The Hague Residency O/Neeme Järvi. BIS BIS-1679 11 Beethoven, L. Adelaïde, op 46 (1795-96; arr. Diabelli). Neil Jenkins, ten; Jan Zácek, gui. Supraphon SU 3084-2 6 Bach, J.S. Chaconne, from Partita no 2 in D minor, BWV1004 (1720; arr. Busoni). Benjamin Grosvenor, pf. Decca 483 0255 14 Debussy, C. Prélude à l’après-midi d’un faune (1894; arr. Loussier). Jacques Loussier Trio. Telarc 83511 11 Wagner, R. Good Friday music, from Parsifal (1882; arr Godfrey). Eastman Wind Ensemble/Frederick Fennell. LP Mercury SRI 75096 10 10:30 CONCERT HALL Prepared by Giovanna Grech Kuhlau, F. Overture to William Shakespeare (1826). Odense SO/Eduard Serov. Unicorn-Kanchana DKP(CD)9132 10 Tchaikovsky, P. String serenade in C, op 48 (1880). Australian CO/Carl Pini. Omega OCD 1010 29 APRIL 2019

Friday 19 April Brahms, J. Violin concerto in D, op 77 (1878). Joshua Bell, vn; Cleveland O/ Christoph von Dohnányi. Decca 444 811-2 40 12:00 A JAZZ HOUR with Barry O’Sullivan 13:00 CARL LOEWE Prepared by Di Cox

Loewe, C. Symphony in D minor (bef. 1831). Lorraine PO/Jacques Houtmann. Koch 3-1539-2 30 Hochzeitslied, op 20 no 1; Der Fischer, op 43 no 1; Der Zauberlehrling, op 20 no 2; Wirkung in die Ferne, op 59 no 1; Erlkönig, op 1 no 13; Graf Eberstein, op 9 vol 6 no 5. Werner Hollweg, ten; Roman Ortner, pf. Teldec 8.44058 23 Mendelssohn, F. Overture to A midsummer night’s dream, op 21 (1826). Philharmonia O/ Charles Mackerras. Signum SIGCD253 12 Loewe, C. Esther, op 52 (1835). Ruth Ziesak, sop; Cord Garben, pf. cpo 999 543-2 15 Piano concerto (bef. 1831). Ewa Kupiec, pf; Lorraine PO/Jacques Houtmann. Koch 3-1539-2 30 15:00 MAKE MINE MOZART Prepared by Rex Burgess Mozart, W. Six German dances, K509 (1787). Vienna Mozart Ensemble/Willi Boskovsky. Philips 422 643-2 13 Exsultate, jubilate, K165 (1773). Barbara Bonney, sop; English Concert/Trevor Pinnock. Archiv 445 353-2 16 Piano concerto no 12 in A, K414 (1782). Berlin PO/Daniel Barenboim, pf & dir. Teldec 0630-13162-2 24 16:00 FINE MUSIC HOLIDAY including Arts Calendar at 5.00pm with Peter Kurti 19:00 FRIDAY JAZZ SESSION with Christopher Waterhouse 20:00 EVENINGS WITH THE ORCHESTRA Music from the New World Prepared by David Brett Gottschalk, L. Grand tarantelle, op 67 (1868; arr. Kay). Reid Nibley, pf; Utah SO/Maurice Abravanel. Vanguard OVC 4051 7 Sierra, R. Carnaval (2007). Nashville SO/ Giancarlo Guerrero. Naxos 8.559738 21 26

APRIL 2019

Chávez, C. Mexican landscapes (1943). State of Mexico SO/Enrique Bátiz. ASV DCA 927 16 Villa-Lobos, H. Bachianas brasileiras no 1 (1930). French National RTO/Heitor Villa-Lobos. EMI CDH 7 61015 2 20 Ginastera, A. Suite from ballet Panambi, op 1b (1937). Lyon NO/David Robertson. naïve V 4860 13 Piazzolla, A. The four seasons of Buenos Aires (1970; arr. Desyatnikov). Tianwa Yang, vn; Nashville SO/Giancarlo Guerrero. Naxos 8.572271 28 22:00 BAROQUE AND BEFORE Good Friday music Prepared by Elaine Siversen Telemann, G. Cantata for the first day of Easter. Klaus Mertens, bar; Il Concertino Cologne. Brilliant Classics 94104 11 Biber, H. Sonata VIII, The crowning of Jesus with thorns; Sonata IX, Jesus carries his cross, from Mystery sonatas (c1676). Reinhard Goebel, vn; Phoebe Carrai, vc; Andreas Spering, org. Archiv 431 656-2 12 Bach, J.S. Die bittre Leidenszeit, BWV450; Mein Jesu, was für Seelenweh, BWV487, from Schemellis Gesangbüch (pub1736). Peter Schreier, ten; Karl Richter, org. LP Archiv 2533458 8 Biber, H. Sonata X, The crucifixion, from Mystery sonatas. Reinhard Goebel, vn; Phoebe Carrai, vc; Andreas Spering, org. Archiv 431 656-2 8 Palestrina, G. da Stabat Mater dolorosa. Tallis Scholars/Peter Phillips. Gimell CDGIM 041 10 Bach, J.S. O Lamm gottes, unschuldig, BWV656 (c1713-17). André Isoir, org. Caliope CAL 3716/7 8 Scarlatti, D. Stabat Mater dolorosa. Parsons Affayre/Warren Trevelyan-Jones. Fine Music concert recording 23 Scheidemann, H. Victimae paschali laudes, WV68. Julia Brown, org. Naxos 8.573118 2 Willaert, A. Victimae paschali laudes. Renaissance Singers/Edward Wickham. ASV QS 6228 7 Biber, H. Sonata XI, The resurrection, from Mystery sonatas. Reinhard Goebel, vn; Phoebe Carrai, vc; Andreas Spering, hpd. Archiv 431 656-2 6 Bach, J.S. Jesus, unser Trose und Leben, BWV475; Gott lebet noch, BWV461; Kommt wieder aus der finstren Gruft, BWV480, from Schemellis Gesangbuch. Peter Schreier, ten; Karl Richter, org. LP Archiv 2533458 6

Saturday 20 April 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 Paul Cooke Joplin, S. Bethena, a concert waltz. Alexander Peskanov, pf. Naxos 8.559114 8 Greenaway, S. Étude in F minor. Antony Smith, pf. Sally Greenaway S-003-G 8 Schumann, R. Carnaval, op 9 (1833-35). Joyce Yang, pf. Avie AV2229 33 10:00 MUSIC OF THE DANCE Prepared by Chris Blower Deutscher, A. Dance of the Solent mermaids (2014). Israel PO/Roni Porat. Private recording 8 Strauss, R. Waltz, from Der Rosenkavalier (1911). Slovak PO/Zdenek Kosler. Naxos 8.578041-42 12 Arensky, A. Suite from ballet Egyptian nights, op 50a (1902). USSR RSO/Boris Demchenko. Melodiya MEL 45002-2 20 Martinu, B. Fairy tale of Cinderella, from ballet Spalicek (1931-32). Anna Kratochvílová, sop; Miroslav Kopp, ten; Richard Novák, bass; Kantiléna Children’s Ch; Kühn Female Ch; Státní PO; Brno PO/Frantisek Jílek. Supraphon SU 3925-2 18 Verdi, G. Ballet music from Jerusalem (1847). BBC PO/Edward Downes. Chandos CHAN 9594 23 11:30 ON PARADE Music that’s band Prepared by Owen Fisher Paganini, N. Moto perpetuo. Robert Childs, euphonium; Nicolas Childs, euphonium; Bess o’ th’ Barn Band/Roy Newsome. Chandos CHAN 8571 2 Ketèlbey, A. In a monastery garden. Big Brass Band/Harry Mortimer. LP Decca PFS 4143 5 Sousa, J.P. The belle of Chicago. Allentown Band/Ronald Demkee. AMP 95163 2 Wagner, R. Grand march, from Tannhäuser. Brighouse and Rastrick Band/James Scott. LP Grosvenor GRS 1023 5 Webb, J. MacArthur Park. Buy As You View Band/Robert Childs. Doyen DOY 195 9

Saturday 20 April

Sunday 21 April 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SUNDAY MORNING MUSIC 9:00 MUSICA SACRA Prepared by Rex Burgess Handel, G. O praise the Lord with one consent, HWV254 (1717-18). Patrizia Kwella, sop; James Bowman, alto; Ian Partridge, ten; Michael George, bass; The Sixteen Ch & O/ Harry Christophers. Chandos CHAN 0505 24

Adolphe Adam

Norman Del Mar

12:00 URBAN JAZZ LOUNGE with Leita Hutchings

20:00 THE WORD TRANSFORMED Prepared by James Nightingale

13:00 COME TO THE OPERA Prepared by Derek Parker

Smetana, B. Symphonic poem: Richard III, op 11 (1858). Prague RSO/Vladimir Válek. Supraphon SU 3916-2 13

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 Bellini’s Norma, and plays some of the music that makes it a great opera. 14:30 MID-18TH CENTURY QUARTETS Prepared by James Nightingale Telemann, G. Flute quartet in G. Musica Antiqua Cologne. Archiv 477 5379 13 Schobert, J. Piano quartet in F minor, op 7 no 2 (1764). Chiara Banchini, vn; Véronique Méjean, vn; Philipp Bosbach, vc; Luciano Sgrizzi, fp. Harmonia Mundi HMX 2908250.79 13 15:00 SATURDAY MATINEE Giselle Adam, A. Ballet: Giselle (1841). Monte-Carlo Opera NO/Richard Bonynge. Decca 442 902-8 2:03 Roussel, A. Ballet: The spider’s banquet, op 17 (1913). Conservatoire Concerts Society O/ André Cluytens. EMI 5 68220 2 17 17:30 STAGING MUSIC Prepared by Angela Cockburn Real people: The Lincoln era 18:00 SOCIETY SPOT Classical Guitar Society Prepared by Sue McCreadie 19:00 THE MAGIC OF STAGE AND SCREEN Prepared by Sue Jowell Musicals that never went to Hollywood

Barber, S. Dover Beach, op 3 (1931). Teddy Tahu Rhodes, bass-bar; Australian String Quartet. ABC 476 4363 10 Vaughan Williams, R. In Windsor Forest (1931). Bournemouth Symphony Ch; Bournemouth Sinfonietta/Norman Del Mar. EMI CDC 7 497382 18 Ravel, M. Mother Goose (1908-11). Pascal Rogé, pf; Denise-Françoise Rogé, pf. Decca 440 836-2 15 Mendelssohn, Fanny. Gartenlieder, op 3 (1846). Heidelberg Madrigal Choir/Gerald Kegelmann. Bayer BR 100 041 21 Schoenberg, A. Ode to Napoleon Bonaparte, op 41 (1942). David Wilson-Johnson, narr; Ensemble Intercontemporain/Pierre Boulez. CBS 74025 16

Zelenka, J. Magnificat in D (1725). Schola Cantorum of Melbourne; John O’Donnell, org; Baroque Players. Move MCD 156 11 Poulenc, F. Mass in G (1937). Mark Kennedy, treb; Iain Simcock, org; Westminster Cathedral Choir/James O’Donnell. Hyperion CDA66664 19 10:00 THE CLASSICAL ERA Prepared by Ron Walledge Mozart, W. Overture to Don Giovanni, K527 (1787). Berlin PO/Herbert von Karajan. DG 419 635-2 6 Haydn, J. Cello concerto no 1 in C, Hob.VII:1 (c1761-65). Jacqueline du Pré, vc; English CO/Daniel Barenboim. EMI CZS 5 68132 2 26 Arriaga, J. Symphony in D (c1824). Algarve O/Alvaro Cassuto. Naxos 8.557207 23 Schubert, F. Octet in F for winds and strings, D803 (1824). Vienna Octet. Decca 466 580-2 53

Glanville-Hicks, P. Ballet: Tragic celebration, Jephtha’s daughter (1966). Tasmanian SO/ Richard Mills. ABC 476 3218 16

12:00 CLASSIC JAZZ AND RAGTIME

22:00 SATURDAY NIGHT AT HOME Prepared by Elaine Siversen

14:00 CHAMBER CLASSICS Prepared by Stephen Matthews

13:00 WORLD MUSIC: Whirled Wide

Prokofiev, S. Suite from Lieutenant Kijé, op 60 (1934). Scottish NO/Neeme Järvi. Chandos CHAN 8806 21

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

Debussy, C. Khamma, dance legend (1911-16; orch. Koechlin). Ulster O/Yan Pascal Tortelier. Chandos CHAN 8903 20

Haydn, J. Keyboard trio in G, Hob.XV:25, Gypsy (1795). Beaux Arts Trio. Philips 454 098-2 17

Joachim, J. Violin concerto in G minor in one movement, op 3 (1851). Suyoen Kim, vn; Staatskapelle Weimar/Michael Halász. Naxos 8.570991 20 Haydn, M. Divertimento in D (1764). Mihal Zágoni, cl; Mircea Neamtu, tb; Ioan Silaghi, bn; Ecaterina Botar, hpd; Oradea PO/Romeo Rîmbu. Olympia OCD 485 52

Schubert, F. Impromptu in A flat, D899 no 4 (1827). Murray Perahia, pf. Sony SX4K 63380 8 Beethoven, L. Ten variations in G on Müller’s Ich bin der Schneider Kakadu, op 121a (c1803/16). Pinchas Zukerman, vn; Jacqueline du Pré, vc; Daniel Barenboim, pf. EMI CMS 7 63124 2 19 APRIL 2019

Sunday 21 April

Monday 22 April

Mendelssohn, F. Prelude and fugue in C minor, op 37 no 1 (1837). John Scott, org. 8 18:00 SMALL FORCES Prepared by Adam Bowen Lully, J-B. Suite italienne. Julie Andrijeski, vn; Emily Davidson, vn; Patricia Halverson, va da gamba; Scott Pauley, theorbo. Dorian DOR-90272 16

Mieczyslaw Vainberg

15:00 SUNDAY SPECIAL Rarities from the Russian archives Prepared by Paolo Hooke Vainberg, M. Symphony no 4 in A minor, op 61 (1961). Moscow PO/Kyrill Kondrashin. Olympia OCD 622 28 Eshpai, A. Symphony no 5 (1987). USSR SO/Vladimir Fedoseyev. Russian Disc RD 11051 25 Gadzhiev, D. Symphony no 4 (1952-56). Leningrad PO/Fuat Mansurov. Olympia OCD 205 54 17:00 HOSANNA Prepared by Richard Munge Hymns: O come, all ye faithful; Raise the strain ye choirs of New Jerusalem. Choir of Wells Cathedral; Rupert Gough, org; Malcolm Acher, cond. Hyperion CDP 12103 6 Hymn: This joyful Eastertide. 3 Psalm: No 121, I lift up mine eyes. 2 Choir of Bath Abbey/Peter King (2 above) Priory PRCD 421 Wesley, S.S. Evening canticle in E. Geoffrey Shaw, bass; Choir of St Paul’s Cathedral; Christopher Dearnley, org; John Scott, cond. Hyperion CDA 66249 13 Anthem: Thou wilt keep him in perfect peace. 4 Parry, H. My soul, there is a country. 4 Gardiner, H. Balfour Evening hymn (1903). 7 Choirs of Winchester Cathedral; Philip Scriven, org; David Hill, cond (3 above) Herald HAVPCD 275 Hymn: O praise ye the Lord. Combined choirs of St Mary’s Cathedral, St Andrews’ Cathedral and St James’ King Street; David Drury, org; Thomas Nilson, cond. Soundwright FCM 4 Hymn: Jesus lives! Thy terrors now. Choir of St Paul’s Cathedral; John Scott, org; Barry Rose, cond. Guild GMCD 7106 3 28

