Fine Music August Magazine

AUGUST 2019

THE SPACE BETWEEN REMEMBERING PETER SCULTHORPE THIRTY GLORIOUS YEARS THE POET’S INFLUENCE ON MUSIC

Australian Chamber Orchestra’s Luminous Concerts Five Years On: His Affinity with the Land The Final Huntington Estate Festival Walt Whitman’s Life and Poetry

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Contents VOL 46 No 8 2

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9 11 43 44 46 47 48 49 50

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The Space Between Born 400 Years Ago Remembering Peter Sculthorpe Thirty Glorious Years Teach Me to Dance!

Ivor and Noël The Creator of Pagliacci Program Guide and Composer List The Poet’s Influence on Music What’s On in Music Franz Liszt: Music Visionary Musical Families CD Reviews Lullaby of Shearing Fine Music School Jazz Combo Competition A Musical Life in Brief: Mirrie Hill Curiosity + Research = Knowledge: Mariko Yata Notes from the Editor

THIS MONTH @ FINE MUSIC As I write this month’s editorial I am surrounded by a hive of activity in our Founders’ Studio here at Fine Music.

It brings me great joy to see the buzz of both our young, emerging artists and established musicians coming and going from our studios while their lively music drifts up the stairs into our offices here in St Leonards. Watching these artists evolve from behind the scenes while they use this precious resource is by far the most favourite part of my job as Station Manager. I am thrilled to be able to share these experiences with you over the coming months as we enter our busiest performance season.

This month we will be broadcasting our School Jazz Band Combo Competition final, live from our Founders’ Studio. Last month we were excited to announce our second round of this competition and, on Saturday 6 and Sunday 7 July, we broadcast the first-round performances. This year’s final round will be broadcast live from our Founders’ Studio on Saturday 31 August. I hope you join us, however you choose to listen to us here at Fine Music, to find out which school wins the competition this year.

In August we are also busy assessing the numerous applications we have received for our Kruger and Weatherley Scholarships and our Artists-in-Residence package, all of which will be announced in late September at our Celebration of Fine Music event. I encourage you to keep an eye out for these announcements in the coming month via our On Air and Event News announcements and, of course, in following months’ editions of the magazine.

Rebecca Beare, Fine Music Station Manager

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ABN 64 379 540 010 Advertising Enquiries: sponsorship@finemusicfm.com Editor: Elaine Siversen Assistant Editors: Paul Cooke, Elizabeth Hill Subeditors and Proof readers: Chris Blower, Paul Cooke, Di Cox, Elizabeth Hill, Sue Jowell, Pamela Newling Contributors: Rebecca Beare, Dan Bickel, Chris Blower, Paul Cooke, Robert Gilchrist, Nicky Gluch, Elizabeth Hill, Jeannie McInnes, Michael Morton-Evans, James Nightingale, David Ogilvie, Derek Parker, Catherine Peake, Frank Presley, Elaine Siversen The views expressed by contributors to this magazine do not necessarily reflect or represent the views of the publisher, Fine Music 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: Lior Photo: Nic Walker

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 2019: Callum O’Reilly Young Virtuoso Award 2018: Anna Stephens Kruger Scholar 2019: Nicholas Gentile AUGUST 2019

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THE SPACE BETWEEN NICKY GLUCH DISCUSSES MUSIC AND LUMINOSITY

Richard Tognetti and Bill Henson

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“What is music?”, Maestro Laycock asked our class. We weren’t going to be fooled.

‘Conducting’ he’d distilled down to seven words: the communication of musical thought through gesture, and so we put aside our more lofty ideas to deduce that music, most essentially, was the organisation of sound in time. Pleased, Laycock went on to say, “An artform can only be experienced in time … [visual] art you internalise in your time”. For you decide which paintings to linger over, which to breeze past, ‘but music you have to take in its time’. Music determines the duration of your encounter, the points of ecstasy and despair set down years before, which is why a first hearing has its own unique allure, and why familiarity both comforts and opens up new possibilities.

its fold. August’s production of Luminous is just one such example.

Bridging the space between music and audience are the performers. We enter the realm of the unknown through our trust in them, their bodies the generators of sound, ours the receivers. The adventurous nature of the Australian Chamber Orchestra has allowed audiences to exceed the perceived limitations of ‘classical music’, bridging genres and artforms, not by breaking down the concert hall but by bringing new elements into

According to the ABC, which screened a documentary about Luminous in 2007, Tognetti had ‘always wanted to collaborate with a visual artist … he wanted to create a spellbinding event, not just a soundtrack’, and after seeing the work of Henson, ‘Luminous was born’. What then inspired Tognetti to add a third element, a singer, which seems to be a useful unifier? Henson’s work is unashamedly about the human body. His photographs are

AUGUST 2019

When it was conceived 14 years ago, Richard Tognetti hoped it would be mesmerising.

Now, ten years since it was last performed, the ACO’s collaboration with Australian photographer Bill Henson will see the light once more. It is hard to imagine just how groundbreaking Luminous would have been at its 2005 premiere. The embrace of digital and video technologies has been so rapid that even by 2009, when Luminous was restaged in Australia, the landscape had already changed.

Nevertheless, in 2005, before the iPhone, before most of us had digital TV and before events like Vivid were even a thought, for the ACO to play in front of a video installation would have been quite wonderfully startling.

Photo: Nic Walker

exposing, sensual even in their depiction of landscapes, and vulnerable in a way that comes more from desire than naivety. They are, in many ways, the antithesis to concert performers: bodies clad in black, physicality backgrounded so that the music can speak.

The singer, then, becomes the intermediary.

If Henson’s photographs, to quote the ACO, are ‘twilight zones between day and night, male and female, youth and adulthood’, then the singing body becomes a bridge between the sensual, although silent, bodies on screen and the sonic, although not purposely sensual, bodies of the orchestra members.

As befits this notion, the singers throughout Luminous’ history have not been classical artists but performers who inhabit their own twilight zone. Katie Noonan was the choice for the premiere, replaced by Paul Capsis when she had to withdraw for the birth of her first son. The ABC credited Capsis for lending an ‘ethereal, vulnerable quality to the performance … with his high, unearthly voice’. Noonan then stepped into the role for performances of Luminous in Slovenia and in its 2009 revival, and with her experience in jazz and use of breath, would have helped give form to Henson’s figures.

This year, the ACO has chosen to collaborate with Lior. Like Noonan and Capsis, the Israeli born singer-songwriter has an unmistakable voice. It is masculine without being macho, sensitive without being crooning and somewhat universal in being unplaceable. By a combination of being a little too young and having been brought up almost exclusively on classical radio, I was never aware of Lior as the great solo artist or heart-throb, as he was from his debut album in 2005. Indeed, it was a doting teenager who alerted me to Lior in 2009 when Shadows and Light, a collaboration with shadow artists Stephen Mushin and Anna Parry, was performed at the Sydney Opera House. I confess, at the time I was more interested in the puppets. It was only in 2013, when Lior collaborated with Nigel Westlake on the song-cycle Compassion, that I really took note.

Suddenly there was this piece, and this voice, which brought the sacred into conversation with the secular. The texts were ancient, the orchestral sounds contemporary, and the sincerity of Westlake and Lior so unquestionable as to almost forget their celebrity. Most deservedly, Compassion has won many awards but I would like to believe these were merely consequential and not the album’s objective.

It will be interesting, therefore, to see what Lior brings to this new collaboration. What will his voice add to the contemplation of luminosity?

What will he say about the space between, for even light is a product of separation, splitting from the dark to be called day? For Luminous is, at its essence, an exploration of things most fundamental to us, framed in a way so as to seem otherworldly, all the better to see what’s in front of us.

as ‘lyrical and limpid’ a term used in music to suggest translucence. Together, Henson and Tognetti agreed that the orchestra would be lit in a subdued way, not so as to obscure the musicians but to better emulate the lighting of Henson’s photographs. The final stage in unifying the components was to bring in Paul Healy. As a sound designer he fills in the gaps between pieces, smoothing out the soundscape to suit the nature of the film’s unfolding.

What, then, about the music? Well the ACO is keeping some of it under wraps but what is known is that Peteris Vasks’ violin concerto, Distant light, will be the centrepiece and that Benjamin Britten’s Corpus Christi and R.E.M.’s I’ve been high will also feature.

Corpus Christi is a carol with a sombre theme.

Liltingly it describes the abduction of a knight by a falcon, found bleeding in bed with a maid crying by his side, ‘Lully, lullay, lully, lullay!’. It is the eternal Christian narrative, of Christ’s sufferings and those who weep for him, set

by Britten for a high male voice and thus heartbreaking in its purity.

I’ve been high is gently questioning, inviting listeners to see themselves in the words of the song. It is less disparate to Corpus Christi than one might imagine, for it draws on religious symbolism; the singer falling down on his knees asking whether he has been wrong and asserting that he just ‘needed to believe’.

When the chorus begins, the connection between the song and Luminous becomes undeniable. “I’ve been high,” the voice sings, “I’ve climbed so high, the light, sometimes it washes over me.”

The maid grieves for the knight, R.E.M. reminds us that life is full of peaks and troughs and these ideas are brought into alignment in Vasks’ Distant light. According to Hyperion, the work fits Vasks’ motif in its suggestion that ‘music can relieve suffering and assuage grief’. The concerto was commissioned by fellow Latvian musician, Gidon Kremer to whom Distant light is ‘nostalgia with a touch of tragedy … childhood memories, but also the glittering stars millions of light years away’.

The work is part lament, part soaring soloist, filled with imperfect dances that disappear to a silence that seems painful to break with applause. It is with this concerto that Tognetti becomes soloist and not just director, conversing with the photos and communicating to the audience. It is the fulfilment of his project, for with Distant light the unity of Luminous and the universality of the human condition are affirmed. It is a sonic form about the visual, light, the first thing that God created and utterly essential to life.

Luminous is timebound, and yet it is timeless.

It is music, and it is art, and it is something that neither is on its own. It is a revelation of the space between.

For this to be achieved, Henson had to conquer what differentiates visual art from music, the aforementioned ‘time’. Interviewed by the Sun Herald in 2009, Henson explained that: “The images had to breathe as the music breathed. Using a movie camera to film my still photographs preserved the evidence of the original work while echoing the passage of music in time.” Henson explained his goal: “As the camera tracked across the image of a face, the tender, proximate, breathing presence of that face [would] find an equivalence both in the gentle, hesitant, searching gaze of the movie camera and that same aching tenderness as articulated musically.” (Time Out Sydney, 2009).

In the same way that Henson considered how to honour the sonic through the visual, Tognetti was aware of not disturbing the visual impact. From the outset, what had attracted Tognetti to Henson’s works was their musical quality. In the Sun Herald, he described them

Richard Tognetti Photo: Nic Walker AUGUST 2019

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BORN 400 YEARS AGO

ELAINE SIVERSEN CELEBRATES BARBARA STROZZI Unless a person is descended from an aristocratic family (and the majority of people are not), it is most difficult to trace birth dates from several centuries ago. Many records have been lost because of war, floods, fire, rats and, perhaps, even the laxity of the record-keepers.

Therefore finding exact dates of birth, or even the year of birth, for composers born 400 years ago is problematic.

Despite this, we know that the Venetian virtuoso singer and composer Barbara Strozzi was baptised on 6 August 1619 and, in celebrating her music this month, we have also included composers from Germany, Italy, Flanders and Mexico who were born in or around 1619.

for viol (or multiple viols) written by a woman in the 17th century. Her date of birth is given variously as 1610 or 1619. She belonged to a wealthy Jewish-Portuguese family in Antwerp whose home was a centre for music-making.

Better known, particularly as an organist and composer of organ music, is Matthias Weckmann. His birth date is given as 1619 or possibly earlier. He sang in the choir at

As Barbara Strozzi’s fame grew, it seems that jealous male contemporaries may have spread the slander that she was a courtesan (although she appears to have led a quiet life). She didn’t marry but had four children. There is evidence that at least three of them were fathered by the same man, Giovanni Paolo Vidman, a patron of the arts and a supporter of early opera. When he died, he left no legacy for her or her children, but Barbara was able to successfully support herself with revenue from her compositions and investments.

Juan García de Zéspedes, born in Puebla in 1619, was one of several composers in 17th century Mexico. His compositions ranged from sacred music, to secular pieces inspired by folk music. At the age of 11 Juan sang as a treble in the Puebla Cathedral choir and became a viol player and teacher, later succeeding the now better-known Mexican composer Juan de Padilla as maestro in charge of the cathedral’s music.

Another obscure composer was the Venetian priest and organist Cherubino Busatti, supposedly Painting by Bernardo Strozzi thought to be of Barbara Strozzi born in 1619. He wrote madrigals and sacred music but died in his the Saxon court in Dresden and studied 20s. Little of his music has survived, with his organ and singing with Heinrich Schütz. His Surrexit Pastor bonus (The Good Shepherd teacher introduced Weckmann to the Italian is risen) being an exceptional, although brief, concertato, polychoral and monodic styles which Schütz had studied in Venice with Easter motet.

Giovanni Gabrieli. In Hamburg, Weckmann Also born around 1619 was the German worked with the famous organist Jacob composer Johann Rosenmüller who, after Praetorius, and became the titular organist graduating from Leipzig University, served as of St Jacob’s Church. Flemish organist Jan organist at the St Nicholas Church and was Sweelinck was an influence on Weckmann’s supposedly destined to be the cantor. To avoid organ compositions and his works also prison after being involved in a sexual scandal included choral and instrumental music. He he fled to Venice. He composed many vocal founded a renowned orchestral ensemble, the works while employed at St Mark’s Basilica Collegium Musicum, in Hamburg. and the Ospedale della Pietà. On returning to Barbara Strozzi is much better known, mainly Germany he was influential in disseminating because she was one of only a few women the style of the Italians Legrenzi and Corelli as in the 17th century who published their own well as that of the Venetian-trained Heinrich compositions; for this reason, a great deal of her Schütz. music has survived. Despite being illegitimate, In Flanders, Leonora Duarte composed seven sinfonias that are apparently the earliest music 4

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Her adoptive father was the renowned poet and librettist Giulio Strozzi. It is believed that he was her actual father and that her mother was a servant in his household. Giulio moved in a liberal society within Venice and Barbara was included in his circle of intelligentsia. As well as encouraging her work, Giulio arranged for performances of her music and sent her to study composition with the leading opera composer Francesco Cavalli, who had been a singer and organist under the direction of the great Claudio Monteverdi.

she had a privileged upbringing and every opportunity to develop her musical talent.

Having studied composition with Cavalli, it was inevitable that Strozzi’s music would follow in the tradition and spirit of Cavalli and Monteverdi. Nevertheless, her vocal works are more lyrical than those of the earlier composers. Most of her published works are for soprano but she also wrote for other voices.

Her early texts were written mainly by her father and some of his colleagues, but she wrote some of her own texts. She was renowned for her poetic ability as well as for her compositional talent and her singing. She published only one book of sacred songs, with the majority of her work being secular vocal music, many in extended settings. Barbara Strozzi was said to be ‘the most prolific composer, man or woman, of printed secular vocal music in Venice in the middle of the century’.

Two programs of Baroque and Before at 10pm in August feature composers born 400 years ago: music of Johann Rosenmüller on Friday 2 August and of Barbara Strozzi, Matthias Weckmann and others on Friday 16.

REMEMBERING PETER SCULTHORPE JAMES NIGHTINGALE DEFINES HIS AFFINITY WITH THE LAND It’s been five years since the passing of the composer Peter Sculthorpe. From the distance of this small amount of time, his contribution to the musical world only seems to have become larger.

Listening again to his music, it is clear that it still speaks directly to Australians. This is perhaps due to his ability to capture something of the spirituality of nature and the land within his music.

quickly became assimilated into Sculthorpe’s works, many of which were revised to add a didjeridu part.

The work that displays the relationship with Barton most strongly is the Requiem of 2004. Although not especially religious, Sculthorpe always had a strong belief in the spirituality of nature and the land and a general curiosity about religious practice. The Requiem brings Sculthorpe’s career began together these interests, its first when studying at the Melbourne half concerned with God and Conservatorium in the late 1940s.

Christianity, and the second It was during this time that he expressing his feelings of acquired both a solid foundation spirituality found in the land. in harmony and counterpoint In seeking to reconcile these and an appreciation of the music two spheres, Sculthorpe drew of Palestrina. More importantly, upon his own personal symbolic he grew into his lifelong habit of Peter Sculthorpe accepting an award in Madrid 2009 Photo: Gustavo Cuevas musical meanings. For example, composing at the piano. His works were for his own performance, including two Australian orchestras and were acclaimed by the first part of the Requiem is largely in the Nocturnes and some other short piano solos. international critics and audiences. In 1986, key of C, which represents God for Sculthorpe, After Melbourne, Sculthorpe returned to his Sculthorpe’s String quartet no 9 took on a life while the second half is largely in the key of birthplace Launceston, where he worked of its own following a best-selling recording by A, a key that he associated with Australia, its land and people. These very simple devices in the family fishing store. Then, in 1954, the Kronos String Quartet. provided a way for Sculthorpe to create a he entered the piano section of the ABCThroughout his life, Sculthorpe’s music musical structure that is full of meaning and APRA composition competition. That year, demonstrated his interest in Aboriginal culture. rich with cultural resonances. the competition called for a sonatina and Early works, such as the Sonatina of 1954, Sculthorpe contributed a piece that he has referenced Indigenous stories and many of his Two programs of Sculthorpe’s music will be called his ‘first important work’. Even though works use a borrowed Aboriginal melody that broadcast in early August to mark the fifth it is only seven minutes long, the Sonatina Sculthorpe called Djille. Sculthorpe’s approach anniversary of his death in August 2014. displays signs of the musical language that to Aboriginal music through most of his career The new Saturday night domain, The Life of would become a feature of his mature style. was based on respect but he did not engage a Composer, will feature many of the works In the next decade or so, Sculthorpe travelled in an equal collaboration with the originators that defined Sculthorpe’s career, including the overseas for further study and it was from the of the songs. In fact, the status of the Sonatina for piano, Sun music III and one of distance of Europe and the USA that many of permissions granted to use Aboriginal stories his last works, the hauntingly beautiful Island his first groundbreaking works were made. and melodies in Sculthorpe’s early work is not songs. Then we will bring you the Requiem The Sun music series famously developed clear, to put it kindly. His approach reflects and the orchestral work Earth cry on the amid a fit of homesickness in the short, dull the typical practices of mid-20th century anniversary of his passing. Please join us for days of a New York winter. Sculthorpe’s pieces composers pillaging the folklore of cultures these programs in August on Saturday 3 at of the 1960s and ’70s are often thought of across the world. Sculthorpe was certainly 8pm and Thursday 8 at 1pm. as being challenging for audiences but they not alone in using were significantly different from the European Aboriginal melodies classical music avant-garde of that time. They and concepts used only a very small number of pitches and without explicit utilised repeated rhythmic patterns to create approval. Later in a unique musical world that many felt to be his life, however, evocative of the Australian landscape. Their Sculthorpe was able inspiration was not just Australia, however, as to have a new kind Sculthorpe used tone colours and non-tonal of dialogue with harmonies that originated in Bali and Japan as Aboriginal people and well as melodies of Aboriginal origin. musicians through In the 1980s, Sculthorpe produced his most his friendship with famous orchestral works, including the the didjeridu virtuoso tone poems Earth cry and Kakadu. Many William Barton. of these pieces were taken overseas by Barton’s playing Peter Sculthorpe by Eric Smith 1982 AUGUST 2019

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THIRTY GLORIOUS YEARS CATHERINE PEAKE OUTLINES THE HUNTINGTON ESTATE FESTIVAL The Huntington Estate Music Festival, presented in association with Musica Viva, is one of the finest music festivals in the world.

The festival has been instrumental in bringing international artists here to perform with their Australian colleagues, and this year, its 30th, will be no exception. Despite this, the festival organisers have called time, and the 2019 event will be the final Huntington Estate Music Festival.

Huntington Estate owner and chief winemaker, Tim Stevens, appreciates the benefits as well as the work for everyone involved in the festival, and acknowledges the family’s change in priorities. “We have taken the decision that the grapes, the wine, our young children and staff must come first.” The year 2019 also marks the 50th anniversary of the Huntington Estate which was founded in 1969.

The festival, the first of its kind in Australia, began in 1989 and became an annual event under the inspired leadership of Richard Tognetti and then-owners Bob and Wendy Roberts. Tognetti and the Australian Chamber Orchestra became a focus of the festival, with concerts held in the Huntington Estate Barrel Room, which Tognetti says has ‘one of the greatest acoustics on the planet’. Extending into the grounds of the estate for the food and wine component, the festival has also become a showcase for Huntington wines and good food, with interval refreshments, gourmet meals and a selection of Huntington wines. As Stevens says: “Our barrel hall is transformed into a concert hall, the packing shed into an art gallery and the grounds into a restaurant and bar.”

Trio Marvin: Marius Urba, Vita Kan, Marina Grauman

Since 2006 (and with the change in ownership of the Mudgee-located Huntington Estate) the festival has been presented by owners Tim and Nicky Stevens, with Carl Vine as Artistic Director and Musica Viva managing the music.

As well as the festival finishing this year, Vine will also be stepping down as Artistic Director of Musica Viva.

Festival CEO and General Manager of the winery, Nicky Stevens, reflects on the festival and its meaning for them: “It’s been a privilege to partner with Carl Vine and Musica Viva Australia to host the Huntington Estate Music Festival in Mudgee for the past 13 years. Huntington Estate is so grateful for the support of Musica Viva and our many partners, including Theme & Variations Piano Services and the ABC, and for our audience and artists who come from all around Australia and from all corners of the globe.”

Although it will be the last, the November 2019 festival is still one to anticipate. Comprising ten concerts spread over nine days, the festival is divided into two parts. The Opening Weekend Program comes first, with the Main Festival Program beginning on the following Wednesday. Vine says: “Devising musical content for the last Huntington Festival ever has been a daunting prospect.”

Isabelle Moretti 6

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The Opening Weekend is a two-concert ‘Taste of Huntington’, and the 2019 event will showcase the most varied line-up of national and international artists ever seen at an Opening Weekend of the festival. The weekend concert program was originally formulated during the time Bob Roberts was at

the helm and was designed to accommodate the large number of people who could not attend the main festival. Consequently, most of the performances in the Opening Weekend Program are repeated in the Main Festival Program later in the week. This year’s event will feature star violist Maxim Rysanov, who plays an instrument made in 1780 by Giuseppe Guadagnini, and will also include other renowned artists and ensembles, such as the Goldner String Quartet.

Trio Marvin, winner of the 2018 Melbourne International Chamber Music Competition, will open the first Opening Weekend concert with the Brahms Piano trio in C minor, op 101. Trio Marvin is based in Germany and won the 2017 Mendelssohn-Bartholdy Competition in Berlin.

The Sydney Morning Herald has described the Trio as ‘A group worth watching for [its] dedication, insights, and a performance bravado that catches your breath’. The C minor Trio is the last, and possibly the least wellknown, of Brahms’ piano trios. It is also one of his shorter chamber works and incorporates four short but intense movements. The Trio was a favourite of Brahms’ friend Clara Schumann.

The Brahms will be followed by Arcadia Winds playing Wind quintet no 1 by Jean Françaix. As Musica Viva Australia’s inaugural FutureMakers musicians (2015-17), Arcadia Winds is known for its ‘energetic, joyful and spontaneous performance’. The group will be performing a work that the composer himself has said was ‘very demanding, permitting the five players to display their virtuosity to the fullest’.

Festival Program. In addition to the performers from the Opening Weekend, the Main Concert Program will see pianists Alexander Gavrylyuk and Ian Munro, French harpist Isabelle Moretti and Australian tenor Andrew Goodwin as well as the Australian String Quartet take the stage.

Alexander Gavrylyuk

After interval, Maxim Rysanov and Aura Go will perform Benjamin Britten’s Lachrymae: Reflections on a song of Dowland, op 48.

Originally from the Ukraine, Rysanov trained in Moscow and London and has worked as a soloist worldwide, with the American Record Guide calling him ‘the kind of musician who can do the musical equivalent of reading from the phone book and making it exciting’.

Rysanov will be accompanied by Australian pianist Aura Go who regularly performs as a soloist, chamber musician and conductor.

Britten wrote Lachrymae, a set of variations on a theme by late-Renaissance English composer John Dowland, for the American violist William Primrose who performed it at the 1950 Aldeburgh Festival in Britain. It is now regarded as ‘one of the outstanding viola compositions’ of the 20th century.

Saturday’s program will conclude with the Goldner String Quartet performing Brahms’ String quartet in A minor, op 51 no 2. Formed in 1995, the Goldner String Quartet, an internationally renowned chamber group, is named after Richard Goldner, founder of Musica Viva Australia, and retains all four original members. Nicky Stevens says that the Goldner String Quartet has been with the Huntington Festival since the beginning and is a firm audience and organiser favourite.

Brahms’ A minor Quartet was one of a pair of quartets (his opus 51) that ‘helped revitalise the great but moribund tradition of the string quartet’, which had declined after Beethoven and Schubert.

The Sunday morning concert will begin with Arcadia Winds performing Hungarian composer Endre Szervánszky’s Wind quintet no 1, followed by Aura Go and Debussy’s L’île joyeuse for solo piano. The Goldner String Quartet will complete the first half of the program with Carl Vine’s String quartet no 6, subtitled Child’s play. As well as his role with Musica Viva, Vine is also a lecturer in composition and one of Australia’s bestknown composers. String quartet no 6 was

commissioned by Musica Viva Australia, with Michael and Frédérique Katz whose aim was to support ‘music that uplifted, edified and elated’. This will be the first Australian performance of the Quartet since its premiere in 2017.

After the interval, Aura Go will return to the stage with Debussy’s Suite bergamasque in the revised version of 1905. Although Debussy rejected the term ‘impressionist’, analyst David Cox has said that Debussy ‘created a new, instinctive, dreamlike world of music’. The suite has four movements, the third of which, the famous Clair de lune (Moonlight), was inspired by a poem of Verlaine.

The concert concludes with Trio Marvin and Maxim Rysanov performing Robert Schumann’s Piano quartet in E flat major, op 47. One of the most frequently performed works in the repertoire, it was composed in 1842, a year during which Schumann concentrated on writing chamber music, having previously written only one chamber work.

After the Sunday concert the guests’ time is once again their own, until the festival recommences on Wednesday with the Main

Highlights of the main program include the opening of the first concert with Alexander Gavrylyuk playing Mozart’s Piano sonata no 16 in C major, K54 and Liszt’s Grandes études de Paganini, S141. The audience will have the chance to listen to Maxim Rysanov several more times during the following days, and other concerts will see the Australian String Quartet performing alone and in conjunction with other artists, including with the Goldner String Quartet for a performance of Jakub Jankowski’s String octet. The main program will conclude on the last day with Festival coda, a new work by Carl Vine that will be performed by all of the musicians.

Despite this being the last Huntington Estate Music Festival, the Huntington Estate will continue an association with chamber music through its education and sponsorship programs and will retain its connection with the local community. The 2019 Music Development Program has three strands that will incorporate the Large Ensemble continuing under tutor Mark Walton, a Small Ensemble of senior musicians, and the support and development of the new Mudgee Public Strings group. Huntington Estate will also continue as a sponsor of Fine Music 102.5, Musica Viva, the Opera Australia Foundation and the Omega Ensemble.