APRIL 2019

Vivaldi, A. Bassoon concerto in B flat, RV501, La notte. Kim Walker, bn; Julia Fredersdorff, vn; Robin Wilson, vn; Nicole Forsyth, vn; Daniel Yeadon, vc; Kirsty McCahon, db; Neal Peres da Costa, hpd. Gallo 1405 10 Rossini, G. Prelude, theme and variations, from Sins of old age (1857-68). Hermann Baumann, hn; Leonard Hokanson, pf. Philips 416 816-2 10 Rachmaninov, S. Trio élégïaque no 1 in G minor (1892). Julie Berthollet, vn; Camille Berthollet, vc; Guillaume Vincent, pf. Warner 0190295749156 14 19:00 SUNDAY NIGHT CONCERT Prepared by Frank Morrison Borodin, A. Overture to Prince Igor (1887; orch. Glazunov). Royal Liverpool PO/Charles Mackerras. Virgin VC 7 91174-2 11 Atterberg, K. Cello concerto, op 21 (1922). Truls Mørk, vc; Norrland Opera SO/Kristjan Järvi. BIS CD-1504 33 Parry, H. Symphony no 2 in F, Cambridge. Royal Scottish NO/Andrew Penny. Naxos 8.553469 36 20:30 NEW HORIZONS Prepared by Nev Dorrington Gerrard - Kuckhermann. Hiraeth; Amira. Lisa Gerrard, sop; David Kuckhermann, perc. Besant Hall Records B07FNFSTNT 6 Preisner, Z. Soundtrack: Valley of shadows (2018). Zbgniew Preisner, keyboard; Warsaw PO. Preisner Productions B07G 5 PQ LNZ 1:04 Gerrard-Kuckhermann Forgotten language; Watch tower. Lisa Gerrard, sop; David Kuckhermann, perc. Besant Hall Records B07FNFSTNT 17 22:00 AFTER HOURS JAZZ with Kevin Jones “I once sent him a song and asked him to mark a cross wherever he thought it was faulty. Brahms returned it untouched, saying ‘I don’t want to make a cemetery of your compositions’. ” — Hugo Wolf

Michele Campanella

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: 1871 Prepared by Derek Parker Bizet, G. Children’s games, op 22 (1871). Consort of London. Collins 11412 11 Liszt, F. Sacred dance and final duet, from Verdi’s Aïda, (1871; transcr. 1877). Michele Campanella, pf. Brilliant Classics 94610 11 Volkmann, R. Serenade no 3 in D minor, op 69 (1871). Catherine Tunnell, vc; German Chamber Academy/Johannes Goritzki. cpo 999 159-2 14 Brahms, J. Pieces for piano, op 76 nos 1-4 (1871-78). Arcadi Volodos, pf. Sony 88875130192 12 Saint-Saëns, C. Berceuse in B flat, op 38 (1871). Philip Graffin, vn; Pascal Devoyon, pf. Hyperion CDA67100 5 Tchaikovsky, P. String quartet no 1 in D, op 11 (1871). Amadeus Quartet. DG 479 1924 27 10:30 CONCERT HALL Prepared by Derek Parker Elgar, E. Suite: The Spanish lady, op 89 (arr. Young, 1956). Munich SO/Douglas Bostock. Scandinavian Classics 220578-205 13 Giuliani, M. Guitar concerto no 2 in A, op 36 (pub. 1812). Pepe Romero, gui; Academy of St Martin in the Fields/Neville Marriner. Decca 478 5669 32 Fesca, F. Symphony no 1 in E flat, op 6 (1810-12). North German RPO/Frank Beermann. cpo 999 889-2 32 12:00 SWING SESSIONS with John Buchanan

Monday 22 April

Tuesday 23 April 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 Jennifer Foong Bach, J. Christian Keyboard concerto in D, op 7 no 3 (1770). Ingrid Haebler, fp; Vienna Capella Academica/Eduard Melkus. Philips 438 712-2 11

Charles-Valentin Alkan

Fauré, G. Barcarolle no 6 in E flat, op 70 (1896 ). Menahem Pressler, pf. DG 479 87567 5

13:00 PIANO PLUS Prepared by Paul Hopwood Alkan, C-V. Concert sonata in E, op 47 (1856). Yvan Cihiffoleau, vc; Olivier Gardon, pf. Timpani IC 1013 32 Beethoven, L. Trio in B flat for clarinet, cello and piano, op 11 (1797). James Campbell, cl; Yuli Turovsky, vc; Luba Edlina, pf. Chandos CHAN 8655 24 14:00 MUSIC OF ILLUSION Honegger, A. Pacific 231 (1923). Danish NSO/Neeme Järvi. Chandos CHAN 9176

Dreyfus, G. Suite from A steam train passes (1974). Queensland SO/George Dreyfus. Move MD 3098 10 Prokofiev, S. Winter bonfire, op 122 (194950). Paisley Abbey Boy Choristers; Scottish CO/José Serebrier. ASV DCA 760 18 Lumbye, H. Copenhagen Steam Railway galop (1847). Odense SO/Peter Guth. Unicorn-Kanchana DKP(CD)9089

Villa-Lobos, H. Bachianas brasileiras no 2 (1930). Jena PO/David Montgomery. Arte Nova 74321 54465 2 23 Shchedrin, R. Ballet: Carmen suite, after Bizet (1967). Armenian State Chamber and Percussion Ensemble; Moscow Virtuosi CO/ Vladimir Spivakov. Olympia OCD 108 46 16:00 FINE MUSIC HOLIDAY including Arts Calendar at 5.00pm with David Brett 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

Mozart, W. Violin sonata no 20 in C, K303 (1778). Henryk Szeryng, vn; Ingrid Haebler, pf. Philips 462 185-2 10 Haydn, J. Arietta in E flat, Hob.XVII:3 (c177074). Paul Badura-Skoda, fp. Astrée E 7713 14 Glinka, M. Trio pathétique in D minor (1832). Leopold Wlach, cl; Karl Öhlberger, bn; Paul Badura-Skoda, pf. Westminster RC 8808678121735 16 Beethoven, L. Piano trio no 5 in D, op 70 no 1, The ghost (1809). Beaux Arts Trio. Philips 438 948-2 22 10:30 CONCERT HALL Prepared by Michael Field Arensky, A. Suite from ballet Egyptian nights, op 50a (1902). USSR RSO/Boris Demchenko. Melodiya MEL 45002-2 20 Mackenzie, A. Scottish concerto, op 55. Steven Osborne, pf; BBC Scottish SO/Martyn Brabbins. Hyperion CDA67023 28 Górecki, H. Symphony no 2, op 31, Copernican (1972). Zofia Kilanowicz, sop; Andrzej Dobber, bar; Polish Radio Choir; Silesian Philharmonic Choir; Polish NSO/ Antoni Wit. Naxos 8.555375 36 12:00 JAZZ RHYTHM with Jeannie McInnes 13:00 ON THE FIDDLE Prepared by Tom Forrester-Paton Viotti, G. Violin sonata no 1 in E, op 4 (pub. 1788). Felix Ayo, vn; Corrado de Bernart, pf. Dynamic DM8026 14 Bottesini, G. Concerto for cello, double bass and orchestra, Passione amorosa (1870). Catalin Ilea, vc; Ovidiu Badila, db; Rumanian RSO/Emil Simon. Olympia OCD 422 15

Walton, W. Viola concerto in A minor (192829/36/61). Nigel Kennedy, va; Royal PO/ André Previn. EMI 5 62813 2 26 14:00 MUSICAL TRIBUTES Prepared by Mariko Yata Respighi, O. Rossiniana (1925). BBC PO/ Gianandrea Noseda. Chandos CHAN 10388 23 Liszt, F. Reminiscences, after Bellini’s Norma (1841). Leslie Howard, pf. Hyperion CDS44538 17 Glanert, D. For that which befalleth the sons of men, after Brahms. Teddy Tahu Rhodes, bass-bar; Tasmanian SO/Sebastian LangLessing. ABC 476 4619 4 Mozart, W. String quartet no 16 in E flat, K428 (1783). Amadeus String Quartet. Westminster RC 8808678121735 27 Ravel, M. Le tombeau de Couperin (191317). Steven Osborne, pf. Hyperion CDA67731/2 24 Dean, B. Testament, orchestral version (2008). Tasmanian SO/Sebastian LangLessing. ABC 476 3218 15 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Derek Parker 19:00 THE JAZZ BEAT with Lloyd Capps 20:00 RECENT RELEASES with David Garrett 22:00 CHAMBER SOIRÉE Prepared by Paul Cooke Hyde, M. Clarinet sonata in F minor (1949). Deborah de Graaff, cl; David Miller, pf. Walsingham WAL80442 17 Schubert, F. Piano sonata in G, D894, Fantasie (1826). David Fray, pf. Erato 08256 461669 92 40 Caplet, A. Septet for three wordless female voices and string quartet (1909). Ensemble Musique Oblique. Harmonia Mundi HMC 901417 14 Bruckner, A. String quintet in F (1879). Raphael Ensemble. Hyperion CDA66704 43 Bruckner is known mainly for his large symphonic works and his only large chamber work is also symphonic in character. Composed with a second viola instead of second cello, this work includes a wealth of musical ideas. APRIL 2019

Wednesday 24 April

Bernard Herrmann

Richard Hickox

Birgit Nilsson

0:00 CONTEMPORARY COLLECTIVE

12:00 JAZZ SKETCHES with Robert Vale

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

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 Composer focus Prepared by Adam Bowen Herrmann, B. Suite from Psycho (1960). Royal PO/Elmer Bernstein. Milan 73138 35643-2 6 Excerpts from The magnificent Andersons (1942). Australian PO/Tony Bremner. Preamble PRCD 1789 14 Excerpts from The day the earth stood still (1951). 20th Century Fox Studio O/Bernard Herrmann. Arista 07822 11010 2 12 Sinfonietta for string orchestra (1936/75). Berlin SO/Isaiah Jackson. Koch 3 7152-2H1 17 Excerpts from Wuthering Heights (1982). Morag Beaton, sop; Donald Bell, bar; Michael Rippon, bass; Pro Arte O/Bernard Herrmann. Unicorn-Kanchana UKCD2050-52 10 Echoes for string quartet (1965). Fine Arts Quartet. Naxos 8.559354 20 10:30 CONCERT HALL Prepared by Stephen Wilson Veracini, F. Overture no 3 in B flat (c1716). Accademia I Filarmonici/Alberto Martini. Naxos 8.553412 13 Khachaturian, A. Violin concerto in D minor (1940). Mischa Elman, vn; Vienna State Opera O/Vladimir Golschmann. Vanguard OVC 8035 38 Gounod, C. Symphony no 2 in E flat (1856). Academy of St Martin in the Fields/Neville Marriner. Philips 462 125-2 31 30

APRIL 2019

13:00 A RUSSIAN HOUR Prepared by Rex Burgess Taneyev, S. Overture in D minor (1875). Novosibirsk Academic SO/Thomas Sanderling. Naxos 8.570584 15 Rimsky-Korsakov, N. Fantasy on Russian themes, op 33 (1887). Lydia Mordkovitch, vn; Royal Scottish NO/Neeme Järvi. Chandos CHAN 10491 17 Balakirev, M. Symphonic poem: Tamara (1882). Philharmonia O/Yevgeny Svetlanov. Hyperion CDA66586 22 14:00 IN CONVERSATION with Michael Morton-Evans 15:00 WALTON EXPLORED Part 4 Prepared by Michael Morton-Evans Walton, W. Improvisations on an impromptu of Benjamin Britten (1970). BBC SO/Edward Gardner. Chandos CHSA 5153 14 How can I sleep, from Troilus and Cressida (1954). Marie Collier, sop; Peter Pears, ten; Royal Opera House O/William Walton. Decca 480 0952 6 Façade (1920/77-79). Susana Walton, narr; Richard Baker, narr; City of London Sinfonia/ Richard Hickox. Chandos CHAN 8869 11 Set me as a seal upon thine heart (1938). Choir of King’s College, Cambridge/Stephen Cleobury. EMI 7 54418 2 4 Four bagatelles (1971). Craig Ogden, gui. Nimbus NI 5390 12 Overture: Portsmouth Point (1925). New Philharmonia O/William Walton. EMI 5 65003 2 5

19:00 JAZZ STARS AND STRIPES with Peter Mitchell 20:00 AT THE OPERA Prepared by Elaine Siversen Verdi, G. Macbeth. Opera in four acts. Libretto by Francesco Piave and Andrea Maffei. First performed Florence, 1847. MACBETH: Giuseppe Taddei, bar BANQUO: Giovanni Foiani, bass LADY MACBETH: Birgit Nilsson, sop MACDUFF: Bruno Prevedi, ten St Cecilia Academy Ch & O/Thomas Schippers. LP Decca/WRC R 02172-3-4 2:00 Synopsis at finemusicfm.com/Opera Capriccio for bassoon and orchestra (1838). Patrick De Ritis, bn; Würzburg PO/Enrico Calesso. Naxos 8.573382 13 22:30 THINGS AND NOTHINGS Prepared by Elaine Siversen Locke, M. Five-part things for the cornetts. Edward Tarr Brass Ensemble. Christophorus CHR 74562 11 Mozart, W. Ballet: Les petits riens, K299b (1778). Vienna Mozart Ensemble/Willi Boskovsky. Decca 436 782-2 21 Suk, J. Things lived and dreamt, op 30 (1909). Margaret Fingerhut, pf. Chandos CHAN 9026/7 39 Castelnuovo-Tedesco, M. Overture: Much ado about nothing, op 164 (1953). West Australian SO/Andrew Penny. Naxos 8.572501 10 “Josef Suk is a composer of more than passing interest.” — Neville Garden

Thursday 25 April

Pierre Rode

Christopher Bowen

Can Atilla

0:00 CONTEMPORARY COLLECTIVE

12:00 JAZZ, PURE AND SIMPLE with Maureen Meers

Coles, C. Estaminet de Carrefour, from Behind the lines (1917). BBC Scottish SO/ Martyn Brabbins. Hyperion CDA67293 3

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 music salon Prepared by Frank Morrison Albéniz, I. Jerez, from Iberia, bk 4 (1906-08). Aldo Ciccolini, pf. EMI CZS 7 62889 2 11 Brahms, J. Gestillte Sehnsucht, op 91 no 1 (pub. 1884). Jard van Nes, mezz; Vladimir Mendelssohn, va; Gérard van Blerk, pf. Ottavo OTR C 88505 7 Bach, J. Christian Quintet in D for wind and strings, op 11 no 6 (1774). Members of Concentus Musicus Vienna. Teldec 8.41062 14 Mozart, W. Cantata: Die ihr unermesslichen Weltalls, K619 (1791). Peter Schreier, ten; András Schiff, pf. Decca 430 514-2 8 Suk, J. Spring, op 22a (1902). Margaret Fingerhut, pf. Chandos CHAN 9026/7 16 Haydn, J. String quartet in F sharp minor, Hob.III:47 (1787). Salomon Quartet. Hyperion CDA66822 23 10:30 CONCERT HALL Prepared by Anne Irish Khachaturian, A. Suite from Masquerade (1941). Philharmonia O/Aram Khachaturian. EMI CDC 5 55035 2 11 Rode, P. Violin concerto no 2 in E, op 4 (1795). Friedemann Eichhorn, vn; Jena PO/ Nicolás Pasquet. Naxos 8.573054 29 Brahms, J. Symphony no 2 in D, op 73 (1877). Gewandhaus O/Riccardo Chailly. Decca 478 5344 40