Coming to the end of the Festival after 30 years Nicky Stevens says: “The festival has enriched our lives, bringing so many wonderful people and experiences into our winery. We’ve shared some extraordinary moments with our audience over the years, and this Spring we look forward to presenting an unforgettable festival, a fitting finale to this amazing event.”

EVENT

Maxim Rysanov

HUNTINGTON ESTATE MUSIC FESTIVAL With international and Australian musicians DATES Opening Weekend Saturday 16, Sunday 17 November Main Festival Wednesday 20 to Sunday 24 November VENUE Huntington Estate Winery 641 Ulan Road, Buckaroo (Mudgee), NSW 1800 995 931 or 6372 2835 www.huntingtonestate.com.au AUGUST 2019

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TEACH ME TO DANCE! CHRIS BLOWER PLACES ZORBA IN CONTEXT When Alan Bates asked Anthony Quinn to teach him to dance in the final scene of the 1964 film Zorba the Greek, the haunting theme by Mikis Theodorakis was for many a first taste of Greek music. In the film, Basil, an English writer on his way to inspect a disused mine in Crete owned by his father, meets Zorba, a larger-than-life local peasant. When things inevitably go wrong, Zorba shows Basil how to enjoy life even under the most trying circumstances.

Zorba’s dance is a simplified version of the dance known as sirtaki. Although a fairly recent development, sirtaki has its roots in the hasapiko, a Turkish-Greek folk dance from Constantinople in which members of the butchers’ guild performed a battle mime with swords. The Turkish connection is a reminder of the chequered history of the region and the diverse nature of the various parts of present-day Greece. The influence of the Byzantine Empire is most strongly felt in the Aegean islands, including Crete. Being relatively isolated, these islands developed

gentle and exceptionally beautiful, songs and dances are usually accompanied by the clarinet. A major composer from this region is Dimitris Dragatakis. Considered to be one of the most important modern Greek composers, he was influenced both by the musical traditions of Greece and by ancient Greek drama.

Scene from Zorbas suite-ballet

music with its own characteristics. Commonly used was the lyra, a bowed instrument held on the player’s lap in much the same way as a small viol.

The Ionian Islands off the west coast owe their musical heritage more to Western traditions than to the East. At one time under Venetian influence and control, it is not surprising that Italian-style operas became particularly popular.

A third distinctive style of Greek music is from Epirus, in north-western Greece. Relaxed,

Theodorakis was actively involved in Greek politics as well as being in the forefront of Greek music. When the Colonels took power in 1967, he founded the Patriotic Front. He was arrested, jailed, banished and finally interned in a concentration camp. After interventions by supporters such as Dmitri Shostakovich and Leonard Bernstein, he was released to go into exile in Paris.

With a rich and varied heritage, the music and musicians of Greece deserve to be more widely known.

You can hear Zorbas suite-ballet by Theodorakis in Sunday Special on 4 August at 3pm.

IVOR AND NOËL DEREK PARKER RECALLS SOME MASTERS OF THEATRE Between the mid-1930s and the end of the 1940s, Ivor Novello and Noël Coward took centre stage in the English musical theatre.

Crowds collected every evening outside Drury Lane to greet Novello after his leading performances in his own musicals, while Coward was fêted in London and on Broadway for his wit and elegance as a comedian, and for his innumerable songs.

Madame Clara Novello Davies, the Welsh singer and conductor, raised her son Ivor on Viennese operettas. His own musicals, from The dancing years (1939) to King’s rhapsody (1949), brimmed with arguably the most gorgeous melodies ever written for the English musical stage.

Noël Coward’s style is not so wedded to that of Lehár, but for his only operetta, Bitter sweet, he wrote the beautiful melodies I’ll see you again and If love were all. He went on to write successes such as Some day I’ll find you (in Private Lives, of 1930) and other memorable songs for his plays and revues.

Both men were exceptional actors, mainly in their own plays, although Novello had appeared in a variety of pieces before playing the lead in his first great musical success, Glamorous night (1935), and going on to be the leading man of all his other shows. Coward, 8

AUGUST 2019

Ivor Novello

Noël Coward

too, was at his best in his own plays. Neither were singers: certainly not Novello, although Coward used his voice with exceptional skill in his cabaret performances.

he could not help it: songs ranging from Fold your wings, We’ll gather lilacs and Waltz of my heart, to the touching Finder, please return from his last show, Gay’s the word (1950).

As composers, both men did their own thing with consummate skill. Coward was his own witty librettist, turning out winning numbers for his successful plays and memorably sharp satire for revue, with songs such as Don’t put your daughter on the stage and The stately homes of England. Novello had a fine librettist in Christopher Hassall, and poured out lush, romantic numbers with great ease as though

Their time has passed as it has for their contemporaries Thomas Dunhill, Vivian Ellis and the later Julian Slade; their shows will never be revived. Nevertheless, while people still love melody, the music of Ivor and Noël will surely never be completely forgotten.

Hear the scintillating melodies of Ivor Novello and Noël Coward at 1pm on 29 August.

THE CREATOR OF PAGLIACCI ROBERT GILCHRIST GIVES AN OVERVIEW Many composers are known for only one piece of music, even though they wrote many. Claude-Joseph Rouget de Lisle comes immediately to mind. He composed the stirring national anthem of France, La Marseillaise.

And what of James Pierpont? His one hold on distinction, besides being the uncle of robberbaron James Pierpont Morgan, is that he wrote the Christmas tune, Jingle bells.

Alas, Neapolitan composer Ruggero Leoncavallo is also on this list of ‘one-hit wonders’. The son of Vincenzo Leoncavallo, a police magistrate and judge, Leoncavallo was born in Naples in 1857. He was educated at the city’s Conservatory, and later at the University of Bologna where he studied literature which proved handy for his later work as the librettist for his own operas (as was Wagner for his operas).

Leoncavallo came of age just in time to embrace the new music of verismo, or realism.

Examples of this style can be heard in Bizet’s Carmen or Mascagni’s Cavalleria rusticana.

Leoncavallo’s single, lasting contribution to verismo was his opera, Pagliacci, meaning clowns, or buffoons. Premiering in 1892, Pagliacci was greeted with great enthusiasm, and is still one of the most popular works in the opera repertoire. Its most famous aria, Vesti la giubba, later recorded by Caruso, was the first music recording to sell over a million copies and remains popular today.

An unfortunate destiny for any musician is to be the composer of ‘the other one’, a version of the same, but more famous work by another composer. There are two great examples of this in Italian opera. One is Paisiello’s The barber of Seville, which is still heard occasionally. Now it is a historical curiosity and, at the time, it was totally overshadowed

by Rossini’s later work of that name.

The other is Leoncavallo’s La bohème, which premiered in 1897. It was meant to rival that of Puccini but, although it pleased the public somewhat, Puccini’s more sophisticated and better-orchestrated work quickly outstripped Leoncavallo’s in popularity. At least one treatment of the life of Puccini suggests that the two composers engaged in a nasty rivalry but curiously, Leoncavallo wrote part of the libretto for Puccini’s opera, which premiered to great acclaim in Turin in 1896.

After La bohème, Leoncavallo never again regained his credibility in Italy. His later operas formed a succession of spectacular failures and tepid successes and none remains in the standard repertoire. He died on 9 August 1919 and this month we commemorate

Scene from Pagliacci

the centenary by broadcasting his most successful opera, Pagliacci, and the ‘runnerup’, La bohème.

Both versions of La bohème are based on Henri Murger’s novel, Scènes de la Vie de Bohème and both employ the same characters. In one sense Leoncavallo aimed higher since his libretto, which he wrote himself, contains a great deal more character and incident than Puccini’s. The main problem with this is one of dramatic perspective. There is so much subsidiary action and musical divertissement in the first two acts that the characters rarely have a chance to register as real personalities. When the intimate drama finally gets going in Act III, it’s too late to care much about it.

Butterfly, The girl of the golden West premiered at the Metropolitan Opera House in New York City. The initial production with the tenor Enrico Caruso in the cast was a success but the opera failed to achieve any lasting popularity. However, the opera is admired for its impressive orchestration and, while it has fewer impressive highlights than his previous operas, it is more melodically integrated.

An odd but interesting remark was made by Toscanini who conducted the premiere. He called the opera ‘a great symphonic poem’.

To compound matters, Leoncavallo’s slender musical gifts are heard to best advantage in the early, lighter Ruggero Leoncavallo Giacomo Puccini portions of the opera. Here the music appropriately suggests a French operetta Over the course of the next decade, a string of style, and much of it is charming. Later on, the musical disappointments followed for Puccini. score vacillates uneasily between pseudoHe was not to enjoy the success of his last Wagnerian chromaticism, empty banality and opera Turandot, unfinished at his death and good old-fashioned verismo melodrama. The completed by Franco Alfano two years later. truth is that the difference between the two Despite this, at the time of his passing in 1924, operas lies in Puccini’s operatic genius which Puccini had become the most commercially was exemplified by realistic action, accessible successful opera composer of all time, worth melodies and skilled orchestration. In short, the equivalent of an estimated $200 million.

Puccini was at the ‘top of his game’ with La This month in At the Opera we broadcast bohème.

Pagliacci, the two versions of La bohème, and In the early 20th century, while dealing The girl of the golden West on Wednesday with ongoing crises in his personal life, nights at 8pm.

Puccini continued to compose. In 1910, six years after his previous opera Madama AUGUST 2019

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MORNING TEA & BISCUITS

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JUNE 24 JUDI DENCH ‘ RED JOAN” JULY 22 RALPH FIENNES’ THE WHITE CROW. AUGUST 5. EMMA THOMPSON “LATE NIGHT”

RARELY SEEN ARCHIVAL FOOTAGE OF THIS ICONIC AUSTRALIAN ROCK BAND 80S-90S LEGEND.

DANNY BOYLE’S GLOWING TRIBUTE TO THE BEATLES AND THEIR MUSIC.

MYSTIFY: MICHAEL HUTCHENCE

FEATURING LILY JAMES AND JAMES CORDEN.

YESTERDAY

SELECTED SCREENINGS FROM JULY 5

NOW SHOWING A COMEDY DRAMA ABOUT A MALE SYNCHRONISED SWIMMING TEAM. AFFECTING MOMENTS, AN UPLIFTING TONE, AND AN INFECTIOUS SENSE OF HUMOUR, ALL OF WHICH COMBINE TO KEEP IT AFLOAT.

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THE WHITE CROW FROM JULY 18

SIX INSPIRATIONAL AUSTRALIAN AND NEW ZEALAND PILGRIMS SET OUT TO CONQUER THE ALMIGHTY 900KM CAMINO DE SANTIAGO.

DONALD GLOVER SETH ROGEN JAMES EARL JONES

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BRYAN BROWN SAM NEILL RICHARD E.GRANT GRETA SCACCHI IN RACHEL WARD’S

RALPH FIENNES FILM OF RUDOLF NUREYEV. “ LOVELY, ELEGANT…THE BALLET SCENES ARE STUNNING. ”VARIETY.

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HUGH BONNEVILLE MAGGIE SMITH MICHELLE DOCKERY

DOWNTON ABBEY FROM SEPT 12

Thursday 1 August 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Simon Moore 9:00 DIVERSIONS IN FINE MUSIC The instruments: Winds Prepared by Paul Cooke Arnold, M. Flute concerto no 1, op 45 (1954).

Richard Adeney, fl; Bournemouth Sinfonietta/ Ronald Thomas.

EMI CDM 7 63491 2 12 Hummel, J. Grand serenade no 1, op 63 (c1814). Dieter Klöcker, cl; Jörn Maatz, bn; Ernö Sebestyen, vn; Sonja Prunnbauer, gui; Ighsvan Turnagoel, gui; Werner Genuit, pf.

LP Schwann VMS 1051 17 Ries, F. Introduction and polonaise, op 119.

Uwe Grodd, fl; Matteo Napoli, pf.

Naxos 8.572038 10 Graupner, C. Bassoon concerto in G. Daniel Smith, bn; English CO/Philip Ledger.

ASV QS 6177 9 Higdon, J. Song (1995). Nicole Riner, fl.

Albany TROY1395 6 Hurlstone, W. Sonata in F (1891). Peter Musson, bn; Stephen Emerson, pf.

Continuum C 1079 17 Ruiz-Pipó, A. Trio en miniatures (1997).

Angela Sondermann, fl; Marion Michel, cora; Wolfgang Weigel, gui.

Naxos 8.573971 6 10:30 CONCERT HALL Prepared by Jacky Ternisien Kraus, J.M. Incidental music to Olympie (1792). New Zealand SO/Uwe Grodd.

Naxos 8.570334 21 Kuhlau, F. Piano concerto in C, op 7 (c1811).

Amalie Malling, pf; Danish National RSO/ Michael Schonwandt.

Chandos CHAN 9699 33

Stanford, C. Villiers Symphony no 7 in D minor, op 124 (1911). Bournemouth SO/David Lloyd-Jones.

Naxos 8.570285 28 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 THE BEATLES From ‘pop’ to classical Prepared by Jacky Ternisien Lennon - McCartney. A hard day’s night.

Royal Liverpool PO/Carl Davis.

Carl Davis C011 3 Brouwer, L. Songs after the Beatles: She’s leaving home; A ticket to ride; Eleanor Rigby.

Flavio Cucchi, gui; Tessarini CO/Enrique Ugarte.

ARC EUCD 1442 11 Lennon, J. Imagine. Froncysyllte Male Voice Choir/Leigh Mason.

Decca 278 0618 4 Lennon - McCartney. All together now.

Barnes Theatre Group, voices; Royal Liverpool PO/Carl Davis.

Carl Davis CDC011 10 McCartney, P. Eleanor Rigby (1966). Guitar Trek.

ABC 442 508-2 2 Rutter, J. Beatles concerto (1979). Peter Rostal, pf; Paul Schaefer, pf; Royal PO/John Rutter. ucj 476 124-2 24 14:00 CLASSICAL CHAMBER Prepared by Elaine Siversen Kreutzer, J. Grand trio, op 16. Alexa Still, fl; Robert Alemany, cl; JoAnn Falletta, gui.

Koch 3-7404-2H1 19

CONTINUING PROGRAM SERIES A Musical Caravan prepared by Frank Morrison: Fridays 2, 16 at 2pm Musical Families prepared by Jennifer Foong: Tuesdays 6, 20 at 2pm A New Life on These Shores prepared by Frank Morrison: Tuesdays 13 and 27 at 2pm Evenings with the Orchestra, Music from the New World prepared by David Brett: Friday 16 at 8pm Come to the Opera prepared by Derek Parker: Saturday 17 at 1pm Sunday Special, Rarities from the Russian Archives prepared by Paolo Hooke: Sunday 18 at 3pm New: The London Proms prepared by Ron Walledge: Fridays 9, 23 at 2.30pm New concert recording: SUGC performance of Rossini’s La petite Messe solenelle: Saurday Matinee, Saturday 3 at 2.30pm

Hummel, J. String quartet in C, op 31 no 1 (1804). Delmé Quartet.

Helios CDH55166 25 Mozart, W. Horn quintet, in E flat, K407 (1782). Stephen Bell, hn; Peter Cropper, vn; Robin Ireland, va; Ronald Birks, va; Bernard Gregor-Smith, vc.

ASV DCA 968 19 Schubert, F. Piano trio in E flat, D929 (1827).

Richard Tognetti, vn; Julian Smiles, vc; Kathryn Selby, pf.

Fine Music concert recording 47 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm 19:00 THE NEW JAZZ STANDARD with Frank Presley 20:00 THE WORLD OF A SYMPHONY Prepared by Madilina Tresca Schumann, R. Excercises (1833). Cyprien Katsaris, pf.

LP Teldec 6.43113 18 Bruckner, A. Psalm 150 (1892). Juliet Booth, sop; Corydon Singers & O/Matthew Best.

Hyperion CDA66599 8 Brahms, J. Clarinet sonata in F minor, op 120 no 1 (1894). Donald Westlake, cl; Geoffrey Parsons, pf.

LP RCA VRL1 0341 23 Schoenberg, A. Lied der Waldtaube, from Gurre-Lieder (1900-03; orch. 1910-11).

Jennifer Lane, mezz; Twentieth Century Classics Ensemble/Robert Craft.

Naxos 8.557520 13 Mahler, G. Symphony no 1 in D, Titan (1888/93/96-98). Bavarian RSO/Rafael Kubelik.

DG 477 8825 50 22:00 CRAZY CAT Prepared by Mariko Yata Scarlatti, D. Harpsichord sonata in G minor, Kk30, Cat’s fugue (pub. 1738). Robert Aldwinckle, hpd.

IMP PCD 850 4 Chopin, F. Waltzes, op 34: nos 1, 2 and 3 (1835-38). Artur Rubinstein, pf.

RCA RD89564 13 Mozart, W. Non più andrai, from The marriage of Figaro, K492 (1786). John Pringle, bass; Queensland SO/Richard Bonynge.

ABC 446 276-2 4 Rossini, G. Comic duet for two cats (1816).

Elisabeth Söderström, sop; Kerstin Meyer, mezz; Jan Eyron, pf.

BIS CD-17 4 22:30 ULTIMA THULE with George Cruickshank Ambient and atmospheric music AUGUST 2019

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Friday 2 August 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 Brahms, J. Excerpts from Hungarian dance suite (1852/69; arr. Webster). Geoffrey Collins, fl; Catherine McCorkill, cl; Ian Munro, pf.

Fine Music concert recording 13 Debussy, C. Jeux (1913; arr. Bavouzet).

Vladimir Ashkenazy, pf; Vovka Ashkenazy, pf.

Decca 478 1090 17 Bach, J.S. Chromatic fantasia and fugue in D minor, BWV903 (c1720; arr. Sitsky). Vernon Hill, fl; David Nuttall, ob; Alan Vivian, cl; Richard McIntyre, bn; Robert Johnson, hn.

Fine Music concert recording 11 Marais, M. Séméle, Act II (1709; arr. Harvey).

Belinda Montgomery, sop; Alexander Knight, bar; Mikaela Oberg, baroque fl; Fiona Ziegler, vn; Jennifer Eriksson, va da gamba; Catherine Upex, va da gamba; Raymond Harvey, hpd.

Fine Music concert recording 18 Haydn, J. Symphony in G, Hob.I:94, Surprise (1791; arr. Salomon). Ensemble of the Classic Era. ABC 472 561-2 22 10:30 CONCERT HALL Prepared by Denis Patterson Rossini, G. Overture to The siege of Corinth (1826). Royal Concertgebouw O/Riccardo Chailly.

Radio Nederland RCO 08005 10 Tchaikovsky, P. Francesca da Rimini, symphonic fantasy after Dante, op 32 (1876).

SO of Russia/Veronika Dudarova.

Olympia OCD 512 A&B 25 Offenbach, J. Cello concerto in G, Concerto militaire (1847). Guido Schiefen, vc; Cologne WDR RO/Helmut Froschauer. cpo 777 069-2 24 Mozart, W. Symphony no 35 in D, K385, Haffner (1782). Royal Concertgebouw O/ Nikolaus Harnoncourt.

Radio Nederland RCO 06004 23 12:00 A JAZZ HOUR with Barry O’Sullivan 13:00 AUSTRALIAN CHAMBER MUSIC Prepared by James Nightingale Westlake, N. Jovian moons (2001/02). Slava Grigoryan, gui; Michael Kieran Harvey, pf.

12

ABC 476 5744 16 AUGUST 2019

Boyd, A. A little feather on the breath of God (2002/13). Lamorna Nightingale, fl; Jocelyn Fazzone, pf. www.fluteworthy.com.au 4

Westlake, N. Suite from Antarctica (1992).

Slava Grigoryan, gui; Melbourne SO/Nigel Westlake.

ABC 476 5744 24

Greenbaum, S. Sonata (2013). Ken Murray, gui.

Lyrebird LB151217 21

22:00 BAROQUE AND BEFORE Rosenmüller 400th anniversary Prepared by Susan Foulcher

Schultz, A. After Nina, op 73 (2007). Paul Dean, cl; Patrick Murphy, vc; Stephen Emmerson, pf.

Wirripang WIRR 065 11 14:00 A MUSICAL CARAVAN Prepared by Frank Morrison Bloch, E. Concerto grosso no 1 (1924-25).

Israel CO/Yoav Talmi.

Chandos CHAN 8593 24 Schoeck, O. Two piano pieces, op 29.

Desmond Wright, pf.

Musica Helvetica MH 85.2 8 Albicastro, H. Motet: Coelestes angelici chori. Guy de Mey, ten; Ensemble 415.

Harmonia Mundi HMC 905208 13 Bagdasarjanz, U. Gypsy romance. Melanie Di Cristino, vn; Raluca Stirbat, pf.

Gallo 1251 5 Martin, F. Concerto for seven wind instruments, timpani, percussion and strings (1949). Royal Concertgebouw O/Riccardo Chailly.

Radio Nederland RCO11004 20 Linde, H-M. Music for a bird (pub. 1649).

Greg Dickmans, rec.

Move MD 3163 6 Radermacher, E. Dreams have open eyes (1996). Elizabeth Glauser, mezz; Eva Zurbrügg, vn; Angela Schwartz, vc; Erika Radermacher, pf.

SRI 002.2 4 Honegger, A. String quartet no 1 (1916-17).

Quatuor Ludwig.

Timpani 1C1011 27 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm 19:00 FRIDAY JAZZ SESSION with Christopher Waterhouse An hour of the best in jazz with a weekly ‘album of the week’ feature and a guide to upcoming live jazz gigs in Sydney 20:00 EVENINGS WITH THE ORCHESTRA Prepared by Robert Small Mendelssohn, F. Double piano concerto no 1 in E (1823). Stephen Coombs, pf; Ian Munro, pf; BBC Scottish SO/Jerzy Maksymiuk.

Hyperion CDA66567 30 Elgar, E. Symphony no 1 in A flat, op 55 (1908). Sydney SO/Vladimir Ashkenazy.

Exton EXCL-00027 52

Rosenmüller, J. Psalm 37: Habe deine Lust an dem Herren. Miriam Feuersinger, sop; Les Escapades.

Christophorus CHR 77425 4 Suite in C, from Studentenmusik (pub. 1654).

Mary Springfels, bass viol; Paul O’Dette, theorbo; King’s Noyse/David Douglass.

Harmonia Mundi HMU 907179 12 Schütz, H. Es ging ein Sämann aus, zu säen seinen Samen, from Symphoniae sacrae III (pub. 1650). Mieke van der Sluis, sop; Michael Chance, ct; Christoph Prégardien, ten; David Thomas, bass; Stuttgart Chamber Choir; Annette Sichelschmidt, vn; Ghislaine Wauters, vn; Bernhard Junghänel, curtal; Musica Fiata/Frieder Bernius.

Harmonia Mundi RD 77910 9 Rosenmüller, J. Lieber Herre Hott, wecke uns auf. Ellen Hargis, sop; Mary Springfels, bass viol; Paul O’Dette, theorbo; King’s Noyse/David Douglass.

Harmonia Mundi HMU 907179 4 Cavalli, F. Canzon, from Musiche sacrae (pub. 1656). Palladian Ensemble.

Linn CDK 015 6 Rosenmüller, J. Sinfonia prima in F (pub.

1667). Hespérion XX/Jordi Savall.

Astrée E 8709 10 Legrenzi, G. Sonata seconda á quattro (1682). Concerto Italiano/Rinaldo Alessandrini. naïve OP 30531 6 Sonata no 5, à quattro viole da gamba o come piace aus La cetra (1673). Concerto di Viole.

Harmonia Mundi HMG 501651 6 Rosenmüller, J. Sonata XI á 5; Sonata VII á 4, from Sonatas for 2, 3, 4 and 5 string instruments and others (pub. 1682). Mary Springfels, bass viol; Paul O’Dette, theorbo; King’s Noyse/David Douglass.

Harmonia Mundi HMU 907179 12 Magnificat; Gloria. Cantus Cölln/Konrad Junghänel.

Harmonia Mundi 05472 77181 2 28 Sonata IX in D (pub. 1682). Hespérion XX/ Jordi Savall.

Astrée E 8709 6 “The flute is not an instrument that has a good moral effect.” — Aristotle

Saturday 3 August Arnold, M. English dances set II, op 33 (1951). Philharmonia O/Robert Irving.

EMI 5 66120 2 9 11:30 ON PARADE Music that’s band Prepared by Owen Fisher Quilter, R. A children’s overture. Black Dyke Mills Band/Roy Newsome.

LP Astor GH 641 8 Elgar, E. Nimrod. Vincent Pingard, cornet; Parramatta City Brass Band/Jonathan Gatt.

PCBB PCBB 2 4 Enrique Granados

0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SATURDAY MORNING MUSIC Prepared by 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 Granados, E. Allegro de concierto. Alicia de Larrocha, pf.

Decca 417 795-2 8 Beethoven, L. Six variations in G on Paisiello’s Nel cor più non mi sento, WoO70 (1795). Jenö Jandó, pf.

Naxos 8.550676 5 Schubert, F. Piano sonata no 20 in A, D959 (1828). Alfred Brendel, pf.

Philips 422 229-2 37 10:00 MUSIC OF THE DANCE Prepared by Chris Blower Arnold, M. Four Cornish dances, op 91 (1966). Queensland SO/Andrew Penny.

Naxos 8.553526 9 Tomlinson, E. First suite of English folk dances (1951). Light Music Society O/Vivian Dunn.

EMI 7 64131 2 14 Arnold, M. Four Scottish dances, op 59 (1957). Philharmonia O/Bryden Thomson.

Chandos CHAN 10412X 9 Britten, B. Choral dances, from Gloriana (1953, arr. 1954/67). Gerald English, ten; Marshall McGuire, hp; Sydney Chamber Choir/Nicholas Routley.

Fine Music concert recording 11 Arnold, M. Four Irish dances, op 126 (1986).

London PO/Malcolm Arnold.

Lyrita SRCD 201 9 Purcell, H. Ayres and dances, from Dido and Aeneas (1689). Tasmanian Symphony Chamber Players/Geoffrey Lancaster.

ABC 456 667-2 17

Berlioz, H. Excerpt from The Trojans.

Yorkshire Imperial Metals Band; Cory Band; Fairey Engineering Band; Brighouse and Rastrick Band/Geoffery Brand.

LP Astor GH 641 5 Joplin, S. Easy winners rag. Canadian Brass.

Musica Viva MV 1011 4 Martyn, R. Pendine march. Royal Doulton Band/Edward Gray.

LP Astor GGS 1506 3 12:00 URBAN JAZZ LOUNGE with Leita Hutchings 13:00 WITHOUT WORDS Prepared by Angela Bell Bax, A. May night in the Ukraine, from Two Russian tone poems (1912). Ashley Wass, pf.

Naxos 8.557769 10 Balakirev, M. Symphonic poem: Tamara (1882). Philharmonia O/Yevgeny Svetlanov.

Hyperion CDA66586 22 Catoire, G. Sonata no 2 in D, op 20, Poème (1906). David Oistrakh, vn; Alexander Goldenweizer, pf.

Brilliant Classics 8402 20 Skryabin, A. Poem in F sharp, op 32 no 1 (1903). Tamara Anna Cislowska, pf.