13:00 INSTRUMENTAL MUSIC FROM THE MANNHEIM SCHOOL Prepared by James Nightingale Beck, F. Sinfonia in E flat, op 1 no 4 (pub. 1758). New Zealand CO/Donald Armstrong. Naxos 8.554071 8 Holzbauer, I. Quintet no 2 in B flat for flute, fortepiano and string trio. Camerata Cologne. cpo 999 580-2 20 Richter, F. Sinfonia à quattro in C minor (bef. 1750). New Dutch Academy CO/Simon Murphy. PentaTone PTC 5186 028 11 Stamitz, J. Sinfonia pastorale in D, op 4 no 2. Northern CO/Nicholas Ward. Naxos 8.554447 14 14:00 FOR ANZAC DAY Prepared by Elaine Siversen Bowen, C. An Australian war Requiem (2014). Celeste Lazarenko, sop; Ayse Göknur Shyanal, sop; Henry Choo, ten; Adrian Tamburini, bass; Christopher Richardson, bass: Waitara Voices; members of Fort Street High School Choir; Sydney University Graduate Choir & O/Christopher Bowen. SUGC recording 1:14 Englund, E. Symphony no 1, War symphony (1946). Turku PO/Pertti Pekkanen. LP Finlandia FA 304 34 16:00 FINE MUSIC HOLIDAY including Arts Calendar at 5.00pm with Marilyn Schock 19:00 THE NEW JAZZ STANDARD with Frank Presley 20:00 THE WORLD OF A SYMPHONY Prepared by Paul Cooke Kelly, F. Violin sonata in G, The Gallipoli (1915). Christopher Latham, vn; Caroline Almonte, pf. Ian Potter Foundation 29

Gurney, I. War elegy (1920). BBC SO/David Lloyd-Jones. BBC Music BBCMM371 11 Edwards, R. Gallipoli (2014). Australian String Quartet. Ian Potter Foundation 11 Atilla, C. Symphony no 2 in C minor, Gallipoli 57th Regiment (2014). Angela Ahiskal, sop; Onur Senler, vc; Bilkent SO/Buruk Tüzün. Naxos 8.579009 55 22:00 SHOWCASING AUSTRALIAN ARTISTS Prepared by Elaine Siversen Mirosznyk, A. Concert fantasy (1995). Phillip Shovk, pf; East-West PO/Henryk Pisarek. Fine Music concert recording 16 Linger, C. Four motets. Adelaide Singers/ Patrick Thomas. LP ABC AC 1019 20 Burda, E. Moravian suite. Evzen Burda, gui. Fine Music concert recording 10 Dreyfus, G. German Teddy (1983). Melbourne Mandolin O/Fred Witt. Move MD 3129 19 Sitsky, L. Piano trio no 4, Romantica (1986). Academy Trio. Fine Music concert recording 15 Gross, E. Quartet for mandolin and string trio, op 148 (1986). Donald Hazelwood, vn; Peter Pfuhl, va; Algimantis Motiekaitis, vc; Paul Hooper, mand. Jade JADCD 1023 30 Turkish composer Can Atilla’s Second Symphony, composed for the 100th anniversary of the Gallipoli campaign, is a powerful elegy commemorating the tragic Turkish 57th Regiment and the ANZAC soldiers who died in those battles. APRIL 2019

Friday 26 April 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 Something borrowed Prepared by Chris Blower Bernstein, L. Suite from West Side story (c1961; arr. van Netelbosch). Belgian NO Clarinet Quartet. Naxos 8.557407 9 Saint-Saëns, C. Fantasy, op 95 (1893; transcr. Kondonassis). Yolanda Kondonassis, hp. Telarc 80581 9 Marcello, A. Oboe concerto in C minor (transcr. Williams). John Williams, gui; Academy of St Martin in the Fields/Kenneth Sillito. CBS MK 39560 12 Zimbalist, E. Sarasateana (arr. 1947; transcr. Primrose). Roberto Diaz, va; Robert Koenig, pf. Naxos 8.557391 16 Ravel, M. Le tombeau de Couperin (1913-17; transcr. Walter). Claire Désert, pf; Moraguès Quintet. Le Chant du Monde LDC2781116 17 Chopin, F. Variations on a theme from Rossini’s Cinderella (1824; arr. H. Holliger). Heinz Holliger, ob; Ursula Holliger, hp. Philips 426 288-2 4 Schubert, F. Introduction, theme and variations, D968a (c1818; transcr. Piatigorsky). Georg Pedersen, vc; Natalia Sheludiakova, pf. Fine Music concert recording 12 10:30 CONCERT HALL Prepared by Giovanna Grech Auber, D-F-E. Overture to La neige. New Philharmonia O/Richard Bonynge. Decca 466 431-2 5 Balakirev, M. Symphonic poem: Russia (1864-69). Russian State SO/Igor Golovschin. Naxos 8.553246 16 Bruckner, A. Symphony no 9 in D minor (1891-96). Columbia SO/Bruno Walter. Sony SMK 64 483 59 12:00 A JAZZ HOUR with Barry O’Sullivan 13:00 ROMANTIC TRIOS Prepared by Jessie Tang Schumann, C. Piano trio in G minor, op 17 (1846). Joseph Silverstein, vn; Colin Carr, vc; Veronica Jochum, pf. Pro Arte CDD 395 28 32

APRIL 2019

Samuel Barber

Thomas Tallis

Mendelssohn, F. Piano trio no 1 in D minor, op 49 (1839). Trio Wanderer. Harmonia Mundi HMC 901961 27

22:00 BAROQUE AND BEFORE Early English composers Prepared by Denis Patterson

14:00 BRITISH SYMPHONISTS Prepared by Ron Walledge

Locke, M. Music for His Majesty’s sackbuts and cornetts (1661). New Zealand SO/James Judd.

Bliss, A. Ballet: Checkmate (1937). Royal Scottish NO/David Lloyd-Jones. Naxos 8.557641 53 Cello concerto (1970). Raphael Wallfisch, vc. Chandos CHAN 10221 X 26 A colour symphony (1921-22/32). Chandos CHAN 10221 X 31 Ulster O; Vernon Handley (2 above) 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with James Hunter 19:00 FRIDAY JAZZ SESSION with Christopher Waterhouse 20:00 EVENINGS WITH THE ORCHESTRA The New York Philharmonic Prepared by Di Cox Chabrier, E. España, rhapsodie (1883). Leonard Bernstein, cond. Sony 88875192992 6 Barber, S. Violin concerto, op 14 (1939-40). Gil Shaham, vn; David Robertson, cond. Canary Classics CC12 23 Ravel, M. Le tombeau de Couperin (191317). Harold Gombert, ob. Sony SMK 45962 17 Wagner, R. Prelude to Act I; Liebestod, from Tristan and Isolde (1857-59). Sony SMK 64 108 16 Pierre Boulez, cond (2 above) Shostakovich, D. Concerto for piano, trumpet and strings, op 35 (1933). William Vacchiano, tpt; André Previn, pf; Leonard Bernstein, cond. CBS MPK 44850 22 Mozart, W. Symphony no 39 in E flat, K543 (1788). Bruno Walter, cond. Sony SMK 64 477 25 New York PO (all above)

Classical Communications CCL CDG1263 10 Bull, J. The King’s hunt. Joseph Payne, hpd. BIS CD-539 4 Dowland, J. Fantasie no 3. Nigel North, lute. Naxos 8.557586 7 Tallis, T. Videte miraculum. Choir of Kings College, Cambridge/Stephen Cleobury. Decca 478 5637 11 Bull, J. Chromatic pavan. Nicholas Parle, virginals. MBS 26 6 Dowland, J. Weep you no more, sad fountains. Anne Sofie von Otter, mezz; Jakob Lindberg, lute. Archiv 477 5114 5 Tallis, T. Ave, Dei Patris Filia. Tallis Scholars. Gimell CDGIM 203 16 Bull, J. Lord Lumley’s pavan. Joseph Payne, hpd. BIS CD-539 4 Dowland, J. Lachrimae pavan (pub. 1604). Gareth Koch, gui. Gracia 0010692 5 Locke, M. Suite from The tempest (1674). Academy of Ancient Music/Christopher Hogwood. L’Oiseau-Lyre 433 191-2 39 In his book, If It Ain’t Baroque, David W. Barber tells us in a most entertaining way how music history should be taught. He writes that the Baroque era is what some music lovers consider ‘the good old days’ and describes how to recognise its music. “Just listen to the string bass line, lots of notes and everything chugging along like a steam engine.”

Saturday 27 April 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 Satie, E. Gnossiennes, nos 1 to 3 (1890-93). Peter Waters, pf. Tall Poppies TP108 12 Saint-Saëns, C. The swan, from The carnival of the animals (1886). Roger Woodward, pf. Artworks AW 001 3

Bach, J.S. Anna Magdalena’s song (arr. Cortland). NSW Fire Brigades Brass Band/ Mark Reay. NSW Fire Brigades NSWFB 2008 3 Respighi, O. October festival, from Roman festivals (1928-29; transcr. Patterson). The President’s Own United States Marine Band/ Michael Colburn. Altissimo ALT63132 7 12:00 URBAN JAZZ LOUNGE with Leita Hutchings 13:00 IN A SENTIMENTAL MOOD with Maureen Meers

Fauré, G. Theme and variations, op 73 (1895). Kathryn Stott, pf. Hyperion CDA66911/4 14

Nostalgic music and artists from the 30s, 40s and 50s and occasionally beyond, in a trip down many memory lanes

Poulenc, F. Trois mouvements perpétuels (1918). Pascal Rogé, pf. Decca 417 438-2 5

14:00 PARTITAS OLD AND NEW Prepared by Stephen Wilson

Debussy, C. Images, set I (1905). Michael Ierace, piano. australianpianoaward.com.au MCD 497 16 10:00 MUSIC OF THE DANCE Prepared by Angela Bell Warlock, P. Capriol suite (1926). Nash Ensemble/Martyn Brabbins. Hyperion CDA66938 10 Howells, H. Three dances (1915). Malcolm Stewart, vn; Royal Liverpool PO/Vernon Handley. Hyperion CDA66610 14 Maxwell Davies, P. Dances from The two fiddlers (1978). Scottish CO/Peter Maxwell Davies. Unicorn-Kanchana DKP(CD)9070 7 Coleridge-Taylor, S. Four characteristic waltzes, op 22 (1898). RTE Concert O/Adrian Leaper. Marco Polo 8.223516 14 Benjamin, A. Waltz and Hyde Park galop, from An ideal husband (1947). BBC Welsh NO/Rumon Gamba. Chandos CHAN10713 7 Falla, M. de Ballet: El Amor brujo (1915/16). New York PO/Leonard Bernstein. CBS MYK 44721 26 11:30 ON PARADE Almost Classical Prepared by Chris Blower Albinoni, T. Adagio (arr. Bolton). Mark Walters, flugelhorn; Peter Parkes, cond. Chandos CHAN 4552 5 Arnold, M. English dances set 1, op 27 (1950). Elgar Howarth, cond. Sony 88875181702 9 Grimethorpe Colliery Band (2 above)

Tuma, F. Partita à tre in C minor (1799). Concerto Italiano/Rinaldo Alessandrini. naïve OP 30436 14 Albrechtsberger, J. Partita in F (1804). Jana Bousková, hp; South West German CO/ Vladislav Czarnecki. Brilliant Classics 99512 18 Vaughan Williams, R. Partita for double string orchestra (1948). London SO/Bryden Thomson. Chandos CHAN 9263 20 15:00 SATURDAY MATINEE Operetta in the afternoon Prepared by Elaine Siversen Strauss, J. II The gypsy baron. Operetta in three acts. Libretto by Ignaz Schnitzer. First performed Vienna, 1885. SÁNDOR BARINKAY: Nicolai Gedda, ten CZIPRA: Gertrude Schuster, cont SÁFFI: Elisabeth Schwarzkopf, sop with Herman Prey and Erich Kunz Philharmonia Ch & O/Otto Ackermann. LP HMV/WRC R 05388 1:26 Synopsis at finemusicfm.com/Opera Waltz: Wedding toasts, op 136 (1853). CSSR State PO/Alfred Walter. Marco Polo 8.223202 7 Wine, women and song, op 333 (1869). New York Vocal Arts Ensemble/Raymond Beegle. Arabesque Z 6586 12 Suite from Die Fledermaus (1874; arr. Davis). London PO/Carl Davis. Virgin VC 7 90716-2 27 17:30 THE VOICES, THE ROLES Prepared by Angela Cockburn Sopranos: Revenge is sweet

18:00 SOCIETY SPOT Sydney Schubert Society Prepared by Ross Hayes Schubert, F. String quartet no 11 in E, D353 (1816). Melos Quartet. DG 419 879-2 23 Variations on an original theme in A flat, D813 (1824). Paul Lewis, Steven Osborne, pf. Hyperion CDA67665 18 String quartet in C minor, D703, Quartettsatz (1820). Tokyo String Quartet. Harmonia Mundi HMU 807427 12 19:00 THE MAGIC OF STAGE AND SCREEN Prepared by Maureen Meers Wilson, M. Excerpts from The music man (1957). Timothy Noble, Kathleen Brett, Doc Severinsen, voices; Cincinnati Pops O/Erich Kunzel. Telarc 80276 18 Sondheim, S. Excerpts from A little night music (1973). Benjamin Rayson, Len Cariou, Hermione Gingold, voices. Columbia SK 65284 14 Rodgers, R. Excerpts from Me and Juliet (1953). Isabel Bigley, Bill Hayes, Joan McCracken, voices; members of the original cast. drg 19115 18 20:00 THE WORD TRANSFORMED Prepared by Elaine Siversen Adamo, M. Alcott music, from Little women (1999/2007). Eclipse CO/Sylvia Alimena. Naxos 8.559258 16 Copland, A. Seven songs from 12 poems of Emily Dickinson. Emma Matthews, sop; Melbourne SO/Benjamin Northey. ABC 481 0863 17 Steiner, M. Soundtrack: Gone with the wind (1939). Warner Bros O/Max Steiner. Sony 88697638242 1:17 22:00 SATURDAY NIGHT AT HOME Prepared by Rex Burgess Suk, J. Serenade in E flat for strings, op 6 (1892). Czech PO/Jiri Bélohlávek. Chandos CHAN 9640 30 Caplet, A. Fantastic fable (1908). Ursula Holliger, hp; Die Kammermusiker Zürich. Claves 50-280 26 Strozzi, B. Hor ch’Apollo (1664). Maria Christina Kiehr, sop; Concerto Soave. Ambronay AMY025 15 Poulenc, F. Nocturnes (1930-35). Anthony Gray, pf. ABC 481 1835 20 Haydn, J. String quartet in C, Hob.III:77, Emperor (1797). Goldner String Quartet. Fine Music concert recording 20 APRIL 2019

Sunday 28 April

Philippe Herreweghe

Deborah de Graaff

Arvo Pärt

0:00 CLASSIC-ALL THROUGH THE NIGHT

Glinka, M. Trio pathétique in D minor (1832). Deborah de Graaff, cl; Lorelei Dowling, bn; Peter Sagar, pf. Fine Music concert recording 15