ABC 476 6301 4 Suk, J. Symphonic poem: Praga, op 26 (1904). Northwest German PO/Alun Francis. cpo 999 576-2 24 14:30 SATURDAY MATINEE Petite Messe solenelle Rossini, G. Petite Messe solennelle (1863).

Elke Hook, sop; Ashlyn Timms, mezz; Benjamin Oxley, ten; David Hidden, bass; Antonio Fernandez, pf; Noah Peres, pf; Monika Kornel, reed org; Sydney University Graduate Choir/Christopher Bowen.

SUGC recording 1:24 Stabat Mater (1842). Helen Field, sop; Della Jones, mezz; Arthur Davies, ten; Roderick Earl, bass; London Symphony Ch; City of London Sinfonia/Richard Hickox.

Chandos CHAN 8780 59

Johann Vanhal

17:00 SOCIETY SPOT Folk Federation of NSW 18:00 THE MAGIC OF STAGE AND SCREEN Prepared by Adam Bowen Delerue, G. Suite from Cartouche. O/ Georges Delerue.

Universal 980-988-4 10 Moloney - Potts. Barry Lyndon (1975). The Chieftains.

Warner Bros 7599-25984-2 13 Raksin, D. Suite from Forever Amber (1947).

New Philharmonia O/David Raksin.

RCA GD81490 7 Mason, R. Suite from The outlaw Michael Howe (2013). O/Roger Mason.

Flying Fur recording 11 Trad. Moreton Bay, from Ned Kelly (c1800; arr. Fanning). Bernard Fanning, voice, gui; John Beddgood, fiddle; Jack Moncur, mand.

Decca 473 995-2 3 Newman, T. Excerpt from The highwaymen.

O/Thomas Newman.

Sony G0100040584582 6 19:00 THE BOHEMIAN SYMPHONY Prepared by Chris Blower Vanhal, J. Violin concerto in G. Josef Suk, vn; Suk CO/Josef Vlach.

Supraphon 32C37-7571 18 Trio in E flat, op 20 no 5 (1781). Deborah de Graaff, cl; Dimity Hall, vn; David Miller, pf.

Fine Music concert recording 2 Symphony no 4 in D (c1779). London Mozart Players/Matthias Bamert.

Chandos CHAN 9607 25 20:00 THE LIFE OF A COMPOSER Peter Sculthorpe Prepared by James Nightingale Sculthorpe, P. Sonatina (1954). TamaraAnna Cislowska, pf.

ABC 481 1181 7 AUGUST 2019

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Saturday 3 August

Sunday 4 August 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SUNDAY MORNING MUSIC Prepared by Terry McMullen 9:00 MUSICA SACRA Prepared by Stephen Matthews Vivanco, S. de Missa assumpsit Jesus. De Profundus/Robert Hollingworth.

Hyperion CDA 68257 40 Telemann, G. Cantata for the twelfth Sunday after Trinity. Klaus Mertens, bar; L’arpa Festante/Rien Voskuilen.

Deutsche Harmonia Mundi 19075 83289-2 12

Ottorino Respighi

Irkanda I (1955). Richard Tognetti, vn.

Chandos CHAN 10063 10 Sun music III (1967). Adelaide SO/David Porcelijn.

ABC 481 1293 12 The song of Tailinama (1974). Kirsti Harms, mezz; Sydney SO/Edo de Waart.

ABC 481 1293 10 String quartet no 9 (1975). Goldner String Quartet.

Tall Poppies TP176 13 Port Essington (1977). Helena Rathbone, vn; Cameron Retchford, vc; Australian CO/ Richard Tognetti.

ABC 481 1293 15 Djilile (1986). Tamara-Anna Cislowska, pf.

ABC 481 1181 5 Mangrove (2003). William Barton, did; Queensland SO/Michael Christie.

ABC 481 1293 15 Island songs (2012). Amy Dickson, sax; Sydney SO/Benjamin Northey.

ABC 481 1703 18 22:00 SATURDAY NIGHT AT HOME Prepared by Krystal Li Respighi, O. Church windows (1925). Buffalo PO/JoAnn Falletta.

Naxos 8.557711 25 Corelli, A. Sonata, op 5 no 7 (pub. 1710).

Gaetano Nasillo, vc; Guido Balestracci, va da gamba; Eduardo Egüez, theorbo; Massimiliano Raschietti, hpd.

Symphonia SY 98163 9 Casella, A. Scarlattiana, op 44 (1926). Martin Roscoe, pf; BBC PO/Gianandrea Noseda.

Chandos CHAN 10605 27 Rossini, G. Introduction, theme and variations for clarinet and strings. Vincenzo Mariozzi, cl; I Solisti Aquilani/Vittorio Antonellini.

Nuova Era 6910 13 Palestrina, G. da Missa Papae Marcelli (pub.

1567). Tallis Scholars/Peter Phillips.

Gimell GIMB 400 37 14

AUGUST 2019

10:00 THE CLASSICAL ERA Prepared by Rex Burgess Arriaga, J. Symphony in D minor (1824). Le Concert des Nations; La Capella Reial de Catalunya/Jordi Savall.

Astrée E 8532 29 Soler, A. Sonata no 97 in A, op 8 no 1 (1783).

Gilbert Rowland, hpd.

Naxos 8.554566 21 Fossa, F. de Guitar trio no 3 in F, op 18 (1808). Martin Beaver, vn; Bryan Epperson, vc; Simon Wynberg, gui.

Naxos 8.550760 27 Arriaga, J. Erminia. Rosamund Illing, sop; Melbourne SO/Heribert Esser.

ABC 434 898-2 14 Baguer, C. Symphony no 18 in B flat (c1790).

London Mozart Players/Matthias Bamert.

Chandos CHAN 9456 16 12:00 CLASSIC JAZZ AND RAGTIME with Maureen Meers The early days of jazz and ragtime as recorded during the first 30 years of the 20th century 13:00 WORLD MUSIC: Whirled Wide with Linda Marr Showcases diverse music from cultures around the world, both traditional and modern, featuring musicians from all corners of the globe, including Australia 14:00 EARLY 18th CENTURY IN FRANCE Prepared by Albert Gormley Couperin, F. Quatrième concert royal (1722).

Musica Ad Rhenum.

Brilliant Classics 94489 13 Rameau, J-P. Concert no 5 in D minor/major (pub. 1741). Ryo Terakado, vn; Kaori Uemura, va da gamba; Christophe Rousset, hpd.

Harmonia Mundi HMC 901418 14 Couperin, L. Suite in C minor, from Pièces de clavecin. Bob van Asperen, hpd.

Aeolus AE-10124 13 Rameau, J-P. Concert no 1 in E flat, C minor/ major (pub. 1741). Ryo Terakado, vn; Kaori Uemura, va da gamba; Christophe Rousset, hpd.

Harmonia Mundi HMC 901418 12

15:00 SUNDAY SPECIAL Zorba Prepared by Chris Blower Theodorakis, M. Tou pikramenou; I pandermi, from Seven songs of Lorca (1967).

Maria Farandouri, mezz; John Williams, gui.

Sony SMK 62266 8 Dragatakis, D. Symphony no 1 (1959).

Bulgarian RTO/Kamen Goleminov.

LP Concert Athens 91043 24 Baltas, A. Little suite (1970). Aeolos Woodwind Quintet.

Naxos 8.579037 6 Skalkottas, N. Five Greek dances (1937).

Camerata of St John’s.

Camerata of St John’s CSJ 1001 12 Theodorakis, M. Four epitaphs (c1939).

John Williams, gui.

Sony SMK 62266 8 Kalomiris, M. Easy piano pieces for Greek children, first cycle (1905-12). Aris Garoufalis, pf.

LP Concert Athens CP 925 9 Nasopoulou, A. Lelia doura (2012). Seldom Sene.

Brilliant Classics 94871 6 Theodorakis, M. Zorbas suite-ballet. Ioanna Forti, sop; Montreal Symphony Ch & O/ Charles Dutoit.

Decca 475 6130 34 17:00 HOSANNA Prepared by Stephen Matthews Hymns: Hymn to the Trinity; Hail gladdening light. Choir of Clare College, Cambridge/ Graham Ross.

Harmonia Mundi HMM 902270 9 Alcock, J. Psalm 84. Choir of Salisbury Cathedral/David Hills.

Priory PRCD 1173 4 Bach, J.S. Die Elenden sollen essen, BWV75/1. Bach Collegium Japan/Masaaki Suzuki.

BIS CD-1951 4 Todd, W. Magnificat; Nunc dimittis. Choir of Salisbury Cathedral/David Halls.

Priory PRCD 1173 8 Cesnokov, P. Cherubic hymn, op 29 no 51. 6 Rachmaninov, S. Cherubic hymn, op 31 no 8. 5 Choir of Clare College, Cambridge/Graham Ross (2 above) Harmonia Mundi 902270 Messiaen, O. L’institution de l’eucharistie.

David Goode, org.

Signum Records SIGCD 302 6 Wesley, S.S. Blessed be the God and Father. Choir of Clare College, Cambridge/ Christopher Robinson.

Naxos 8.570318 7

Sunday 4 August

Monday 5 August

18:00 SMALL FORCES Prepared by Rex Burgess Francoeur, F. Sonata no 1 in G (pub. 1720).

Kreeta-Maria Kentala, vn; Lauri Pulakka, vc; Mitzi Meyerson, hpd.

Glossa GCD 921809 13 Milhaud, D. La cheminée du roi René, op 205 (1939). Australian Wind Virtuosi.

Fine Music concert recording 13 Schumann, R. Three romances, op 94 (1849).

Douglas Boyd, ob; Maria João Pires, pf.

DG 479 5964 12 Shostakovich, D. Piano trio no 1 in C minor, op 8 (1923). Susie Park, vn; Timo-Veikko Valve, vc; Kathryn Selby, pf.

Fine Music concert recording 14 19:00 SUNDAY NIGHT CONCERT Prepared by Paul Cooke Austin, F. Overture: The sea venturers (1934). BBC Welsh NO/Rumon Gamba.

Chandos CHAN 10797 11 Mendelssohn, F. String symphony no 10 in B minor (1823). Australian CO/Richard Tognetti.

Sony SK 62005 9 Spohr, L. Clarinet concerto no 1 in C minor, op 26 (1808). Michael Collins, cl, Swedish CO/Robin O’Neill.

Hyperion CDA67509 20 Zemlinsky, A. The mermaid, symphonic fantasy (1903). New Zealand SO/James Judd.

Naxos 8.570240 41 20:30 NEW HORIZONS Prepared by Calogero Panvino Kurtág, G. ... quasi una fantasia ..., op 27 (1987-88). Hermann Kretzschmar, pf; Ensemble Modern/Peter Eötvös.

Sony SK 53290 9 Lachenmann, H. String quartet no 3, Grido (2002).

Kairos 0012662KAI 24 Gubaidulina, S. String quartet no 2 (1987).

Disques Montaigne 789007 11 Arditti String Quartet (2 above) Kurtág, G. Messages of the late Miss RV Troussova, op 17 (1976-80). Rosemary Hardy, sop; Ensemble Modern/Peter Eötvös.

Sony SK 53290 26 Ligeti, G. Melodien (1971). London Sinfonietta/David Atherton.

DG 474 327-2 13 22:00 AFTER HOURS JAZZ Laid-back late-night music to give a wonderfully smooth end to the busy day and to keep you company in the late evening. Lie back, relax, enjoy, but at times you can even tap your feet … discreetly.

Hector Berlioz

Jacques Ibert

0:00 CLASSIC-ALL THROUGH THE NIGHT

12:00 SWING SESSIONS with John Buchanan

6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with James Hunter 9:00 DIVERSIONS IN FINE MUSIC A year in retrospect: 1828 Prepared by Madilina Tresca Berlioz, H. Herminie (1828). Michèle Lagrange, sop; Lille NO/Jean-Claude Casadesus.

Harmonia Mundi HMC 901542 21 Schubert, F. Fantasy in F minor, D940 (1828). Paul Lewis, Steven Osborne, pf.

Hyperion CDA67665 18 Chopin, F. Rondo à la krakowiak in F, op 14 (1828). Jan Lisiecki, pf; NDR Elb PO/ Krzysztof Urbanski.

DG 479 6824 14 Glinka, M. Wherever I look (1828). Yevgeny Nesterenko, bass; Yevgeny Shenderovich, pf.

LP Melodiya 200 958-366 3 Hérold, F. Clog dance, from La fille mal gardée (1828; arr. Lanchbery). Royal Opera House O/John Lanchbery.

Decca 478 4746 2 Glinka, M. Nocturne in E flat (1828). Susan Drake, hp.

Hyperion CDA66340 5 Moscheles, I. Sonata concertante in G, op 79 (1828). Kazunori Seo, fl; Makoto Ueno, pf.

Naxos 8.573175 14 10:30 CONCERT HALL Prepared by Dan Bickel Dvorák, A. Overture: In nature’s realm, op 91 (1891). London SO/István Kertész.

Decca 452 946-2 14 Mozart, W. Violin concerto no 1 in B flat, K207 (1773). Takako Nishizaki, vn; Capella Istropolitana/Johannes Wildner.

Naxos 8.550414 26 Balakirev, M. Symphony no 1 in C (1897).

Philharmonia O/Yevgeny Svetlanov.

Hyperion CDA66691-2 44

Featuring bands of the 1930s swing era and the dance bands of the 1920s taken from radio broadcasts, transcriptions and recording sessions 13:00 DIVERSE CHAMBER Prepared by Elaine Siversen Kodály, Z. Cello sonata, op 4 (1910/21).

Miklós Perényi, vc; Jenö Jandó, pf.

Hungaroton HCD 31046 18 Korngold, E. Suite, op 23 (1930). Joseph Silverstein, vn; Jaime Laredo, vn; Yo-Yo Ma, vc; Leon Fleisher, pf.

Sony SK 48253 38 Myaskovsky, N. String quartet no 13 in A minor, op 86 (1949). Leningrad Taneyev Quartet.

Melodiya MA 3006 24 Dohnányi, E. Sextet in C for clarinet, horn, piano and string trio, op 37 (1935). Endymion Ensemble.

ASV DCA 943 30 15:00 CONCERTO FOR ORCHESTRA Prepared by James Nightingale Respighi, O. Church windows (1925).

Philharmonia O/Geoffrey Simon.

Chandos CHAN 8317 27 Ibert, J. Cello concerto (1925). Nathaniel Rosen, vc; Manhattan CO/Richard Auldon Clark.

Newport NPD 85598 14 Hindemith, P. Concerto for orchestra, op 38 (1925). Chicago SO/Neeme Järvi.

Chandos CHAN 9000 13 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm 19:00 JAZZ PULSE with Chris Wetherall 20:00 STORMY MONDAY with Austin Harrison and Garth Sundberg 22:00 THE AUSTRALIAN JAZZ SCENE with Susan Gai Dowling and Peter Nelson AUGUST 2019

15

Tuesday 6 August 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Julie Simonds 9:00 DIVERSIONS IN FINE MUSIC Colours of the keyboard Prepared by Rex Burgess Mendelssohn, F. Piano sonata in B flat, op 106 (1827). Martin Jones, pf.

Nimbus NI 5070 17 Poulenc, F. Flute sonata (1956). Amanda Hollins, fl; Richard Mapp, pf. atoll ACD 902 12 Milhaud, D. L’autumne, op 115 (1932). Billy Eidi, pf.

Discover DI 920167 10 Bach, C.P.E. Oboe sonata in G minor, Wq135 (by 1735). Linda Walsh, ob; Marcus Hartstein, vc; Lee Primmer, hpd.

Fine Music tape archive 10 Skryabin, A. Piano sonata no 2 in G sharp minor, op 18 (1892-97). Yuja Wang, pf.

DG 477 8140 12 Mozart, W. Piano sonata in D for four hands, K381 (1773-74). Lucas Jussen, Arthur Jussen, pf.

DG 481 2130 18 10:30 CONCERT HALL Prepared by Anne Irish Grieg, E. Two Nordic melodies, op 63 (1895).

Bergen PO/Ole Kristian Ruud.

BIS CD-1740/42 12 Lalo, E. Cello concerto in D minor (1876).

Paul Tortelier, vc; City of Birmingham SO/ Louis Frémaux.

EMI 7 69457 2 27 Glazunov, A. Symphony no 8 in E flat, op 83 (1906). Moscow SO/Alexander Anissimov.

Naxos 8.553660 43 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 18TH CENTURY SONATAS Prepared by James Nightingale Jacquet de la Guerre, E-C. Sonata IV in G (1707). Lina Tur Bonet, baroque vn; Patxi Montero, bass viol; Kenneth Weiss, hpd.

Pan Classics PC 10380 10 Telemann, G. Oboe sonata in A minor.

Paul Goodwin, ob; Nigel North, lute; Susan Sheppard, vc; John Toll, hpd.

Harmonia Mundi HMX 2908601.30 7 16

AUGUST 2019

Haydn, J. Keyboard sonata no 33 in D, Hob. XVI:37 (1780). Leif Ove Andsnes, pf.

EMI 5 56756 2 9 Beethoven, L. Cello sonata in G minor, op 5 no 2 (1796). Timo-Veikko Valve, vc; Kathryn Selby, pf.

Fine Music concert recording 23 14:00 MUSICAL FAMILIES Savall family Prepared by Jennifer Foong Arriaga, J. Overture to The happy slaves (c1820). Le Concert des Nations; La Capella Reial de Catalunya/Jordi Savall.

Astrée E 8532 8 Couperin, F. Troisième leçon de ténèbres (pub. 1717). Monserrat Figueras, sop; MariaCristina Kiehr, sop; Rolf Lislevand, theorbo; Jordi Savall, bass viol; Pierre Hantaï, hpd.

Auvidis/Valois V 4640 13 Anon. Improvisation on the villancico Rodrigo Martinez, from Cancionero musical de palacio.

Jordi Savall, va da gamba; Rolf Lislevand, gui; Arianna Savall, triple hp; Michael Behringer, org; Pedro Estevan, tambour; Adela GonzalezCampa, sleigh bells.

Alia Vox AVSA 9895 A/F 3 Purcell, H. Fantasia IX (c1680). Jordi Savall, pardessus de viole; Sophie Watillon, treble viol; Eunice Brandao, tenor viol; Philippe Pierlot, bass viol.

Astrée E 8536 5 Romero, M. Hermosas y enojadas, from The song-book of Claudio de Sablonara.

Montserrat Figueras, sop; Janneke van der Meer, baroque vn; Pere Ros, vle; Jordi Savall, va da gamba; Ton Koopman, hpd.

Philips 432 822-2 3 Trad. El noi de la mare (arr. Savall). Arianna Savall, voice, gothic hp, Italian triple hp; Petter Udland Johansen, voice, hardingfele, mand; Sveinung Lilleheier, voice, gui, dobro; Miguel Àngel Cordero, voice, db; David Mayoral, voice, perc.

ECM New Series 2227 278 4395 4 Monteverdi, C. Motet: Salve o Regina (pub 1624). Montserrat Figueras, sop; Lorenz Duftschmid, vn; Paolo Pandolfo, va; Rolf Lislevand, theorbo; Andrew Lawrence-King, double hp; Ton Koopman, hpd, org; Jordi Savall, cond.

Alia Vox AVSA 9884 B 6 Gow, N. Nathaniel Gow’s lament for the death of his brother (1791). Jordi Savall, treb viol, lyra viol; Andrew Lawrence-King, hp.

Alia Vox AVSA 9878 3 Triana, J. de Dinos madre del donsel, from El cancionero de la colombina. Montserrat Figueras, sop; Francesc Garrigosa, ten; Jordi Ricart, bar; Hesperion XX/Jordi Savall.

Astrée E 8763 5

Anon. Sibilla provençale. Monserrat Figueras, sop; Josep Cabre, narr; Robert Crawford Young, oud; La Capella Reial/Jordi Saval.

Astrée E 8705 13 Schein, J. Suite no 20 in E minor, from Banchetto musicale (pub. 1617). Hespèrion XX/Jordi Savall.

Erato 5 62028 2 6 Marais, M. La sonnerie de Ste Geneviève du Mont de Paris (1723). Fabio Biondi, vn; Rolf Lislevand, theorbo; Jordi Savall, bass viol; Pierre Hantaï, hpd.

Auvidis/Valois V 4640 8 Merula, T. Su la cetra amorosa. Montserrat Figueras, sop; Jean-Pierre Canihac, cornett; Lorenz Duftschmid, vle; Jordi Savall, va da gamba; Rolf Lislevand, vihuela, theorbo, gui; Andrew Lawrence-King, hp; Ton Koopman, hpd.

Alia Vox AVSA 9862 8 Telemann, G. Flute concerto in A minor. Le Concert des Nations/Jordi Savall.

Alia Vox AVSA 9877 15 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm 19:00 THE JAZZ BEAT with Lloyd Capps Smooth small group jazz from the 50s on, and with a visit from Miles Davis each week 20:00 RECENT RELEASES with Michael Field 22:00 CHAMBER SOIRÉE Prepared by Paul Hopwood Brahms, J. String sextet no 1 in B flat, op 18 (1860). Norbert Brainin, vn; Siegmund Nissel, vn; Peter Schidlof, va; Cecil Aronowitz, va; Martin Lovett, vc; William Pleeth, vc.

DG 419 875-2 34 Chopin, F. Cello sonata in G minor, op 65 (1845-46). Maria Kliegel, vc; Bernd Glemser, pf.

Naxos 8.553159 24 Bach, C.P.E. Trio sonata no 2 in D, Wq94 (1788). Nicholas McGegan, fl; Catherine Mackintosh, va; Anthony Pleeth, vc; Christopher Hogwood, fp.

L’Oiseau-Lyre 433 189-2 15 Chausson, E. Piano quartet in A, op 30 (1897). Claire Désert, pf; Kadinsky Quartet.

FNAC 592194 37 Chopin dedicated his Cello sonata in G minor to the cellist August Franchomme.

The work is a showcase for the cello with the development of the opening movement flowing from the cello’s opening statement.

Wednesday 7 August 10:30 CONCERT HALL Prepared by Denis Patterson

20:00 AT THE OPERA Prepared by Elaine Siversen

Elgar, E. Overture: In the South, op 50, Alassio (1904). Sydney SO/Vladimir Ashkenazy.

Exton EXCL-00029 21 Paganini, N. Violin concerto no 2 in B minor, op 7 (1826). Salvatore Accardo, vn; London PO/Charles Dutoit.

DG 437 210 2 31

Beniamino Gigl

0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Troy Fil 9:00 DIVERSIONS IN FINE MUSIC Inspired by literature Prepared by Dan Bickel Busoni, F. Two studies for Doktor Faust, op 51 (1918-9). Hong Kong PO/Samuel Wong.

Naxos 8.555373 19 Gounod, C. Un rat, plus pultron; Vous, qui faites l’endormie, from Faust (1859). Feodor Chaliapin, bass; Michael Cozette, bar; Paris Opera O/Henri Busser.

Naxos 8.110748 7 Wagner, R. A Faust overture (1840/43-44).

Bamberg SO/Otto Gerdes.

DG 477 5445 11 Schumann, R. Overture to Scenes from Goethe’s Faust, WoO3 (1853; arr.). Eckerle Piano Duo. Naxos 8.572879 8 Berlioz, H. Nature immense, from The damnation of Faust, op 24 (1845-46). Ben Heppner, ten; London Voices; London SO/ Myung-Whun Chung.

DG 471 372-2 6 Schubert, F. Scene from Faust, D126b (1814). Janet Baker, mezz; Dietrich FischerDieskau, bar; members of RIAS Chamber Choir; Gerald Moore, pf.

DG 435 596-2 7 Boito, A. Dai campi, dai prati ... Giunto sul passo estremo, from Mefistofele (1868).

Raymón Vargas, ten; Budapest SO/Riccardo Frizza.

Capriccio C5165 5 Liszt, F. Gretchen aus Faust-symphonie (1854-57; transcr. 1867). Leslie Howard, pf.

Hyperion CDS44517 16

Mozart, W. Symphony no 25 in G minor, K183 (1773). Mozart Akademie Amsterdam/ Jaap ter Linden.

Brilliant Classics 94295 28 12:00 JAZZ SKETCHES with Robert Vale World-wide contemporary jazz including contributions from Australian artists and those from culturally emerging nations 13:00 MUSIC FOR STRINGS Prepared by Paul Hopwood Beethoven, L. String trio in C minor, op 9 no 3 (1797-98). Oleg Kagan, vn; Yuri Bashmet, va; Natalia Gutman, vc.

Live Classics LCL 141 27 Taneyev, S. String trio in E flat, op 31 (1911).

Jerusalem String Trio.

Meridian CDE 84149 28 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 FOLLIES AND LOVES Prepared by Michael Morton-Evans Lully, J-B. Marche pour la cérémonie des Turcs. Le Concert des Nations/Jordi Savall.

Auvidis/Valois V 4640 2 Stuck, J-B. The reconciled lover (1706).

Taryn Fiebig, sop; Ensemble Battistin.

ABC 476 5941 12 Purcell, H. Sweeter than roses, from Pausanias (1695). Alfred Deller, ct; Walter Bergmann, hpd.

Vanguard OVC 2002/3 3 Lalande, M-R. de Excerpts from Les folies de Cardenio. Ensemble Baroque de Limoges/ Christophe Coin.

MBF 1108 36 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm 19:00 JAZZ STARS AND STRIPES with Peter Mitchell The stars of American jazz from bebop on, mainly small group low temperature jazz

Leoncavallo, R. Pagliacci (1892). Opera in a prologue and two acts. Libretto by the composer. First performed Milan, 1892.

CANIO: Beniamino Gigli, ten NEDDA: Iva Pacetti, sop TONIO: Mario Basiola, bar SILVIO: Leone Paci, bar La Scala Ch & O/Franco Ghione.

Naxos 8.110155 1:09 Synopsis at finemusicfm.com/Opera Oratorio: May night (1835). Plácido Domingo, ten; Bologna Municipal TO/Alberto Veronese.

DG 477 6633 41 Angioletto, il tuo nome? from Zazà (1900).

Renée Fleming, sop; Barbara Vignudelli, sop; Emma Latis, voice; Milan Symphony Ch & O/ Marco Armiliato.

Decca 478 1533 11 O mio piccolo tavolo, from Zazà. José Carreras, ten; London SO/Jésus López-Cobos.

Philips 426 643-2 5 È un riso gentil; Ma più, Zazà, raggiar vedrò, from Zazà. Roberto Alagna, ten; Royal Opera House O/Mark Elder.

EMI 5 57600 2 5 22:30 WIND MUSIC 1918-1939 The flute Prepared by James Nightingale Poulenc, F. Sextet (1932). Les Vents Français.

Warner Classics 0825646231850 17 Gaubert, P. Ballade (1927). Susan Milan, fl; Ian Brown, pf.

Chandos CHAN 8981/2 6 Bozza, E. Image, op 38 (1939). Marieke Schneemann, fl.

Brilliant Classics 95434 5 Goossens, E. Fantasy, op 36 (1924). Janet Webb, fl; Guy Henderson, ob; Lawrence Dobell cl; Christopher Tingay, cl; John Cran, bn; Fiona McNamara, bn; Robert Johnsohn, hn; Clarence Mellor, hn; Daniel Mendelow, tpt.