17:00 HOSANNA Prepared by Jeremy Hall

6:00 SUNDAY MORNING MUSIC with David Garrett 9:00 MUSICA SACRA Prepared by Di Cox Charpentier, M-A. Te Deum. Les Arts Florissants/William Christie. Harmonia Mundi HMG 501298 23 Lalande, M-R. de Super flumina Babylonis (1687). St Mary’s Cathedral Choir/David Russell. Walsingham WAL 8020 2 4 Rameau, J-P. Motet: In convertendo, Dominus (pub. 1722). Suzanne Gari, sop; Henri Ledroit, ct; Stephen Varcoe, bar; La Chapelle Royale Ch & O/Philippe Herreweghe. Harmonia Mundi HM 901078 24 10:00 THE CLASSICAL ERA Prepared by Denis Patterson Cimarosa, D. Overture to The banquet (1782). Nicolaus Esterházy Sinfonia/ Alessandro Amoretti. Naxos 8.570508 9 Bellini, V. Oboe concerto in E flat (pub. 1941). Diana Doherty, ob; Queensland SO/ Werner Andreas Albert. ABC 456 681-2 7 Boyce, W. Overture: King’s ode for the New Year (1772). Hanover Band/Graham Lea-Cox. ASV GAU 176 7 Triebensee, J. Wind trio in C. Marilyn Zupnik, ob; Kathryn Greenbank, ob; Elizabeth Starr, cora. ASV QS 6192 10 Boccherini, L. Symphony no 3 in A (1782). Ensemble 415/Chiara Banchini. Harmonia Mundi HMG 501933-34 17 Paganini, N. Sonata concertata (1803). Gil Shaham, vn; Göran Söllscher, gui. DG 437 837-2 14 34

APRIL 2019

Mozart, W. Piano concerto no 25 in C, K503 (1786). Tasmanian SO/Howard Shelley. ABC 481 0192 32 12:00 CLASSIC JAZZ AND RAGTIME with John Buchanan 13:00 WORLD MUSIC: Whirled Wide 14:00 CHAMBER HORN Prepared by Chris Blower Danzi, F. Horn sonata in E flat, op 28 (1805). Michael Thompson, hn; Philip Fowke, pf. Naxos 8.553570 23 Czerny, C. Fantasy no 1, from Three brilliant fantasies after Schubert, op 339 (1836). Barry Tuckwell, hn; Daniel Blumenthal, pf. Etcetera KTC1121 16 Beethoven, L. Horn sonata in F, op 17 (1800). Hermann Baumann, hn; Leonard Hokanson, pf. Philips 416 816-2 15 15:00 SUNDAY SPECIAL Introducing the Royals Prepared by Ron Walledge Messager, A. Suite from Les deux pigeons (1886). Royal Opera House O/Charles Mackerras. EMI CDZ 7 62515 2 23 Wagner, R. Finale, from The mastersingers of Nuremberg (1866-67). Göran Eliasson, ten; Royal Swedish Opera Ch & O/Leif Segerstam. Naxos 8.557714 17 Ireland, J. Piano concerto in E flat (1930). Kathryn Stott, pf; Royal PO/Vernon Handley. Conifer CDCF 175 24 Rimsky-Korsakov, N. Symphonic suite: Scheherazade after 1001 nights, op 35 (1888). Herman Krebbers, vn; Concertgebouw O/Kyrill Kondrashin. Philips 400 021-2 44

Hymn: Jesus lives! Thy terrors now. John Scott, org; Barry Rose, cond. Guild GMCD7106 3 Scott, J. Easter anthems. Huw Williams, org; John Scott, cond. Hyperion CDS44101/12 3 Choir of St Paul’s Cathedral (2 above) Stanford, C. Villiers Te Deum in B flat. Waynflete Singers; Choir of Winchester Cathedral; Bournemouth SO/David Hill. Decca B003TZTR02 6 Bairstow, E. Sing ye to the Lord. Choir of St Thomas’Church, New York; Michael Kleinschmidt, org; Gerre Hancock, cond. Koch 7093 5 Jongen, J. Gloria, from Mass in honour of the Blessed Sacrament, op 130. Choir of St John’s College, Cambridge; London City Brass; Paul Provest, org; David Hill, cond. Hyperion CDA67603 8 Hymn: Abide with me. Choir of Westminster Abbey; Martin Baker, org; Martin Neary, cond. Sony SONYTV49 4 Vaughan Williams, R. Lord, Thou hast been my refuge. Choir of King’s College, Cambridge; Alison Balsom, tpt; Douglas Tang, org; Stephen Cleobury, cond. King’s College B00SKFJK8A 8 Pärt, A. Da pacem Domine (2004). Polyphony/Stephen Leyton. Hyperion CDA68056 6 Elgar, E. Lux aeterna. Voces8. Decca 478 8053 4 18:00 SMALL FORCES Prepared by Frank Morrison Carulli, F. Duo in D, op 37. Leopoldo Saracino, gui; Massimo Palumbo, fp. Nuova Era 7174 16 Schubert, F. String trio in B flat, D581 (1817). Members of L’Archibudelli. Sony SK 53982 21

Sunday 28 April

Monday 29 April Akademie für Alte Musik/René Jacobs. Harmonia Mundi HMG 501 778

Cervo al bosco, from Cleofide (1731). Flavio Ferri-Benedetti, alto; Il Basilico. Pan Classics PC 10341 6 Sonata in B minor, op 2 no 6 (pub. c1735). 9 Thanks to your deceits; Do not condemn me; Yes, you will have a gondola, from Venetian songs, op 7 (pub. 1742). Julianne Baird, sop. 9 Nancy Hadden, fl; Erin Headley, bass viol; Malcolm Proud, hpd (2 above) CRD 3488 Gerard Schwarz

Franz Danzi

Poulenc, F. Sextet for piano and wind quintet (1932-39). Eva Knardahl, pf; Gothenburg Wind Quintet. BIS CD-24 18

0:00 CLASSIC-ALL THROUGH THE NIGHT

19:00 SUNDAY NIGHT CONCERT Prepared by Rex Burgess

9:00 DIVERSIONS IN FINE MUSIC A year in retrospect: 1805 Prepared by Chris Blower

Brahms, J. Tragic overture, op 81 (1880/81). Gewandhaus O/Riccardo Chailly. Decca 478 5344 13 Medtner, N. Piano concerto no 1 in C minor, op 33 (1918). Geoffrey Tozer, pf; London PO/ Neeme Järvi. Chandos CHAN 9039 33 Stravinsky, I. Ballet: Petrushka (1911/47). Seattle SO/Gerard Schwarz. Naxos 8.571222 36 20:30 NEW HORIZONS Prepared by Brian Drummond Foster, G. The winter palace 1916-18, from The pearl of Dubai suite (2010-11). Novaya Rossia SO/Zaurbek Gugkaev. Quartz QTZ 2091 17 Stanhope, D. Olympic fireworks (2000). Sydney Brass. Tall Poppies TP199 4 Dunleavy, H. Los Angeles, from Postcards from America (2005). Locana. Wirripang WIRR 014 4 Rautavaara, E. Manhattan trilogy (2004). New Zealand SO/Pietari Inkinen. Naxos 8.570069 18 Kats-Chernin, E. Colours of the sea (2004). Katie Zhukov, pf. Wirripang WIRR 010 7

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

Hoffmann, E. Piano sonata no 1 in A (1805). Luisa Guembes-Buchanan, pf. Del Aguila DA 55311 14 Paganini, N. Violin sonatas, op 3 (1805): no 1 in A; no 6 in E minor. Gil Shaham, vn; Göran Söllscher, gui. DG 479 2565 8 Danzi, F. Horn sonata in E flat, op 28 (1805). Michael Thompson, hn; Philip Fowke, pf. Naxos 8.553570 23 Crusell, B. Clarinet duet in C, op 6 (1805). Hans Rudolf Stalder, cl; Heinz Hofer, cl. Jecklin 578-2 10 Beethoven, L. Violin sonata in F, op 24, Spring (1805). Alina Ibragimova, vn; Cédric Tiberghien, pf. Wigmore Hall WHLive0041 24 10:30 CONCERT HALL Prepared by James Nightingale Prokofiev, S. Suite no 2, op 64b, from Romeo and Juliet (1936). Royal Scottish NO/ Neeme Järvi. Chandos CHAN 8940 32 Saint-Saëns, C. Piano concerto no 5 in F, op 103, Egyptian (1896). Duncan Gifford, pf; Tasmanian SO/Sebastian Lang-Lessing. ABC 476 192-8 29

Westlake, N. Flying fish, from Six fish (2003). Saffire. ABC 476 3338 4

Bennett, Richard. Symphony no 3 (1987). Monte Carlo PO/James DePreist. Koch 3-7341-2 21

Higdon, J. All things majestic (2011). Nashville SO/Giancarlo Guerrero. Naxos 8.559823 23

12:00 SWING SESSIONS with John Buchanan

22:00 AFTER HOURS JAZZ with Kevin Jones

13:00 A FAMOUS OPERATIC COMPOSER Hasse, J. Per questa dolce amplesso, from Artaserse (1730). Vivica Genaux, mezz;

Fugue and grave in G minor (c1735).

Salve Regina in A (1740). Bernarda Fink, mezz. 14 Musica Antiqua Cologne/Reinhard Goebel (2 above) Archiv 453 435-2 Fanfare, recitative and aria, from Didone abbandonata, Act III, scene 8 (1742). Iestyn Davies, ct; Arcangelo/Jonathan Cohen. Hyperion CDA 67924 7 Sinfonia, op 5 no 6 (pub. 1740). Concerto Köln/Pablo Heras-Casado. Archiv 479 2050

Ah, non e ver, ben mio, from Piramo e Tisbe (1768). Vince Yi, ct; Armonia Atenea/George Petrou. Decca 478 8094 5 14:30 A BEETHOVEN CONCERT Prepared by Rex Burgess Beethoven, L. Overture to Leonore no 3, op 72a (1814). City of Birmingham SO/Walter Weller. Chandos CHAN 7028 13 Piano sonata no 12 in A flat, op 26 (1801). András Schiff, pf. ECM 476 5875 19 Adelaïde, op 46 (1794-95). Peter Schreier, ten; Walter Olbertz, pf. Teldec 8.44061 7 Violin sonata no 8 in G, op 30 no 3 (1801-02). Itzhak Perlman, vn; Vladimir Ashkenazy, pf. Decca 421 453-2 18 Symphony no 8 in F, op 93 (1812). Tasmanian SO/David Porcelijn. ABC 461 920-2 24 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Celeste Haworth 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 APRIL 2019

Tuesday 30 April

Ignacy Paderewski

Franz Krommer

Louis Spohr

0:00 CONTEMPORARY COLLECTIVE

12:00 JAZZ RHYTHM with Jeannie McInnes

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

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 Bach, J.S. Flute sonata in E, BWV1035 (1741). Pauliina Fred, fl: Aapo Häkkinen, clvd. Naxos 8.573376 11 Saint-Saëns, C. Variations on a theme by Beethoven, op 35 (1874). Christian Ivaldi, pf; Noël Lee, pf. Arion ARN 68011 18 Schumann, R. In der Nacht, op 74 no 4 (1849); Familien-Gemälde, op 34 no 4 (1840). Jan DeGaetani, mezz; Leslie Gunn, bar; Gilbert Kalish, pf. Nonesuch 7559-71364-2 10 Carr-Boyd, A. Suite for Veronique (1982). Nicholas Parle, hpd. Jade JAD 1025 10 Paderewski, I. Piano sonata in E flat minor, op 21 (c1903). Karol Radziwonowicz, pf. Harmonia Mundi LCD 2781073/75 31 10:30 CONCERT HALL Prepared by Elaine Siversen Boccherini, L. Symphony in C, op 37 no 1 (1786). London Mozart Players/Matthias Bamert. Chandos CHAN 10604 17 Danzi, F. Flute concerto no 3 in D minor, op 42 (1814). András Adorján, fl; Munich CO/ Hans Stadlmair. LP Orfeo S 003812 H 17 Sibelius, J. Four legends of the Kalevala, op 22, Lemminkäinen suite (1896). Dao Kolbeinsson, cora; Richard Tchaikovsky, vc; Iceland SO/Petri Sakari. Naxos 8.554265 49 36

APRIL 2019

13:00 BY WAY OF INTRODUCTION Prepared by Angela Bell Ries, F. Introduction and polonaise, op 174 (1833). Christopher Hinterhuber, pf; Gävle SO/Uwe Grodd. Naxos 8.557844 15 Coste, N. Introduction and variations on a theme of Rossini, op 16. Pavel Steidl, gui. Naxos 8.554353 14 Hummel, J. Introduction, theme and variations in F, op 102 (1824). Diana Doherty, ob; Queensland SO/Werner Andreas Albert. ABC 456 681-2 14 Saint-Saëns, C. Introduction and rondo capriccioso, op 28. Leila Josefowicz, vn; Academy of St Martin in the Fields/Neville Marriner. Philips 454 440-2 9 14:00 CLASSICAL ERA FAVOURITES Prepared by Frank Morrison Hummel, J. Mandolin concerto in G (1799). Dorina Frati, mand; I Solisti di Fiesole/Nicola Paszkowski. Dynamic CDS 128 18 Krommer, F. Bassoon quartet in E flat, op 46 no 2 (1804). Eckart Hübner, bn; Johannes Lüthy, va; Steuart Eaton, va: Reinhard Latzko, vc. cpo CPO 999 297-2 21 Haydn, J. Keyboard sonata no 6 in C, Hob. XVI:10 (bef. 1767). Jenö Jandó, pf. Naxos 8.553824 9 Reicha, A. 18 Variations and a fantasy on Mozart’s Se vuol ballare, op 51 (1804). JeanPierre Rampal, fl; Isaac Stern, vn; Mstislav Rostropovich, vc. Sony SK 44568 17 Beethoven, L. Symphony no 6 in F, op 68, Pastoral (1808). Vienna PO/Simon Rattle. EMI 5 57448 2 45

19:00 THE JAZZ BEAT with Lloyd Capps 20:00 RECENT RELEASES with Robert Small 22:00 CHAMBER SOIRÉE Prepared by Rex Burgess Buxtehude, D. Sonata in G minor, op 2 no 3 (pub. 1696). Boston Museum Trio. Harmonia Mundi HMA 1901089 12 Herzogenberg, H. Trio in D for oboe, horn and piano, op 61 (1889). Ingo Goritzki, ob; Barry Tuckwell, hn; Ricardo Requejo, pf. Claves 50 803 25 Pierné, G. Cello sonata in F sharp minor, op 46 (1919). Mats Lidström, vc; Bengt Forsberg, pf. Hyperion CDA66979 25 Alkan, C-V. Piano trio in G minor, op 30 (c1840). Trio Alkan. Brilliant Classics 95568 21 Spohr, L. Double quartet no 2 in E flat, op 77 (1827). Academy of St Martin in the Fields Chamber Ensemble. Hyperion CDD22014 27 Austrian composer and conductor, Heinrich von Herzogenberg was a cultured man descended from a French aristocratic family. He studied law, philosophy and political science before turning his interest to music. He was initially attracted to Wagner’s music but, after studying the works of J.S. Bach, he turned to the classical tradition. After moving from Graz to Leipzig, he founded the Leipzig Bach-Verein which promoted the revival of Bach’s cantatas. Later as Professor of Composition at the Hochschule für Musik in Berlin, he advised the young Ralph Vaughan Williams to study with Max Bruch.