ABC 476 7632 10 Schulhoff, E. Flute sonata (1927). Sharon Bezaly, fl; Dejan Lazic, pf.

BIS CD-959 13 Varèse, E. Density 21:5 for solo flute (1936/46). onepoint.fm/Laurachislettjones 4 Boulanger, L. D’un matin de printemps (1918). David Miller, pf.

Walsingham WAL 8018-2 5 Laura Chislett, fl (2 above) Ibert, J. Flute concerto (1934). Susan Milan, fl; City of London Sinfonia/Richard Hickox.

Chandos CHAN 8840 20 AUGUST 2019

17

Thursday 8 August 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Simon Moore 9:00 DIVERSIONS IN FINE MUSIC The instruments: Winds Prepared by Madilina Tresca Telemann, G. Oboe concerto in G. Paul Goodwin, ob d’amore; King’s Consort/Robert King.

Helios CDH55269 16 Bellini, V. Casta diva, from Norma (1831; arr.). Amy Dickson, sax; London Session O/Chris Walden.

Sony 88725479572 6 Harvey, J. Serenade in homage to Mozart (1991).

Jonathan Snowden, fl; Robin Chapman, fl; Sian Davies, ob; Josephine Lively, ob; Robert Hill, cl; Stephen Trier, cl; John Price, bn; Philip Tarlton, bn; Richard Bissill, hn; Gareth Morrison, hn; Andrew Parrott, cond.

EMI CDC 7 54424 2 10 Lidholm, I. Concertino (1954). Ulf Bergström, fl; Torleif Lännerholm, ob; Björn Uddén, cora; Kjell Bjurling, vc; Ingvar Lidholm, cond.

Caprice CAP 21499 13 Müller, I. Clarinet quartet no 1 in B flat.

Friederike Roth, cl; Berolina Ensemble.

Naxos 8.572885 16 Françaix, J. Le colloque des deux perruches (1988). Matthias Schulz, fl; Wolfgang Schulz, alto fl; Madoka Inui, pf.

Naxos 8.570309 17 10:30 CONCERT HALL Prepared by James Nightingale Brusa, E. Florestan (1997). Ukraine NSO/ Fabio Mastrangelo.

Naxos 8.555266 16 Haydn, M. Duo concertante (1760-61).

Stephen Shingles, va; Simon Preston, org; Academy of St Martin in the Fields/Neville Marriner.

Decca 436 222-2 30 Beethoven, L. Symphony no 2 in D, op 36 (1801-02). Vienna PO/Karl Böhm.

DG 479 1949 35 12:00 JAZZ, PURE AND SIMPLE with Maureen Meers 13:00 REMEMBERING PETER SCULTHORPE Five years on Prepared by David Brett Sculthorpe, P. Earth cry (1986). Queensland SO/Michael Christie.

ABC 476 1921 11 Requiem (2004). Adelaide Chamber Singers; William Barton, did; Adelaide SO/Arvo Volmer.

ABC 476 5692 42 18

AUGUST 2019

Friday 9 August

14:00 A SOIRÉE FOR STRINGS Britten, B. Suite for harp, op 83 (1969). Alice Giles, hp.

Tall Poppies TP213 15 Brahms, J. String quartet in A minor, op 51 no 2 (1873). Gabrieli String Quartet.

Chandos CHAN 8562 31 Bach, J.S. Viola sonata in G, BWV1027 (c1720). Wieland Kuijken, va da gamba; Gustav Leonhardt, hpd.

Harmonia Mundi GD77044 14 Wieniawski, H. Three études-caprices, op 18: nos 2, 5 and 4. David Oistrakh, vn; Igor Oistrakh, vn.

DG 463 616-2 9 Halvorsen, J. Passacaglia, op 32 no 1.

Stephan Barratt-Due Jr, vn; Soon-Mi Chung, va.

NKFCD 50013-2 7 Mozart, W. Sinfonia concertante no 2 in E flat, K364 (1779). Isaac Stern, vn; Pinchas Zukerman, va; English CO/Daniel Barenboim.

Sony SM3K 66 475 33 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm 19:00 THE NEW JAZZ STANDARD with Frank Presley 20:00 THE WORLD OF A SYMPHONY Prepared by Chris Blower Alfvén, H. Suite from The prodigal son (1957). Irish NSO/Niklas Willén.

Naxos 8.555072 19 Rangström, T. Partita in four movements (c1900). Semmy Stahlhammer, vn; Elisabeth Bostrom, pf. nosag 4049 12 Strauss, R. Four symphonic interludes, from Intermezzo, op 72 (1924). Melbourne SO/ Andrew Davis.

ABC 481 2425 22 Stenhammar, W. String quartet no 5 in C, op 29, Serenade (1910). Stenhammar Quartet.

BIS BIS-2009 19 Atterberg, K. Symphony no 1, op 3 (190911/13). Gothenburg SO/Neeme Järvi.

Chandos CHSA 5154 37 22:00 IN THE WIND Prepared by Chris Blower Hindemith, P. Kammermusik for wind quintet, op 24 no 2. Omega Ensemble.

Fine Music concert recording 13 Krommer, F. Partita in B flat for wind octet (1828). Collegium Musicum Prague.

LP Supraphon 1111 2973G 13 22:30 ULTIMA THULE with Jackson Day

Efrem Zimbalist Sr

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 Chopin, F. Nocturne, op 9 no 1 (1830-31; arr.

Rutter). Jane Rutter, fl; Gerard Willems, pf.

ABC 476 6476 6 Zimbalist, E. Sarasateana (arr. 1947; transcr.

Primrose). Roberto Diaz, va; Robert Koenig, pf.

Naxos 8.557391 16 Glière, R. Coloratura concerto for oboe and string orchestra (1942-43; arr. Yu). Australia Pro Arte CO/Jeffrey Crellin, ob & dir.

Move MD 3312 14 Haydn, J. Grand duet no 1 in A, from String quartet, Hob.III:7 (bef. 1765; arr. Fossa).

Jukka Savijoki, gui; Erik Stenstadvoid, gui. apex 0927 49452 2 18 Mozart, W. Madamina, il catalogo è questo; Là ci darem la mano; Fin ch’han dal vino, from Don Giovanni, K527 (1787; arr.

Triebensee). Munich Wind Academy.

Orfeo C 063 841 A 8 Dukas, P. Variations, interlude and finale, on a theme of Jean-Philippe Rameau (18991902). Jean Hubeau, pf.

Erato 2292454212 17 10:30 CONCERT HALL Prepared by Paul Hopwood Tchaikovsky, P. Fantasy overture: Hamlet, op 67a (1888). SO of Russia/Veronika Dudarova.

Olympia OCD 512 21 Bach, J.S. Violin concerto in E, BWV1042 (bef. 1730). Isaac Stern, vn; English CO/ Alexander Schneider.

Sony SMK 66 471 19

Friday 9 August 14:30 THE LONDON PROMS September 1900 Prepared by Ron Walledge Dvorák, A. Overture: Carnival, op 92 (1893).

Scottish NO/Neeme Järvi.

Chandos CHAN 9002 9 Songs my mother taught me, op 55 (1880).

Yvonne Kenny, sop; Melbourne SO/Vladimir Kamirski.

ABC 482 2771 2

Georges Bizet

Sibelius, J. Symphony no 1 in E minor, op 39 (1899). Danish National RSO/Leif Segerstam.

Chandos CHAN 9107 43 12:00 A JAZZ HOUR with Barry O’Sullivan 13:00 BOUQUET OF FLOWERS Prepared by Jacky Ternisien Debussy, C. Bruyères, from Préludes, bk II (1913). Krystian Zimerman, pf.

DG 435 773-2 3 Purcell, H. Sweeter than roses, from Pausanias (1695). 3 Fauré, G. Les roses d’Ispahan, op 39 no 4 (1884). 4 Kathleen Battle, sop; James Levine, pf (2 above) DG 415 361-2 Tchaikovsky, P. Waltz of the flowers, from The nutcracker, op 71 (1892). Royal PO/ Vladimir Ashkenazy.

RPO 8021 8 Sibelius, J. Oellet; Iris, from The flowers, op 85 (1916). Erik T. Tawaststjerna, pf.

BIS CD-230 5 Armanini, M. Incense and flowers (2002).

Heidi Krutzen, hp; Latvian NSO/John Zoltek.

Centrediscs CMCCD 13108 32 Bizet, G. De mon amie, fleur endormie, from The pearl fishers (1863). Aleksandra Kurzak, sop; Joseph Calleja, ten; Suisse Romande O/ Marco Armiliato.

Decca 478 2720 9 Wesley-Smith, M. Alice in the garden of live flowers (2006). Seven Harp Ensemble.

Tall Poppies TP204 6 Tchaikovsky, P. Waltz of the flowers, from The nutcracker, op 71a (1892; arr. Grainger).

Geoffrey Saba, pf.

Carnegie Concerts CC012 8

Bishop, H. Home, sweet home (1821). Joan Sutherland, sop; Tina Bonifacio, hp; New Philharmonia O/Richard Bonynge.

ABC 468 513-2 4 Gounod, C. Ave Maria, after BWV846 (1853).

Mirella Freni, sop; Bologna Comunale Ch & TO/Leone Magiera.

Belart 461 6272 4 Handel, G. Largo, from Serse, HWV40 (1737). Cecilia Bartoli, mezz; Il Giardino Armonica/Giovanni Antonini.

Decca 478 8583 3 Wieniawski, H. Violin concerto no 2 in D minor, op 22 (1862). Itzhak Perlman, vn; Paris O/Daniel Barenboim.

DG 479 1928 22 Borodin, A. Polovtsian dances, from Prince Igor (1887). Sydney SO/Stuart Challender.

ABC 434 717-2 10 Weber, C.M. Bassoon concerto in F, op 75 (1811/22). Valery Popov, bn; Russian State SO/Valery Polyansky.

Chandos CHAN 9656 17 Sousa, J.P. Washington Post (1889; arr.

Langford). Band of the Blues and Royals/ E.W. Jeanes.

Chandos CHAN 6517 2 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm 19:00 FRIDAY JAZZ SESSION with Christopher Waterhouse 20:00 EVENINGS WITH THE ORCHESTRA Chief conductors of the Chicago Symphony Prepared by Frank Morrison Wagner, R. Overture to Tannhäuser (1845).

Daniel Barenboim, cond.

Teldec 4509-99595-2 15 Mussorgsky, M. St John’s night on Bald Mountain (1867). Fritz Reiner, cond.

RCA 0902661958 2 10 Stravinsky, I. Suite from Petrushka (1947).

Carlo Maria Giulini, cond.

EMI 5 85974 2 24

David Pereira

Kodály, Z. Intermezzo, from Háry János, op 15 (1927). Neeme Järvi, cond.

Chandos CHAN 241-44 5 Varèse, E. Amériques (1918-21). Pierre Boulez, cond.

DG 471 137-2 25 Bartók, B. Music for strings, percussion and celesta (1936). Georg Solti, cond.

Decca 478 3706 27 Chicago SO (all above) 22:00 BAROQUE AND BEFORE Prepared by Andrew Dziedzic Susato, T. Suite from La danserye (pub.

1551; arr. Steele-Perkins). London Gabrieli Brass Ensemble.

ASV QS 6013 7 Bach, J.S. Cello suite no 1 in G, BWV1007 (1720). David Pereira, vc.

Tall Poppies TP144 21 Lawes, W. Suite no 3 in D minor, from The royall consort suites (c1620). Nigel North, theorbo; Paul O’Dette, theorbo; Purcell Quartet.

Chandos CHAN 0584/5 10 Purcell, H. Suite from The prophetess (1690).

Le Concert des Nations/Jordi Savall.

Alia Vox AVSA 9866 14 Sanz, G. Suite española (arr. Yepes). Narciso Yepes, gui.

DG 469 649-2 14 Dieupart, C. Suite no 1 in A, from Six suites for flûte à voix and harpsichord (1701). Ruth Wilkinson, fl à voix; Linda Kent, hpd.

Move MD 3161 14 Couperin, L. Suite in G minor, from Pièces de clavecin. Richard Egarr, hpd.

Harmonia Mundi HMU 907511.14 14 Telemann, G. Overture joine d’une suite tragi-comique. Akademie für Alte Musick.

Harmonia Mundi HMC 901654 15 AUGUST 2019

19

Saturday 10 August 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SATURDAY MORNING MUSIC Prepared by 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 Liszt, F. Liebesträume (c1850).

Hyperion CDS44524 14 Chopin, F. Piano sonata no 2 in B flat minor, op 35, Funeral march (1839). Simon Trpceski, pf.

EMI 3 75586 2 26

John Reed

Arthur Sullivan

Schubert, F. Moment musical in F minor, D780 no 3 (1823-28; transcr. Godowsky).

Stephen Hough, pf.

Hyperion CDA67043 2

12:00 URBAN JAZZ LOUNGE with Leita Hutchings

Beethoven, L. Rondo a capriccio, op 129, Rage over a lost penny (1795). Evgeny Kissin, pf.

DG 028948105533 6

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

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

Naxos 8.111311/12 16

14:00 STAGING MUSIC Prepared by Angela Cockburn

17:00 SOCIETY SPOT Organ Music Society of Sydney

10:00 MUSIC OF THE DANCE Prepared by Katy Rogers-Davies Marais, M. Suite in F major/minor. Charivari Agréable.

ASV GAU 152 21 Debussy, C. Dancers of Delphi, from Préludes, bk I (c1904; arr.). Alice Giles, hp.

Schwann 310 179 G1 3 Ravel, M. Suite no 2 from Daphnis et Chloé (1912; transcr. Garban). Duo Lechner Tiempo.

Avanti 5414706 10312 15 Rameau, J-P. Gavottes pour les heures et les zéphirs, from Les boréades (1763). Les Musiciens du Louvre/Marc Minkowski.