The following composers have works of at least five minutes on the April dates listed Adam, A. 1803-1856 20 Adamo, M. 20th c 27 Albéniz, I. 1860-1909 25 Albinoni, T. 1671-1751 27 Albrechtsberger, J. 1736-1809 11,27 Alkan, C-V. 1813-1888 22,30 Arensky, A. 1861-1906 13,20,23 Arnold, M. 1921-2006 1,27 Arriaga, J. 1806-1826 21 Atilla, C. b1969 25 Atterberg, K. 1887-1974 21 Auber, D-F-E. 1782-1871 26

Franck, C. 1822-1890 1,6,13

Josquin Desprez. c1440-1521 5

Poulenc, F. 1899-1963 11,19,21,27,28 Preisner, Z. 20th c 21 Prokofiev, S. 1891-1953 6,11,12,14,16,20,22,29 Puccini, G. 1858-1924 12

Spohr, L. 1784-1859 11,15,30 Stamitz, C. 1745-1801 14 Stamitz, J. 1717-1757 25 Kabalevsky, D. 1904-1987 5 Stanford, C. Villiers Kats-Chernin, E. b1957 28 1852-1924 28 Kelly, F. 1881-1916 25 Steiner, M. 1888-1971 27 Khachaturian, A. 1903-1978 Strauss, J. II 1825-1899 27 24,25 Rachmaninov, S. 1873-1943 Strauss, R. 1864-1949 20 Klughardt, A. 1847-1902 13 6,9,21 Stravinsky, I. 1882-1971 Kodály, Z. 1882-1967 3,9,13 Raff, J. 1822-1882 1,11 2,5,16,18,28 Koh, S. b1970 13 Rameau, J-P. 1683-1764 Strong, G. 1856-1948 9 Kraus, J.M. 1756-1792 13 5,6,28 Strozzi, B. 1619-1664 4,27 Krommer, F. 1759-1831 12,30 Rautavaara, E. 1928-2016 Suk, J. 1874-1935 Kuhlau, F. 1786-1832 18,19 15,28 11,24,25,27 Ravel, M. 1875-1937 Lalo, E. 1823-1892 16 Suppé, F. 1819-1895 8,13,15 Bach, C.P.E. 1714-1788 7,13,20,23,26 Lambert, C. 1905-1951 13 Sutherland, M. 1897-1984 4,6,10 Reger, M. 1873-1916 18 Lang, D. b1957 14 7,11 Bach, J. Christian 1735-1782 Reich, S. b1936 7 Lehár, F. 1870-1948 6 2,23,25 Reicha, A. 1770-1836 30 Tailleferre, G. 1892-1983 19 Lhoyer, A. de 1768-1852 8 Bach, J.S. 1685-1750 Respighi, O. 1879-1936 Tallis, T. c1505-1585 26 Linger, C. 1810-1862 25 2,5,6,12,13,14,18,19,30 10,16,23,27 Taneyev, S. 1856-1915 12,24 Liszt, F. 1811-1886 Bainton, E. 1880-1956 4 Richter, F. 1709-1789 14,25 Tchaikovsky, P. 1840-1893 2,4,5,11,18,22,23 Bairstow, E. 1874-1946 28 Ries, F. 1784-1838 11,30 3,9,12,18,19,22 Locke, M. c1621-1677 24,26 Balada, L. b1933 1,6 Riisager, K. 1897-1974 18 Telemann, G. 1681-1767 Loewe, C. 1796-1869 19 Balakirev, M. 1837-1910 Riley, T. b1935 7 7,19,20 Lully, J-B. 1632-1687 21 24,26 Rimsky-Korsakov, N. Thomas, M. b1960 6 Lumbye, H. 1810-1874 18 Balbastre, C-B. 1727-1799 9 1844-1908 16,24,28 Thompson, B. b1944 13 MacDowell, E. 1860-1908 13 Rode, P. 1744-1830 25 Barber, S. 1910-1981 20,26 Tippett, M. 1905-1998 8 Mackenzie, A. 1847-1935 23 Rodgers, R. 1902-1979 27 Bartók, B. 1881-1945 2 Tommasini, V. 1878-1950 14 Mahler, G. 1860-1911 2 Bax, A. 1883-1953 4,5,11 Rodrigo, J. 1901-1999 18 Triebensee, J. 1772-1846 28 d’Indy, V. 1851-1931 6 Marais, M. 1656-1728 6 Beck, F. 1734-1809 25 Romberg, A. 1767-1821 8 Tuma, F. 1704-1774 27 Danzi, F. 1763-1826 Marcello, A. 1684-1750 26 Beethoven, L. 1770-1827 Rossini, G. 1792-1868 Turina, J. 1882-1949 16 2,28,29,30 Martín y Coll, A. d c1734 5 4,5,6,8,9,10,11,14,19,21,22, 8,15,21 Turnage, M-A. b1960 7 Dauprat, L. 1781-1861 4 Handel, G. 1685-1759 Martinu, B. 1890-1959 2,9,20 Roussel, A. 1869-1937 7,20 23,28,29,30 Tüür, E-S. b1959 14 Dean, B. b1961 23 5,7,9,14,21 Maxwell Davies, P. Bellini, V. 1801-1835 12,28 Rubbra, E. 1901-1986 19 Debussy, C. 1862-1918 Vainberg, M. 1919-1996 21 Harris, R. 1898-1979 18 1934-2016 27 Benjamin, A. 1893-1960 27 Rubinstein, A. 1829-1894 2,4 Vaughan Williams, R. 6,12,16,19,20,27 Hasse, J. 1699-1783 29 Medtner, N. 1880-1951 2,28 Bennett, Richard. b1936 29 Rustichelli, C. 1916-2004 6 Delius, F. 1862-1934 4,12 1872-1958 7,13,17,20,27,28 Haydn, J. 1732-1809 1,4,6,9,10, Mendelssohn, F. 1809-1847 Berlioz, H. 1803-1869 5,7,18 Deutscher, A. b 2005 20 Veracini, F. 1690-1768 24 Saariaho, K. b1962 14 11,14,16,18,21,23,25,27,30 2,3,5,9,11,13,19,21,26 Bernstein, L. 1918-1990 18,26 Devienne, F. 1759-1803 11 Verdi, G. 1813-1901 Sacchini, A. 1730-1786 14 Haydn, M. 1737-1806 9,10,20 Mendelssohn, Fanny. Berwald, F. 1796-1868 7,9 Diepenbrock, A. 1862-1921 1,3,7,10,17,20,24 Herman, J. b1932 13 Saint-Saëns, C. 1835-1921 1805-1847 20 Biber, H. 1644-1704 19 14 Vierne, L. 1870-1937 18 Herrmann, B. 1911-1975 24 1,4,9,13,16,22,26,29,30 Mertz, J. 1806-1856 4 Bizet, G. 1838-1875 1,8,22 Dieupart, C. c1667-c1740 16 Villa-Lobos, H. 1887-1959 Herzogenberg, H. Salieri, A. 1750-1825 12,15,17 Messager, A. 1853-1929 28 Bliss, A. 1891-1975 26 Dittersdorf, C. 1739-1799 12 19,22 1843-1900 30 Sarasate, P. de 1844-1908 6 Milhaud, D. 1892-1974 14,18 Bloch, E. 1880-1959 16 Dohnányi, E. 1877-1960 7,16 Viotti, G. 1755-1824 23 Higdon, J. b1962 16,28 Mirosznyk, A. 20th c 25 Satie, E. 1866-1925 27 Boccherini, L. 1743-1805 Donizetti, G. 1797-1848 8,11 Vivaldi, A. 1678-1741 Hindemith, P. 1895-1963 9,14 Molnar, J. 1929-2018 18 Scarlatti, D. 1685-1757 4,19 28,30 Donostia, J. 1886-1956 4 4,12,14,21 Hoffmann, E. 1776-1823 29 Moore, K. b1979 1 Shchedrin, R. b 1932 22 Boïeldieu, A. 1775-1834 10 Dorman, A. b1975 6 Volkmann, R. 1815-1883 22 Holmboe, V. 1909-1996 18 Mozart, F. 1791-1844 18 Schickele, P. b1935 1 Borodin, A. 1833-1887 4,8,21 Dowland, J. c1563-1626 26 Holst, G. 1874-1934 1,18 Mozart, L. 1719-1787 5,17 Schmidt, F. 1874-1939 5 Wagner, R. 1813-1883 Bottesini, G. 1821-1889 23 Dreyfus, G. b1928 22, 25 Holzbauer, I. 1711-1783 25 Mozart, W. 1756-1791 19,26,28 Schmitt, F. 1870-1958 18 Boulanger, N. 1887-1979 18 Dufay, G. c1400-1474 5 Homilius, G. 1714-1785 7 1,3,4,5,6,9,12,16,19,21,23, Walton, W. 1902-1983 Schobert, J. 1740-1767 20 Bowen, C. b1956 25 Dukas, P. 1865-1935 5,10 Honegger, A. 1892-1955 22 24,25,26,28 Schoenberg, A. 1874-1951 20 3,4,10,17,23,24 Boyce, W. 1711-1779 28 Dvorák, A. 1841-1904 Hovhaness, A. 1911-2000 Warlock, P. 1894-1930 27 Schubert, F. 1797-1828 Brahms, J. 1833-1897 1,3,9,11,12,14 Nicolai, O. 1810-1849 17 3,11 Webb, J. b1946 20 2,13,14,16,21,23,26,28 2,8,12,14,17,18,19,22,25,28 Novák, V. 1870-1949 3 Edwards, R. b1943 7,18,25 Howells, H. 1892-1983 7,27 Weber, C.M. 1786-1826 Schumann, C. 1819-1896 Bridge, F. 1879-1941 13,14 Elgar, E. 1857-1934 Offenbach, J. 1819-1880 3 Hughes, R. 1912-2007 15 8,9,10,11 8,26 Britten, B. 1913-1976 7,12,16,18,22 Ogínski, M. 1765-1833 12 Hummel, J. 1778-1837 Wesley, S.S. 1810-1876 21 Schumann, R. 1810-1856 11,12,18 Englund, E. 1916-1999 25 Omadel, C. 1924-2011 13 2,11,14,30 Westlake, N. b1958 17 2,9,13,20,30 Bruckner, A. 1824-1896 Eshpai, A. 1925-2015 21 Onslow, G. 1784-1853 4,14 Hyde, M. 1913-2005 23 17,23,26 Scodanibbio, S. 1956-2012 7 Willaert, A. c1490-1562 19 Williamson, M. 1931-2003 7 Brumby, C. 1933-2018 4 Falla, M. de 1876-1946 Paderewski, I. 1860-1941 30 Sculthorpe, P. 1929-2014 4 Ireland, J. 1879-1962 28 Wilson, M. 1902-1984 27 2,4,6,27 Bryant, S. b1972 13 Shostakovich, D. 1906-1975 Paganini, N. 1782-1840 Ives, C. 1874-1954 18 Farrar, E. 1885-1918 14 Buffardin, P-G. c1690-1768 4,8,15,28,29 3,9,11,12,26 Yvon, C. 1798-1854 16 Fauré, G. 1845-1924 11 Sibelius, J. 1865-1957 Jacquet de la Guerre, E-C. Palestrina, G. da Zelenka, J. 1679-1745 21 7,10,11,14,23,27 Bull, J. c1562-1628 26 c1525-1594 19 c1666-1729 18 6,9,15,30 Zimbalist, E. 1890-1985 26 Fesca, F. 1789-1826 22 Burda, E. 20th c 25 Parry, H. 1848-1918 21 Janácek, L. 1854-1928 9 Sierra, R. b1953 19 Fibich, Z. 1850-1900 1 Burgmüller, N. 1810-1836 8 Pärt, A. b1935 7,28 Joachim, J. 1831-1907 20 Sitsky, L. b1934 25 Field, J. 1782-1837 14,15 Burrell, D. b1948 6 Piazzolla, A. 1922-1992 19 Jongen, J. 1873-1953 28 Smetana, B. 1824-1884 Foster, G. b1945 28 Busoni, F. 1866-1924 17 Pierné, G. 1863-1937 30 Joplin, S. 1868-1917 20 1,3,4,9,20 Buxtehude, D. 1637-1707 30 Françaix, J. 1912-1997 2 Pleyel, I. 1757-1831 17 José, A. 1902-1936 6 Sondheim, S. b1930 27 Cannabich, C. 1731-1798 14 Caplet, A. 1878-1925 23,27 Carr-Boyd, A. b1938 30 Carulli, F. 1770-1841 11,28 Castelnuovo-Tedesco, M. 1895-1968 4,24 Chabrier, E. 1841-1894 26 Chaminade, C. 1857-1944 9,16 Charpentier, M-A. 1635-1704 28 Chausson, E. 1855-1899 9,11 Chávez, C. 1899-1978 19 Cherubini, L. 1760-1842 7 Chin, U. b1961 14 Chopin, F. 1810-1849 7,18 Cimarosa, D. 1749-1801 28 Coates, E. 1886-1957 11 Coleridge-Taylor, S. 1875-1912 27 Copland, A. 1900-1990 18,27 Corelli, A. 1653-1713 4,5 Coste, N. 1806-1883 30 Couperin, F. 1668-1733 6 Crane, L. b1961 14 Croft, W. 1678-1727 5 Crusell, B. 1775-1838 7,29 Czerny, C. 1791-1857 28

Gadzhiev, D. 1917-2002 21 Gardiner, H. Balfour 1877-1950 21 Gershwin, G. 1898-1937 18 Giacco, C. b1972 4 Ginastera, A. 1916-1983 16,19 Gipps, R. 1921-1999 9 Giuliani, M. 1781-1829 4,11,22 Glanville-Hicks, P. 1912-1990 20 Glazunov, A. 1865-1936 11,13 Glière, R. 1875-1976 6 Glinka, M. 1804-1857 5,11,23,28 Gluck, C. 1714-1787 14 Godard, B. 1849-1895 4 Goldmark, K. 1830-1915 13 Golinelli, S. 1818-1891 6 Górecki, H. 1933-2010 23 Gottschalk, L. 1829-1869 19 Gounod, C. 1818-1893 2,24 Grainger, P. 1882-1961 2 Granados, E. 1867-1916 6,13 Greenaway, S. b1984 20 Grieg, E. 1843-1907 1,6,8,13,15,16,17 Gross, E. 1926-2011 25 Gurney, I. 1890-1937 25

Key Music duration is shown after the record and citation Orchestra Ch & O: Chorus & RTO: Radio & Television Orchestra CO: Chamber Orchestra Orchestra RTV SO: Radio and FO: Festival Orchestra Television Symphony NO: National Orchestra NSO: National Symphony Orchestra SO: Symphony Orchestra Orchestra PO: Philharmonic Orchestra TO: Theatre Orchestra alto: male alto RO: Radio Orchestra ban: bandoneon RSO: Radio Symphony

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

A MUSICAL LIFE IN BRIEF ELAINE SIVERSEN REVIEWS THE LIFE OF ROBERT HUGHES Although described by some musicologists as writing in an English pastoral style, Scottishborn Australian composer Robert Hughes absorbed musical influences of Debussy, Prokofiev, Stravinsky, Sibelius and Bartók. Most of his compositions are well-crafted orchestral music including film and ballet scores, some with unrelenting ostinato figures. Most remain unrecorded although they were championed by leading conductors such as John Barbirolli, Malcolm Sargent, Bernard Heinze, Willem van Otterloo, Norman Del Mar and Colin Davis. Roger Covell described Hughes’ early music as ‘muscular, pugnacious, assertive, with a dark, troubled, driving quality’. Hughes became passionate about music as a child through listening to radio. He came to Melbourne with his family when he was 17 and attended concerts and opera whenever possible. He taught himself to read music and, with composition being his primary interest, he learned orchestration from books. By the time he was 26, his compositions had been noticed by the conductor Bernard Heinze who encouraged Hughes’ career choice. A number of Hughes’ orchestral works were performed in public but this promising start was delayed

For 30 years from 1953 Hughes was Music Arranger, Editor and Orchestrator for the newly formed Victorian Symphony Orchestra, which later became the Melbourne Symphony Orchestra. He was active as a supporter and promoter of Australian music and served as Chairman of APRA from 1977 to 1985.

Robert Hughes

by WWII service in the Pacific. It was when he was in New Guinea that he heard the first radio broadcast of one of his works. His fortunes looked up in 1945 when he was hired by the ABC as an assistant music librarian and writer. He remained with the ABC until he retired in 1976.

A highlight of Hughes’ career was winning second prize with his Symphony no 1 in the Jubilee Symphony Competition held to mark the 50th anniversary of Federation. The judging panel consisted of Arnold Bax, John Barbirolli and Eugene Goossens. A critic wrote that the Symphony ‘demonstrates Hughes’ mastery of the orchestra’. His Sinfonietta was commissioned for the centenary of the Hallé Orchestra and other commissions included Sea Spell for an international dental congress. It was one of the first orchestral works performed in the Sydney Opera House. During his career Hughes achieved many prestigious awards but, possibly because of the scarcity of recordings, very little of his music is now heard in concert halls. Robert Hughes’ music can be heard at 2.30pm on Monday 15 April.

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APRIL 2019

VERDI AND SHAKESPEARE: KINDRED SPIRITS ELIZABETH HILL EXPLORES OPERA’S DEBT TO THE BARD crushed’ than ‘he tried to hide behind the title of Iago’.” Boito’s libretto condensed the drama into four scenes, but retained the all-important elements of pure unadulterated evil, sexual jealousy, murder and suicide. Like Macbeth it was a resounding success. The story is told that when the 19-year-old Arturo Toscanini returned to Parma from Milan where he had gone to hear the premiere, he woke his mother, saying: “Otello is a masterpiece. Get down on your knees mother and say Viva Verdi.”

William Shakespeare

During his composing career, Verdi considered works by French, Italian, Spanish and German writers as his sources for potential operas, but it was Shakespeare, the ‘master of the human heart’, that he admired above any other dramatist. For Verdi, Shakespeare was the key to evolving opera away from the standardised bel canto forms of his youth towards the unique masterpieces of his later years. He took his first big step in 1847 with Macbeth, when he was 34. Otello premiered when he was 73, and Falstaff when he was 80. These latter two operas were not written to commission, so Verdi could compose them at leisure, collaborating with Arrigo Boito, both a man of letters and a composer in his own right. Macbeth, Otello and Falstaff aren’t so much adaptations of Shakespeare plays, but rather new works to be judged on their own merits. Converting a literary work to an opera is complicated. Because it takes about three times as long to sing something as it does to speak it, the stories have to be radically shortened, and subplots and characters omitted to accommodate the operatic theatre. However, Verdi was meticulous in being faithful to the Bard. As Shakespeare wrote in Hamlet: “Suit the action to the word and the word to the action … to hold as ‘twere, the mirror up to nature, to show the virtue her own feature”; so, too, was Verdi firm in his convictions about the morality of art. With Macbeth he sought

new forms and techniques to fulfil what he considered the demands of his favourite dramatist. To the baritone, Varesi, he wrote: “I shall never stop telling you to study the words and the dramatic situation; the music will come right of its own accord.” In his late 20s the composer had lost two baby children, as well as his young wife, and it is little wonder that he poured the emotions of his personal tragedy into the music he wrote for Macbeth’s enemy Macduff, who was similarly helpless when it came to protecting his family. By the 1880s Verdi had become disillusioned with the growing popularity of foreign music in Italy and was incensed by the opinion of some critics that he imitated Wagner. He had composed virtually nothing since Aïda and the Requiem, and his friends were afraid he had retired. Sometime in 1879, as a result of a coordinated effort led by Giulio Ricordi, Arrigo Boito and Verdi’s wife, Giuseppina, the idea for Otello was planted. In preparation the opera was called either Otello or Iago, but the time came when the title had to be decided. The title ‘Otello’ was problematic because Rossini’s opera seria with the same name was still being performed. An unwritten law of the theatre said that a new version of a subject already treated should have a new title. Another unwritten law, however, allowed that a subsequent opera judged superior should be allowed to usurp its predecessor’s title. Verdi decided on Otello, saying: “I would rather it were said ‘he tried to pit his strength against that of a giant and was

A few years later, Boito again had to persuade Verdi that he was not too old to embark on another project. So, at 80 Verdi shared his final work, Falstaff, with audiences, ending his long, illustrious career with a laugh. The Merry Wives of Windsor is often regarded as one of Shakespeare’s weakest efforts, which Boito saw as an opportunity to not just match Shakespeare, but to surpass him. By streamlining the narrative, and transplanting monologues from Henry IV into the antics of The Merry Wives of Windsor, Boito created a masterful libretto. Greeted with the same enthusiasm as Otello, the opera was Verdi’s glorious swansong, its final joyous fugue beginning with ‘Tutto nel mondo è burla’ (Everything in the world is a jest). By a strange coincidence, the swansong of Otto Nicolai (Verdi’s senior by only three years and his rival in the Italian opera scene early in their careers) was also a dazzling comic opera based on the same Shakespeare play. Nicolai’s The merry wives of Windsor premiered in 1849 two years after Verdi’s Macbeth and some 44 years before Falstaff. This important contribution to early German romantic opera (based on a libretto by Salomon Hermann Mosenthal) was a threeact Singspiel mixing spoken dialogue and musical numbers. Artistically, Nicolai had reached a level that made his sudden death only two months after the opera’s premiere, at the age of 38, especially unfortunate. Arrigo Boito had been a leading member of the Scapigliatura, the bohemian artistic movement that aimed to rejuvenate Italian culture through foreign influences. Translating Shakespeare for Verdi’s operas was one way in which to claim the Bard as part of Italy’s European culture at a time when Italy had recently completed its union as a modern democracy. These four operas will be broadcast on Wednesdays at 8pm during April.

APRIL 2019

RARITIES FROM THE RUSSIAN ARCHIVES PAOLO HOOKE REVEALS THREE MORE FINE SYMPHONIES The music of Andrei Eshpai (1925-2015) is both appealing and accessible, yet it is relatively unknown in the West. He dedicated his single movement Symphony no 5 to Yevgeny Svetlanov (for many years the chief conductor of the USSR Symphony Orchestra) who helped to champion the composer’s music. The symphony is a composition of great energy and colour, with a powerful forward momentum and an astonishing climax that leaves a lasting impression. This work is a revelation and it is no exaggeration to describe it as one of the finest Russian symphonies of the post-Shostakovich era. Mieczyslaw Vainberg (1919-1996), also known as Weinberg, was a contemporary of Shostakovich. Although he never took formal lessons from Shostakovich, he regarded himself as a pupil, ‘his flesh and blood’. Born in Warsaw of Jewish heritage, Vainberg had a tragic story. The composer was forced to flee when Poland was invaded in 1939, and his family who remained were burned alive by

composers developed a close friendship. Vainberg’s Symphony no 4 was highly praised by Shostakovich and is described as ‘spicily tonal’.

Andrei Eshpai

the Germans. Vainberg moved to the Soviet Union and settled in Minsk but had to move again when the Germans invaded in 1941, this time to Uzbekistan. In 1943 he sent the score of his Symphony no 1 to Shostakovich who gave Vainberg an invitation to come to Moscow, where he settled, and the two

Appropriate for a release celebrating the 70th anniversary of the Russian Revolution by the Soviet state record label Melodiya, is a symphony dedicated to Lenin. Symphony no 4 by Akhmed Dzhevdet Gadzhiev (19172002), an Azerbaijani composer and pupil of Shostakovich, is a fascinating glimpse into 1950s Soviet socialist realism. The symphony is a work of optimism and unashamed heroism, but also of much struggle. There are some fine musical ideas skilfully deployed, drawing upon Azerbaijani folklore, and one can clearly hear the influence of Shostakovich. The symphony is an ambitious work but hardly a masterpiece; nevertheless, it is a rare insight into a symphonic tradition that is not often heard. These symphonies can be heard in the second part of the series Rarities from the Russian Archives in Sunday Special on 21 April at 3pm.

MEDIEVAL RUSSIAN KNIGHTS ELAINE SIVERSEN RECOUNTS SOME LEGENDARY TALES In Medieval times, knights were not always the chivalrous courtiers depicted in legend but were often land-hungry warriors. Such was Rostislav Mikhailovich, a dignitary of the Kingdom of Hungary and a Prince of Novgorod, a region ruled by his father. Forced to flee from Novgorod with his father, Rostislav occupied a number of different regions between 1230 and 1262, virtually governing the southern parts of the kingdom. He lost much of this territory later but his fortunes improved after he married the King of Hungary’s daughter and was given other lands and titles. In 1257, he styled himself Tsar of Bulgaria after occupying the Bulgarian town of Vidin which he later lost and then regained. Even after years of warfare, occupying and losing territory, he still had land to leave to his sons when he died: his own part of Bosnia to his elder son and to the younger, Macsó (in present-day Serbia).

century. He became legendary for his military victories over German and Swedish invaders. The Battle of Neva in 1240 saved Novgorod from invasion and the 19-year-old victor was given the name Nevsky, meaning ‘of Neva’. He continued to defend various regions of Russia and brokered a peace treaty with Norway. He was a cautious and far-sighted politician who was able to avoid unnecessary wars. Nevsky

Another Prince of Novgorod was Alexander Yaroslavich Nevsky. He was also Grand Prince of Kiev and of Vladimir during that region’s Ilya Muromets by Viktor Vasnetsov difficult times in the mid-13th 40

APRIL 2019

was pious, charitable and wise and, before his death, he took monastic vows. A report of his death reads: “Great Prince Alexander, who was always firm in his faith in God, gave up this worldly kingdom.” Two centuries later he was declared a saint of the Russian Orthodox Church. A warrior, and in later life a monk, Ilya Muromets was later beatified and his name became synonymous with outstanding physical and spiritual power and integrity, dedicated to the protection of the Homeland. However, the chronicles of Muromets’ adventures are mostly legends. They tell that he was a crippled farmer’s son who was cured by two pilgrims and then given super-human strength by a dying knight. Ilya set out to liberate the city of Kiev, defeating a nomadic invasion (possibly by the Polovtsi) and killing a monster on the way. Listen to music inspired by these legendary knights in Saturday Matinee at 3pm on 6 April.

MUSICAL FAMILIES ELIZABETH HILL FOLLOWS MORE BRILLIANT CAREERS He is known as an artist who gladly shares the podium with colleagues and is in great demand as a chamber player, having performed with a number of extraordinary musicians, including Ashkenazy, Kremer, Serkin and Argerich. A highlight of his career was the year 2000, which was devoted to a world-wide Bach tour that included over 100 concerts and his recording of Bach’s solo suites for the third time.

Mischa Maisky

Mischa Maisky has the distinction of being the only cellist to have studied with both Mstislav Rostropovich and Gregor Piatigorsky, making him a true successor of the Russian heritage of ‘delicate poetry and technical brilliance’. An Israeli born in Latvia and growing up in Russia, Maisky regards himself as cosmopolitan. He repatriated to Israel, lives in Brussels, plays an Italian cello with French and German bows, and Austrian and German strings, drives a Japanese car, and wears an Indian necklace and a Swiss watch. With his penchant for brightly coloured silk shirts and flowing hair he makes a striking impression on stage. At one stage he experimented with a headband, which led to newspapers in the 1970s calling him a cellist à la Björn Borg. Growing up in a society where the motto was ‘those who are not with us are against us’, his career was threatened when his sister emigrated to Israel. Fearing that he would follow her, the authorities arrested him on a bogus charge that guaranteed his expulsion from the Moscow Conservatory, and sentenced him to 18 months in a labour camp. After his release, he was called to do his military service. Since an exemption given to developing artists was out of the question, he entered a mental hospital to avoid military service. The authorities finally allowed him to emigrate with the stipulation that he pay back the entire cost of his education. His alleged debt was paid by a rich American, and in 1972 he left for Israel. He toured America with the Israel Philharmonic under Zubin Mehta, won the Gaspar Cassadó International Cello Competition in Florence and made his Carnegie Hall debut with the Pittsburgh Symphony.

With no intention of slowing down, he recently celebrated his 70th birthday year with a series of concerto, recital and chamber music tours around the world with the energy and exuberance of a musician a third his age. When asked how he does it, he says: “It’s not easy, but it’s all relative. Rostropovich once played 30 concertos within 18 days at Carnegie Hall. That is totally unimaginable!” Maisky was joined on his tour by his children Lily (pianist) and Sascha (violinist) in chamber works by Shostakovich, Mahler and Schumann. He plays over 100 concerts a year with his children, saying that to perform with them is a dream come true, and that to make music with them is something that he cannot even describe. Also a septuagenarian, violinist Donald Weilerstein has performed extensively on the international stage as soloist, chamber musician and violin pedagogue. He was the founding first violinist of the Cleveland Quartet for 20 years and has performed as the Weilerstein Duo with his wife, pianist Vivian Hornik Weilerstein. Together they have recorded a diverse repertoire that includes two volumes of the complete works by Ernest Bloch for violin and piano, the sonatas of Janácek, Enescu and Dohnányi, and the complete Schumann sonatas. Donald and Vivian are in great demand as teachers. In his masterclasses D o n a l d approaches music on an ethereal level, striving to imbue performance with a mystic creativity

and divine quality. “When one plays, in a sense, one becomes the music,” he says. He uses phrases such as ‘send the energy out of your fingertips’, ‘sing through your spine’, ‘feel the music breathing through you’ to convey ideas about bringing the whole body into every aspect of playing. His students have been prizewinners in major competitions and can be heard in many of today’s leading orchestras and chamber ensembles. Donald and Vivian perform with their daughter, cellist Alisa Weilerstein, as the highly acclaimed Weilerstein Trio. You could say Alisa won the genetic lottery. She began playing the cello at four, gave her first public performance six months later, and made her debut with the Weilerstein Trio at the age of six. She debuted with the Cleveland Orchestra at the age of 13 and at Carnegie Hall two years later. At 29 she received a prestigious MacArthur Fellowship, with the Foundation noting her ‘technical precision’ and ‘impassioned musicianship’ and describing her as ‘a consummate performer’. At the age of 28 she made her Berlin Philharmonic Orchestra debut with Daniel Barenboim conducting the Elgar Cello Concerto, the signature piece of his first wife, Jacqueline du Pré. For Alisa, world premieres are all in a day’s work. Like her role model Rostropovich, she is committed to expanding the contemporary cello repertoire through creative partnerships with symphony orchestras and composers whose music speaks to her strongly and directly. The Maisky and Weilerstein families are featured in Musical Families on Tuesdays 2 and 16 April at 2pm.

Donald Weilerstein and Vivian Hornick Weilerstein APRIL 2019

MUSIC CREATING ILLUSION ELAINE SIVERSEN FINDS SOME BRILLIANT EXAMPLES A masterpiece of illusion was created by Rodion Shchedrin i n h i s brilliant ballet, Carmen suite after Bizet. It is scored only for strings and a vast array of percussion instruments. Because Bizet’s melodies are so wellknown, the mind creates the melody in this work when no melody is being played. This is particularly so in the Toreador song when only the accompaniment is played and we believe that we are hearing the melody. This type of illusion is the means by Steam engine NSW 2705 at a country railway station which composers lead our minds into depicting trains (and perhaps the countryside along the scenes. Music about the sea is an example but route) can fill the mind when listening to these so also is the depiction of steam trains. Arthur works; another example of illusion. Honneger’s Pacific 231 starts with hissing and clanking, goes clickety-clack along the track In Bachianas brasileiras no 2, Heitor Villabefore pulling up at a station with the sound Lobos describes a stalwart little engine as it of steam and squealing brakes. The Danish pulls a train through the remote countryside composer Hans Christian Lumbye achieved of Brazil, creaking and puffing as it goes. The a similar effect in the Copenhagen Steam composer brings out his full array of percussion Railway galop. For those who’ve experienced to describe the scene of The little train of travelling in a steam train, images of those the Caipira. Emerging through this rhythmic

percussion is an extraordinarily beautiful melody. When I hear this music I always think of the time many years ago when I travelled on ‘Puffing Billy’ in the Dandenong Ranges as it wound around the mountainside. In Winter bonfire Prokofiev describes a group of young boys travelling by train. The joyous opening and final sections depict the movement of the train taking them to and from the country. The rhythm of the locomotive is brilliantly portrayed and Prokofiev effectively captures the sound of the train’s whistle. In between, various activities are depicted including a waltz as the boys skate on ice and light a bonfire. You can hear the slow burning as the fire takes hold until it reaches a magnificent height before dying down to embers. The boys break into song, delighted by this experience. The music creates the illusion and the mind depicts the scenes. Music of Illusion can be heard at 2pm on Monday 22 April.

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APRIL 2019

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FROM OPERATIC FAME TO OBSCURITY COLLEEN CHESTERMAN TRACES JOHANN HASSE’S CAREER The recent growing interest in Baroque opera has given audiences an opportunity to be introduced to the works of neglected masters. In the 18th century, Johann Adolph Hasse wrote numerous operas for leading opera houses and courts in Germany and Italy but was completely forgotten after his death. Born in 1699 into a family of church musicians living near Hamburg, Hasse was 19 when he joined the Hamburg Opera. Two years later he was invited to become a court singer in Brunswick where he wrote his first opera, Antioco, in 1721. He then travelled extensively in Italy before arriving in Naples where the famous castrato Farinelli performed in his operas. While there Hasse took lessons with Niccolò Porpora and Alessandro Scarlatti, afterwards including much of Scarlatti’s style into his own operas. In 1730 he visited Venice for Carnival where his opera Artaserse, written for Farinelli, was a great success. In that year he married the acclaimed soprano Faustina Bordoni and from this time Hasse composed many of his operas for Faustina as the female lead.

Faustina Bordoni by Bartolomeo Nazari

Later in Vienna Hasse gave music lessons to the Empress Maria Theresa and then headed for Dresden where he took up his appointment as court Kapellmeister. Faustina sang for the court and Hasse premiered his opera Cleofide, drawing on a text by Metastasio. J.S. Bach was playing the organ in the city and it seems that he attended the opera performance. Afterwards he and Hasse became close friends. By autumn, Hasse was on the road again, with operas performed in Turin, Rome, Venice and Naples, but Dresden remained his base. In 1733 Augustus the Strong of Poland and Saxony died and the Dresden court went into mourning for a year. Hasse moved to Venice where many of his sacred choral works were composed for the city’s churches and for the Ospedale degli Incurabili. In 1733 he was

Johann Hasse

invited to London where some of his operas were performed and where Handel used Hasse arias in his operas. After returning to Dresden, Faustina persuaded Hasse to concentrate on more serious works. She was concerned that the style of singing in opera buffa would damage her voice. This contributed to his increased appreciation of Metastasio. Hasse had always treated texts with freedom, reproducing only sections that pleased him, but now the two men established a firm friendship and, over a period of 12 years, Hasse set most of Metastasio’s current texts. He also returned to earlier operas, Demofoonte, La clemenza di Tito, Artaserse and Siroe, to reset librettos that he had altered from the original. An early success had been a commission to compose music for the wedding of a Saxon Princess and the Bourbon King, leading to the performance of 12 of Hasse’s operas. As his popularity and fame grew, he began to receive many important commissions. He composed flute sonatas or concertos for Frederick the Great; an opera for a double wedding between the Bavarian and Saxon royal families; staged performances of Ezio and Artaserse for a Bayreuth wedding between Brandenburg and Bayreuth nobility; and wrote a new opera for the marriage of a Saxon Princess to the Dauphin of France. This led to Hasse visiting Paris in 1750 when his opera Didone abbandonata was performed at Versailles. Hasse presented his last oratorio, La conversione di Sant’ Agostino, in the chapel of the royal palace in Dresden in 1750. The libretto was modelled after one by Metastasio (who edited the completed libretto) but it was written by the Dresden Electress Maria Antonia Walpurgis. The premiere was followed by numerous performances in Leipzig, Hamburg, Mannheim, Padua, Rome, Riga, Prague, Potsdam and Berlin, a testament to the work’s popularity.

Dresden remained central to the Hasses, particularly during Carnival, with productions of impressive operas using Metastasio’s lyrics, large choruses and many animals. They starred Faustina until she retired in 1751. However, the city was severely affected by the Seven Years War; the opera house closed for six years and the court moved to Warsaw. In the following years Hasse continued to compose for the court in Warsaw but lived in Venice, Naples and Vienna where larger works were staged at the court. After the war, Hasse returned to Dresden, finding his home destroyed, the court’s music library burned and the opera house demolished. After the death of the Elector, musical events ceased and the couple returned to Vienna, where Hasse composed music for the coronation of Joseph II and an opera for the Archduke’s wedding. Hasse became the favourite of the Empress Maria Theresa and it seems that he became the de facto court Kapellmeister. Although the association with Metastasio remained strong, in 1768 Hasse set a tragedy by Coltellini, Piramo e Tisbe (broadcast in November 2018), described as his best opera with through-composed arias, fine duets, melodic strength, lyricism and power. After its premiere Hasse had intended to retire from opera but was compelled by the Empress to compose another, Ruggiero (1771), again to a libretto by Metastasio. That year saw the premiere of the 15-year-old Mozart’s opera Ascanio in Alba (broadcast in February 2019). Hasse is reported to have uttered the prophetic words: “This boy will cause us all to be forgotten.” And so it happened that after Hasse died in Venice in 1783 he and his music slipped into obscurity. Operatic excerpts, and sacred and instrumental works by Hasse can be heard on 29 April at 1pm.

Pietro Metastasio APRIL 2019

WHAT’S ON IN MUSIC NO STRINGS ATTACHED

Johnson, horn; Alison Pratt, percussion and Ian Munro, piano.

Australia Ensemble @ UNSW Saturday 27 April, 8pm Sir John Clancy Auditorium, UNSW Bookings: 9385 4874 Website: www.ae.unsw.edu.au Tickets: Adult $55/Senior $42/Concession $33/Student $15 As the concert’s title states, there will be no string instruments, only a wonderful selection of music for winds, percussion and piano. The featured artists are Geoffrey Collins, flute; David Griffiths, clarinet; Huw Jones, oboe; Andrew Barnes, bassoon; Robert

MOZART, MASTER MUSICIAN Presenter: Michael Morton-Evans Fine Music Centre 72-76 Chandos St, St Leonards Sunday 28 April, 2.30pm Bookings: 9439 4777 or finemusicfm.com/ELD Tickets: $15 general or $5 for Fine Music subscribers and volunteers

A great deal of nonsense has been talked and written a b o u t Wolfgang Amadeus Mozart, not least as a result of the Peter Shaffer movie, Amadeus, in 1984. His relationship with Antonio Salieri was friendly and the older composer readily recognised and supported the younger man and most certainly never tried to poison him!

This varied program highlighting the delights of wind instruments in chamber presents Wolfgang Mozart’s Quintet in E flat for wind quartet and piano, K452; Martin Wesley-Smith’s Janet for flute, percussion and piano; Francis Poulenc’s Sextet for piano and wind quintet; György Ligeti’s Bagatelles for wind quintet; and Ludwig Thuille’s Sextet in B flat for piano and wind quintet, op 6.

Further nonsense has been written about Mozart’s fatal illness, death and funeral. He was in fact treated by two of the best doctors in Vienna and the official cause of death was given as what we now call camp fever. It is also equally untrue that he was given a pauper’s funeral by his impoverished wife Constanze. His burial was in accordance with local custom with Salieri present, nor were there any lasting money problems. Michael Morton-Evans takes a look at Mozart’s life and tries to dispel some of the nonsense. You are invited to stay for light refreshments after the talk.

CD REVIEWS SUITE ITALIENNE Francesca Dego, violin; Francesca Leonardi, piano DG 481 7297

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This disc provides an entertaining, enthusiastically played recital of music with Italian connections. Respighi’s 1917 Violin sonata in B minor, the earliest, the most serious and most challenging of the works presented here, gives both instruments opportunities to take the lead. A review of a performance in 1923 suggested that it ‘served to indicate how the new generation of Italian composers is labouring to get away from the theory that Italian music means Italian opera’. Indeed, its third movement passacaglia sees Respighi following Brahms’ example in reviving Baroque and Classical structures. Stravinsky, after the success of his early ballets and the dislocation brought about by World War I, turned to the past for musical stimulation. Pulcinella, ‘a ballet with singing’, paved the way for his neoclassical phase, with

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the music adapting that of the Italian Baroque composer Pergolesi and the action inspired by commedia dell’arte. Suite italienne is one of a number of arrangements made from the larger work. Here the violin takes on the sung arias and instrumental numbers from his original, with charming results. The music of Mario Castelnuovo-Tedesco completes this recital with three of the four compositions being given their world premiere recording. His Ballade, a form familiar in piano literature but rare for violin, is an impressively brooding piece, and the paraphrases of operatic arias by Rossini and Verdi provide ‘spicy, modern harmonisations’ that would allow such as his friend Jascha Heifetz to ‘trill like Lily Pons’. Impossible, ultimately, to ignore Italian opera! Paul Cooke

CD REVIEWS RACHMANINOV

Symphony no 2 and Isle of the Dead Orquesta Sinfónica Castilla y León/Andrew Gourlay Junta de Castila y León OSCYL 001

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So much music has by now been recorded, that anything of any merit must by now have been captured (often many times) in one electronic form or another. It must, then, be a brave musician who pits his or her own interpretation of a well-known work against the accumulated body of rival recordings. Such a man is Andrew Gourlay, Musical Director of Orquesta Sinfónica Castilla y León. Taking his orchestra down a path forged by the likes of the Berlin Symphony, he has endowed it with its own recording label, and this is its first offering. Gourlay has Russian blood, so his choice of project can readily be understood. Isle of the Dead is a thoroughly programmatic evocation of a painting of that name, and is reminiscent of Rachmaninov’s darker piano writing.

INTERNAL COMBUSTION Lawful Citizen Independent

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In 2006 the Sydney guitar, bass and drums trio, The MFW, released This is Grunge Jazz, a recording influenced by the 1980s Seattle grunge rock era. Fast forward to 2019 and that grunge rock era is still heaping influence on today’s young jazzers. Lawful Citizen is a Montreal-based quartet led by the tenor saxophonist Evan Shay who was born and bred in Seattle. He too uses the almost motorised guitar of Aime Duquet and the relentless drums of Kyle Hutchins to manifest grunge sections of utter exhaustion especially on Shatter. The album includes a four movement Internal combustion suite. The first movement is a pensive piece which wades in and out of composition and spontaneous composition and allows for healthy interaction between saxophone, bass, guitar and drums. The piece

ONE NIGHT ONLY Gregory Porter Blue Note 7716496

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Following three sensational sold-out performances at the Royal Albert Hall in London in 2018, the two-time Grammywinning vocalist Gregory Porter has released his first-ever live album One Night Only: Live at the Royal Albert Hall. Porter performed to a packed audience accompanied by his trusted band of pianist Chip Crawford, bassist Jahmal Nichols, drummer Emanuel Harrold and saxophonist Tivon Pennicott with the 70-piece London Studio Orchestra. The intimate concert focuses primarily on songs from his most recent album Nat King Cole and Me. For those not familiar

His first symphony was a big disappointment and it was some time before Rachmaninov screwed up the courage to write number two. When he did, it won a Glinka Award and 1,000 roubles, which cheered him up no end. Gourlay gives us the full version of a symphony that has been much cut by others, but right away there is a brisk sense of purpose and clarity of diction that eminently justify his choice of repertoire for a first CD. The lush, expansive orchestration of this symphony needs careful but confident handling if it is not to collapse under its own weight. Gourlay and his orchestra excel, passing the sonorities around with admirable discipline and restraint. Tom Forrester-Paton

builds momentum and tension until ‘three, four’ is shouted to corral the quartet back to what becomes a solid segue to the next movement which has a screaming atonal opening before settling into a rumbling jam for guitar, bass and drums. The third movement opens with a chattering saxophone against Antoine Pelegrin’s bass-line which is reminiscent of an idling Harley, before the piece becomes disturbingly esoteric and then chaotic. The final movement opens with Antoine Pelegrin beating out a series of melodic tom-tom patterns before Shay returns with Duquet to explore some oblique composed duo harmonies. The grunge then re-emerges to once again relieve the tension. Be alert but not alarmed: this is radicalised jazz but to quote the title of the final track, Nothing’s changed. Frank Presley

with Gregory Porter there is an ample back catalogue, and I’d suggest starting with Liquid Spirit but for a complete overview, this new album is perfect. There are covers as well as original material and personally it’s hard to pick a favourite. Porter became the UK’s biggest-selling jazz artist of the year after his Cole tribute album. With his rich soulful voice winning fans all over the globe, this new live album showcases the rare combination of raw talent and musical sophistication which he captures so effortlessly. He holds his audience in the palm of his hand. Barry O’Sullivan APRIL 2019

A PERENNIAL JAZZ MASTERPIECE LLOYD CAPPS GIVES AN OVERVIEW OF KIND OF BLUE Why is the Miles Davis Sextet’s album, Kind of Blue, so special, and why has it achieved such an unchallenged status in the jazz world with musicians and collectors? Recorded 60 years ago and released by Columbia Records it became, and remains, the biggest selling jazz album of all time, a must-have album in millions of jazz collections for the past six decades. 1959 is often described as jazz’s greatest year. Record companies were enjoying the surge in popularity of high fidelity stereo vinyl LPs and a plethora of new albums by top jazz artists came onto the market that year. Gerry Mulligan, Duke Ellington, John Coltrane, Woody Herman, Chet Baker, Quincy Jones, Art Pepper, Shorty Rogers, Stan Kenton, ‘Cannonball’ Adderley, Oscar Peterson: these were just a few who kept the studios exceptionally busy. Overshadowing all of the other recordings of emerging musicians in 1959 were releases from two jazz outfits. The Dave Brubeck Quartet produced the Time Out album, featuring unusual time signatures, with the standout big hit Take five. Time Out became the first jazz record to sell a million copies. The Brubeck Quartet became one of the star attractions at the first Adelaide Festival of Arts in 1960 which this writer attended. Few at Columbia Records would have anticipated that Time Out would soon be eclipsed by another album emerging from its New York studios in that same year. The Kind of Blue album by the Miles Davis

Sextet was destined to inspire and influence new musical directions in the jazz world’s soundscape, even now in 2019. How did this happen? Miles Davis was a trumpet player who never stood still musically. Having made his mark in the ‘bebop’ era, under the influence of Charlie Parker, the restless Davis made the big call to turn away from improvising with tonal harmony and to adopt a modal harmony approach to his music. Modal harmony is perceived as a modern sound, giving the soloist much greater freedom and choice. With fewer boundaries, it has completely changed the way that people think about jazz and improvisation. Miles Davis’ first outing with modal experimentation was the 1958 recording of Milestones, a mix of original compositions and familiar standards. Happy with the result, Miles Davis decided to put an album together with all the tracks based on simple modal sketch outlines around

which the players could improvise. No familiar tunes were to be included. Miles would pen them all. The Columbia studio at 30th Street in Manhattan was to be the venue. The booking was for two days on 2 March and 22 April 1959. The Miles Davis Sextet that assembled was Miles on trumpet, John Coltrane on tenor saxophone, Julian ‘Cannonball’ Adderley on alto sax, pianists John Lewis and Wynton Kelly, bassist Paul Chambers and drummer Jimmy Cobb. Kelly’s inclusion was mystifying as he played only on one track, although he wasn’t made aware of that until he arrived at the session and found Bill Evans at the piano. As this article was being written, Jimmy Cobb, at 90 years and still playing, is the sole survivor of the Kind of Blue group. Evans had been brought into the group by Davis, who wisely considered Evans’ introspective creativity would make a valuable contribution to the music. Evans actually provided the modal structure to many of the tracks, even though they were credited to Davis. As Evans writes in the album’s sleeve notes: “Miles conceived these settings only hours before the recordings and arrived with sketches which indicated to the group what was to be played. Therefore, you will hear something close to pure spontaneity in these performances.” None of them had seen the pieces prior to recording them yet, without exception, the first complete performance of each piece was a ‘take’. Group improvisation around previously unheard work provided them with a particular challenge: just a handful of sketched notes with little indication of who was to improvise and no rehearsal for them to consider the completed shape of the work. Such a challenge is perhaps the reason why the Sextet rose to the task and produced a beautiful result. Bill Evans is considered as being critical to the success of Kind of Blue and nowhere is that more apparent than in his modal chord structures he devised for So what, the opening track of the album. Chords based on fourths and not the traditional thirds are now known as ‘So What chords’, much like the ‘Tristan chord’ is known from Wagner’s Tristan and Isolde. Kind of Blue is considered the epitome of modal jazz, being one of the greatest jazz albums of all time, hugely influential and still inspiring many musicians all over the world 60 years later. For the past 12 years So what from Kind of Blue has been used as the opening theme music for The Jazz Beat.

Members of the Miles Davis Sextet in Columbia studios to record Kind of Blue. L to R: John Coltrane, Julian ‘Cannonball’ Adderley, Miles Davis and Bill Evans. Absent from the picture are Jimmy Cobb and Paul Chambers. 46

APRIL 2019

For the 60th anniversary of the recording of Kind of Blue, The Jazz Beat will feature this album on Tuesday 23 April at 7pm.

JOURNEYS OF DISCOVERY AND EXPLORATION KRYSTAL LI TALKS TO RAJ GOPALAKRISHNAN similar to music programming, as his choice of pieces affects the listeners’ overall mood and enjoyment.

Since his university days, Fine Music (then 2MBS-FM) has been a constant source of inspiration for Raj Gopalakrishnan. Learning that the vast efforts of our station were made almost entirely by volunteers, it was inevitable that Raj would join the community here. After graduation, while doing freelance work, he slotted library duties into his schedule. However, he soon moved on to another role that appealed to him. He had long admired the station’s ‘wonderful, intriguing programs’, and these days Raj counts himself as one of the many music lovers curating his own programs. He particularly enjoys the research involved in program preparation, with his efforts culminating in one-off specials that cover a topic of interest for listeners: “I like the idea of entertaining our listeners, while providing something that might be a new discovery which, hopefully, encourages them to continue exploring.” Of course, programs can only reach listeners through a Fine Music presenter, a fact that doesn’t escape him. Raj’s notes to presenters are always warmly appreciated, and offer

As a result of volunteering, Raj’s musical preferences have expanded from the works of the ‘great masters’ to encompass a variety of periods and genres: a typical evolution of a programmer. Tchaikovsky, however, firmly remains a favourite composer.

insights for presenters to relay. His research is also given an outlet in his magazine articles, which are well-written, informative accompaniments to his programs. Meanwhile, in his professional life as a digital communications project manager Raj finds areas in which to be creative. To approve a new design or component of a website, for example, he needs to consider how the enduser will feel and think. This is somewhat

A lover of the arts, you can find Raj at film festivals, performance theatres, art galleries and concert halls. Reflecting on the diversity of arts organisations in our city, he says: “I think we’re pretty lucky in Sydney to have a variety of cultural institutions, from small and independent organisations to larger established organisations supported by government and corporate funding.” His experiences exploring Sydney’s arts events no doubt inspire his programs from time to time, perhaps prompting a unique program concept, or offering a new musical gem to share with listeners. No matter the premise, I’m sure you will be delighted with the music selections made by Raj.

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 Brett; Deputy Chair: David James; Secretary: Christopher Waterhouse; Roger Doyle, Peter Kurti, Jayson McBride, Simon Moore, Katy Rogers-Davies COMMITTEE CHAIRS Management: David James; Programming: James Nightingale; Presenters: Ross Hayes; Jazz: Barry O’Sullivan; Technical: Roger Doyle; Library: Rex Burgess; Volunteers: Cynthia Kaye; Finance: Peter Poole; Work Health and Safety: Angela Cockburn; Emerging Artists: Rebecca Beare

PROGRAMMERS AND PRESENTERS FOR APRIL Charles Barton, Angela Bell, Peter Bell, Nena Beretin, Dan Bickel, Chris Blower, Adam Bowen,

David Brett, John Buchanan, Andrew Bukenya, Rex Burgess, Lloyd Capps, Vince Carnovale, Yola Center, Lyn Chong, Adam Cockburn, Angela Cockburn, Liam Collins, Paul Cooke, Di Cox, George Cruickshank, Nick Dan, Jackson Day, Nev Dorrington, Susan Gai Dowling, Annabelle Drumm, Brian Drummond, Andrew Dziedzic, Michael Field, Richard Fielding, Troy Fil. Owen Fisher, Jennifer Foong, Tom Forrester-Paton, Susan Foulcher, Francis Frank, Carole Garland, David Garrett, Robert Gilchrist, Joe Goddard, Albert Gormley, Andrew Grahame, Giovanna Grech, Jeremy Hall, Austin Harrison, Celeste Haworth, Ross Hayes, Gerald Holder, Paulo Hooke, Paul Hopwood, James Hunter, Leita Hutchings, Anne Irish, Kevin Jones, Sue Jowell, David Knapp, Peter Kurti, Ray Levis, Krystal Li, Christina MacGuinness, Lachlan Mahoney, Linda Marr, Meg Matthews, Stephen Matthews, Sue McCreadie, Trisha McDonald, Jeannie McInnes, Terry McMullen, Maureen Meers, Camille Mercep, John Milce, Peter Mitchell, Simon Moore, Frank Morrison, Michael Morton-Evans, Richard Munge, Gerry Myerson, Peter Nelson, James Nightingale, David Ogilvie, Barry O’Sullivan, Calogero Panvino, Derek Parker, Denis Patterson, Peter Poole, Frank Presley, Karoline Ren, Katy Rogers-Davies, Paul Roper, Marilyn Schock, Debbie Scholem, Jon Shapiro, Julie Simonds, Elaine Siversen, Robert Small, Garth Sundberg, Jessie Tang, Jacky Ternisien, Rob Thomas, Anna Tranter, Madilina Tresca, Robert Vale, Richard Verco, Ron Walledge, Christopher Waterhouse, Chris Wetherall, Stephen Wilson, Glenn Winfield, Chris Winner, Mariko Yata, Orli Zahava, Tom Zelinka

PROGRAM SUBEDITORS Jan Akers, Chris Blower, Maureen Chaffey, Di Cox, Noelene Guillemot, Adele Loke, 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, 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 STAFF Station Manager: Rebecca Beare; Office Manager: Sharon Sullivan; Community Access Manager: Sophie McCulloch; Community Engagement Manager: Mona Omar; Production Coordinator: Joe Goddard; Administration Assistant: Krystal Li APRIL 2019

FINE MUSIC PATRONS Fine Music Honour Roll (Bequest Received 2009-2019)

Gold Patrons ($1,000 – $2,499)

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 Colin Webb, Mr Barry Willoughby, Mr John Albert Wright

Ms Prudence Davenport, Mrs Jennifer Dowling, Mr Ray McDonald, Ms Alice Roberts, Mr Richard H Thompson, Mr Larry Turner, Mr A G Whealy QC, Anonymous 5

Fine Music Guardians (Known Future Bequests) Mr Geoffrey Anderson, Mr David Bell, Mr David Brett, Mrs Halina Brett, Mr Lloyd Capps, Ms Marilyn Endlein, Mr Bruce M Graham, Mr James Hunter, Ms Maureen Meers, Mr Glenn Morrison, Mr Derek Parker, Dr Neil A Radford, Mr Gregory Lewis Sachs, Ms Elaine Siversen, Mr Bruce M Smith, Mr Anthony Tenney, Mr Ron Walledge, Mr Ken Weatherley, Mr John Xuereb

Titanium Patrons ($50,000 and above) Mr Max Benyon OAM, Mr Roger Doyle, Dr Jennifer Foong, Anonymous 1

Platinum Patrons ($25,000 – $49,999) Family Frank Foundation, Mr Michael Ahrens, Prof Clive Kessler, Mr Ron Walledge, Mr Cameron Williams, Anonymous 1

Diamond Patrons ($10,000 – $24,999) Mr Robert O Albert, Mr J D O Burns, Mrs Patricia McAlary, Anonymous 5

Ruby Patrons ($5,000 – $9,999) Mrs Barbara Brady, Mr David Brett, Ms Janine Burrus, Mr Bernard Coles QC, Mrs Dorothy Curtis, Justice David Davies, Mr Francis Frank, Ms Jill Hickson Wran, Dr Janice Hirshorn, Mr Peter & Dr Linda Kurti, Mr Ian & Mrs Pam McGaw, Ms Jeannie McInnes, Mrs Judith McKernan, Ms Nola Nettheim, Mr John Selby, Mr Anthony C Strachan, Mr Stephen and Mrs Therese Wilson, Anonymous 4

Emerald Patrons ($2,500 – $4,999)

NOTES FROM THE EDITOR

Mrs Halina Brett, Mr Lloyd & Mrs Mary Jo Capps, Mrs Lorna Alison Carr, Mrs Margaret Epps, Prof Michael Field AM, Mrs Freda Hugenberger, Dr Peter Ingle, Mr Ian Juniper, Mr D & Mrs R Keech, Ms Maureen Meers, Dr Andrew Mitterdorfer, Dr W J Poate, Mr Jude Rushbrooke, Ms Wendy Trevor-Jones, The Yim Family Foundation, Anonymous 3

Elaine Siversen

This edition of Fine Music magazine marks two years (24 issues) of the magazine under my editorship. When the Programming Committee was given the overall responsibility for the magazine in 2017, I was asked, as a member of that Committee, to take on the role of Editor probably because I had been very involved in writing over the years and had worked closely with some of the earlier Editors.

My first thoughts were that I would gather together a team of writers and sub-editors and work on several editions before handing over to another volunteer. However, as well as all the other enjoyable work I do for the station, this has turned out to be a most creative

APRIL 2019

Silver Patrons ($500 – $999) Mr Claus Blunck, Mr Colin Boston, Mr David Branscomb, Mr David Clark, Prof C E Deer, Mr John Fairfax AO, Mr Richard Farago, Mr Heinz Gager, Mr Michael and Mrs Rochelle Goot, Mr Paul Hopwood, Ms Sue Jowell, Mr Gerhard Koller, Dr Peter Krinks, Mr Reginald John Lamble AO, Mr Ian K Lloyd, Mrs Meryll Macarthur, Mr M F Madigan, Mrs E M McKinnon, Mr Michael Morton-Evans OAM, Mr Ken Nielsen, Mrs Monica Olave, Dr Robert Osborn, Ms Susan Ping Kee, Mr J A Roberts, Ms Catherine Ruff, Mrs Ruth A Staples, Mrs Valerie Stoney, Mrs Margaret Suthers, Mrs Marie Thompson, Dr Pye Twaddell, Mr Richard Wilkins, Ms Caroline Wilkinson, Mr Alastair Wilson, Dr Paul Wormell, Anonymous 15

Bronze Patrons ($250 – $499) Ms Lily Bao, Mr John Bell, Mr Harold John Benyon OAM, Mrs Susan Berger, Mrs Patricia Biggers, Mrs Marion Blin, Mr Christopher Blower, Mr Stephen Booth, Mr Geoffery Brennan, Mr Barrie Brockwell, The Hon John P Bryson QC, Mrs Alexandra Buchner, Ms Deanne Castronini, Ms Mary Choate, Mr Dom Cottam, Mrs T Cox, Prof Stephen J Dain, Mrs Marie Digby, Dr David Dixon, Hon J R Dunford QC, Mr Andrew Dziedzic, In Memory of David W Allen, Mr Paul Evans, Ms Elizabeth Evatt, Mr William G Fleming, Mrs Kathy Freedman, Dr David Gorman, Ms Diana Ruth Hanaor, Mr Geoffrey Hogbin, Mr Paul Jackson, Dr David Jeremy, Ms Ruth Jeremy, Mrs Barbara Johnson, Mr Bill and Eva Johnstone, Hon Mr Justice D Kirby, Mr Nicholas Korner, Mrs Sarah Lawrence, Jennifer Lewis, Mr Geoffery Magney, Mrs M A Marsh, Dr Jim Masselos, Mr Philip Maxwell, Mrs Shirley Ann McEwin, Ms Alison Meldrum, Mr Simon Moore, Mr Donald Nairn, Mr Pieter Oomens, Mr Julius Opit, Dr Gordon H Packham, Mr Trevor Parkin, Mr Denis Patterson, Mr Peter Poole, Mr Mike Price, Dr Brian Quinn, Dr Neil A Radford, Mr Gwynn Roberts, Mr Joseph Rooney, Dr Gideon Schoombie, Dr Michael Shellshear, Ms Mei Wah So, Mr John Stevenson, Ms Kathryn Tiffen, Mr Kevin James Vaughan, Mr Richard Williamson, Mrs Robin Yabsley, Mr Peter Zipkis, Anonymous 25

and fulfilling part of my work and I hope to be able to continue for some time to come. We continue to receive praise for the articles and the design, which is due to our enthusiastic and knowledgeable team of writers, reviewers and sub-editors and, since July last year, to our graphic designer David James. Behind the scenes we have the distribution team of volunteers organised by Sissi Stewart: those who label and pack the magazines and those who handdeliver the magazines to most of our subscribers all over the Sydney metropolitan area. Fine Music is a do-it-yourself organisation and we are fortunate to have so many talented and willing people, many of whom take on multiple roles to ensure that Fine Music is a quality radio station. Elaine Siversen

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A stunning series of big screen events in Sydney’s most elegant cinemas. Great stage performances captured live in London, breathtaking tours of international galleries, spectacular Bolshoi Ballet productions, the world’s finest Opera presentations from the Metropolitan, New York and film festivals of new international films and retro classics.

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1300 850 841 | dixon.com.au/myjourney *The information provided is factual information or general advice and suitable for individuals or families with combined retirement assets of more than $300,000. Fees and charges may apply to any services or advice provided following any initial free consultation. Dixon Advisory & Superannuation Services Ltd ABN 54 103 071 665 | AFSL 231143

Dixon Advisory & Superannuation Services Ltd | ABN 54 103 071 665 | AFSL 231143