Archiv 479 1045 3 Poulenc, F. Suite from Les biches (1923; transcr.). Anthony Gray, pf.

ABC 481 1835 15 Massenet, J. Suite from ballet, Thaïs (1899).

Academy of St Martin in the Fields/Neville Marriner.

Brilliant Classics 94355 23 11:30 ON PARADE Prepared by Robert Small Sousa, J.P. Paroles d’amour waltz (1880).

Central Band of the RAF. Naxos 8.559729 9 Hovhaness, A. Symphony no 53, op 377, Star dawn (1983). Ohio State Concert Band.

Delos DE 3158 14 Sousa, J.P. Mother Goose march (1883).

Central Band of the RAF. Naxos 8.559729 2 Keith Brion, cond (all above) 20

AUGUST 2019

13:00 IN A SENTIMENTAL MOOD with Maureen Meers

No smoke without fire 14:30 SATURDAY MATINEE Operetta in the afternoon Prepared by Elaine Siversen Sullivan, A. Trial by jury. Operetta in one act. Libretto by W.S. Gilbert. First performed London, 1875.

THE PLAINTIFF, ANGELINA: Ann Hood, sop THE DEFENDANT, EDWIN: Thomas Round, ten THE LEARNED JUDGE: John Reed, bar COUNSEL FOR THE PLAINTIFF: Kenneth Sandford, bar D’Oyly Carte Opera Company; Royal Opera House O/Isidore Godfrey.

London 417 358-2 33 Synopsis at finemusicfm.com/Opera The sorcerer. Operetta in two acts. Libretto by W.S. Gilbert after his story An Elixir of Love.

First performed London, 1877.

ALEXIS POINTDEXTRE: David Palmer, ten SIR MARMADUKE POINTDEXTRE: Donald Adams, bass ALINE SANGUZURE: Valerie Masterton, sop CONSTANCE PARTLETT: Ann Hood, sop DR DALY: Alan Styler, bar MRS PARTLETT: Jean Allister, mezz JOHN WELLINGTON WELLS: John Reed, bar D’Oyle Carte Opera Ch; Royal PO/Isidore Godfrey.

LP Decca/WRC S/4906 1:25 Synopsis at finemusicfm.com/Opera

18:00 THE MAGIC OF STAGE AND SCREEN Prepared by Maureen Meers Ross, J. Excerpts from The pyjama game (1954). Doris Day, John Raitt, Carol Haney, Eddie Foy jnr, voices.

Collectables COL-6699 19 Loesser, F Excerpts from Guys and dolls (1950). Robert Alda, Vivian Blaine, Stubby Kaye, Isabel Bingley, voices.

Naxos 8.120786 13 Porter, C. Excerpts from Kiss me Kate.

Brian Stokes Mitchell, Marin Mazzie, voices; members of the new Broadway cast.

DRG 12988 19 19:00 THE BOHEMIAN SYMPHONY Prepared by Chris Blower Vorisek, J. Fantasia in C, op 12 (pub. 1822).

Nikolai Demidenko, pf.

Hyperion CDA66781/2 11 Piano sonata in B flat minor, op 20. Artur Pizarro, pf.

Collins 14582 16 Symphony in D, op 24 (1823). Scottish CO/ Charles Mackerras.

Hyperion CDA66800 27 20:00 THE LIFE OF A COMPOSER Gabriel Fauré Prepared by Brian Drummond Fauré, G. Cantique de Jean Racine, op 11 (1865). Choir of Clare College, Cambridge; Richard Egarr, org; Timothy Brown, cond.

Meridian CDE 84153 5

Saturday 10 August

Sunday 11 August

Augustin Dumay

John O’Donnell

Paul Lewis

Violin sonata no 1 in A, op 13 (c1877).

Augustin Dumay, vn; Jean-Philippe Collard, pf.

EMI CMS 7 62545 2 23

0:00 CLASSIC-ALL THROUGH THE NIGHT

12:00 CLASSIC JAZZ AND RAGTIME with John Buchanan

Suite: Dolly, op 56 (1894-97). Marylène Dosse, Annie Petit, pf.

Pantheon D 10699 15 Enescu, G. Rumanian rhapsody in A, op 11 no 1 (1901). Detroit SO/Antal Dorati.

Decca 476 2453 13 Fauré, G. Suite from Pelléas et Mélisande, op 80 (1898). Ulster O/Yan Pascal Tortelier.

Chandos CHAN 8952 17 Ravel, M. Shéhérazade, ouverture de féerie (1898). Lyon NO/Leonard Slatkin.

Naxos 8.572887 13 Boulanger, N. Three pieces (1914). Nicolas Altstaedt, vc; José Gallardo, pf.

Naxos 8.572105 7 Fauré, G. Masques et bergamasques, op 112 (1919). BBC PO/Yan Pascal Tortelier.

Chandos CHAN 9416 14 22:00 SATURDAY NIGHT AT HOME Prepared by Gerald Holder Dauvergne, A. Concert de simphonies in F, op 3 no 2 (1751). Cappella Coloniensis/ William Christie.

Harmonia Mundi HMA 1901454 21 Giuliani, M. Divertimento notturno, op 86 nos 15 to 18 (c1820). Mikael Helasvuo, fl; Jukka Savijoki, gui.

BIS CD-412 10 Mozart, W. Violin concerto no 5 in A, K219, Turkish (1775). Joshua Bell, vn; English CO/ Peter Maag.

Decca 436 376-2 32 Schubert, F. Overture to Claudine von Villa Bella, D239 (1815). Prague Sinfonia/Christian Benda.

Naxos 8.570328 8 Bizet, G. Incidental music to L’arlésienne (1872). Consort of Voices; Consort of London/ Robert Haydon Clark.

Collins 11412 42

6:00 SUNDAY MORNING MUSIC Prepared by Robert Small 9:00 MUSICA SACRA Prepared by Rex Burgess Bruckner, A. Psalm 112 (1863). Corydon Singers; English CO/Matthew Best.

Hyperion CDA 66245 10 Bach, J.S. Schübler chorales, BWV645-50 (1749). John O’Donnell, org.

Tall Poppies TP140 18 Mozart, W. Mass no 16 in C, K317, Coronation (1779). Barbara Bonney, sop; Catherine Wyn-Rogers, cont; Jamie MacDougall, ten; Stephen Gadd, bass; English Concert Choir & O/Trevor Pinnock.

Archiv 445 353-2 26 10:00 THE CLASSICAL ERA Prepared by Chris Blower Wranitzky, P. Grand characteristic symphony for the peace with the French Republic, op 31 (1797). London Mozart Players/Matthias Bamert.

Chandos CHAN 9916 31 Paisiello, G. Keyboard concerto no 1 in C (1780-83). Pietro Spada, pf; Santa Cecilia CO. Brilliant Classics 94224 24 Lhoyer, A. de Duo concertant in A, op 31 no 1 (1814). Matteo Mela, gui; Lorenzo Micheli, gui.

Naxos 8.570146 14 Romberg, A. Clarinet quintet in E flat, op 57 (1819). Dieter Klöcker, cl; members of Consortium Classicum.

Orfeo C314 941 A 20 Mozart, W. Violin concerto no 1 in B flat, K207 (1773). Itzhak Perlman, vn; Vienna PO/ James Levine.

DG 427 813-2 21

13:00 WORLD MUSIC: Whirled Wide with Gerry Myerson 14:00 BAROQUE CHARACTERISTICS Basso continuo Prepared by Albert Gormley Vivaldi, A. Concerto in D for flute, violin, bassoon and continuo, RV91. Andrew Watts, bn; Le Nouveau Quatuor.

Amon Ra CD-SAR 47 7 Parcham, A. Solo for recorder and basso continuo (c1700). Frans Brüggen, rec; Nikolaus Harnoncourt, va da gamba; Gustav Leonhardt, hpd.

LP Telefunken SMA 25073 7 Zelenka, J. Sonata no 5 in F for two oboes, bassoon and continuo (1719-22). Ingo Goritzki, ob; Burkhard Glaetzner, ob; Knut Sönstevold, bn; Achim Beyer, vn; Siegfried Pank, bass viol; Walter Bernstein, hpd.

Berlin 0012852BC 17 Handel, G. Musick for the Royal fireworks, HWV351 (1749; arr. for winds, strings and basso continuo). Collegium Aureum.

LP Harmonia Mundi 20 20 350-1 22 15:00 SUNDAY SPECIAL Franz Liszt: Music visionary Prepared by Elaine Siversen Liszt, F. Orage; Les cloches de Genève, from Years of pilgrimage: Switzerland (1835-36).

Jorge Bolet, pf.

Decca 410 160-2 11 Piano concerto no 1 in E flat (1849). Martha Argerich, pf; London SO/Claudio Abbado.

DG 479 4110 18 Piano sonata in B minor (1852-53). Paul Lewis, pf.

Harmonia Mundi HMX 2908456.57 30 Symphonic poem no 3: Les préludes (1848/54). London PO/Bernard Haitink.

Philips 438 751-2 15 AUGUST 2019

21

Sunday 11 August 18:00 SMALL FORCES Prepared by Paul Hopwood Reicha, A. Wind quintet no 2 in E flat, op 88 no 2. Biedermeier Quintet.

Globe GLO 5114 27 Beethoven, L. String trio in C minor, op 9 no 3 (1797-98). Oleg Kagan, vn; Yuri Bashmet, va; Natalia Gutman, vc.

Live Classics LCL 141 27

Fountains of the Villa d’Este

Symphonic poem: Orpheus (1853-54; transcr.

Liszt 1855-56). Tami Kanazawa, pf; Yuval Admony, pf.

Naxos 8.570736 10 Symphonic poem no 11: Battle of the Huns (1857). New Zealand SO/Michael Halász.

Naxos 8.557846 14 The fountains of the Villa d’Este, from Years of pilgrimage, 3rd year, Italy (1877); Nuage gris (1881). Dag Achatz, pf.

BIS CD-244 10 17:00 HOSANNA Prepared by Meg Matthews Hymns: At the name of Jesus; Christ is our cornerstone; The Church’s one foundation.

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

Hyperion CDP 12102 10 Handel, G. Will God, whose mercies ever flow, from Athalia (1733). Aled Jones, treb; Academy of Ancient Music/Christopher Hogwood. 2 Bach, J.S. Es ist vollbracht, from St John Passion, BWV245. Janet Baker, mezz; Academy of St Martin in the Fields/Neville Marriner.

EMI 2 08087-2 Suppé, F. Sanctus; Benedictus; Agnus Dei, from Missa dalmatica (1835). Lords of the Chords; Jens Wollenschläger, org.

Carus 83.455 8 Wills, A. Magnificat and nunc dimittis. 9 Lindley, S. Now the green blade riseth. 3 Archer, M. Kyrie; Gloria, from Missa Omnes Sancti. 9 Choir of Christchurch St Laurence/Neil McEwan (3 above) CCSL 06 Trad. Where we’ll never grow old; I’m on my journey home. Anonymous 4.

Harmonia Mundi HMU 907 400 6 22

AUGUST 2019

19:00 SUNDAY NIGHT CONCERT Prepared by Giovanna Grech Glinka, M. Spanish overture no 1: Capriccio brillante on the jota aragonesa (1845).

Armenian PO/Loris Tjeknavorian.

ASV DCA 1075 9 Debussy, C. En blanc et noir (1915; orch.

Holloway 2002). Lyon NO/Jun Märkl.

Naxos 8.572583 18 Bruch, M. Scottish fantasy, op 46 (1880).

Maxim Fedotov, vn; Russian PO/Dmitry Yablonsky.

Naxos 8.557395 33

Monday 12 August 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: 1883 Prepared by Anne Irish Chabrier, E. España (1883). Suisse Romande O/Ernest Ansermet.

Decca 452 890-2 7 Grieg, E. Lyric pieces, bk 2, op 38 (1883).

Einar Steen-Nøkleberg, pf.

Naxos 8.553394 19 Fauré, G. Piano quartet no 1 in C minor, op 15 (1879/83). Kathryn Stott, pf; Hermitage String Trio.

Chandos CHAN 10582 29 Busoni, F. Trois morceaux, op 4-6 (1883).

Wolf Harden, pf.

Naxos 8.570249 10

Borodin, A. Symphony no 3 in A minor, Unfinished (1882; compl. Glazunov). Seattle SO/Gerard Schwarz.

Naxos 8.572786 18

Lange-Müller, P. The sky gleams a faint flame red (1883). Mathias Hedegaard, ten; Tove Lønskov, pf.

Dacapo 8.226141 3

20:30 NEW HORIZONS Prepared by Krystal Li

Strauss, R. Romance in F (1883). Mischa Maisky, vc; Pavel Gililov, pf.

DG 477 7465 11

Mageau, M. Flute trio (1980). Adelaide Brown, fl; Gary Williams, vc; Mary Mageau, hpd.

Jade JADCD 1027 9 Higdon, J. Oboe concerto (2005). James Button, ob; Nashville SO/Giancarlo Guerrero.

Naxos 8.559823 18 Tabakova, D. Insight (2002). Roman Mints, vn; Maxim Rysanov, va; Kristina Blaumane, vc.

ECM 2239 476 4826 10 Chen Yi. Dragon rhyme (2010). Hartt School Wind Ensemble/Glen Adsit.

Naxos 8.572889 13 Firsova, A. Stabat Mater (2014). The Sixteen/Harry Christophers.

Coro COR16127 9 Sutherland, M. Concerto grosso. Sybil Copeland, vn; John Glickman, va; Max Cooke, hpd; Melbourne SO/John Hopkins.

ABC 446 285-2 21 22:00 AFTER HOURS JAZZ The virtuoso violinist and composer Pablo de Sarasate was the dedicatee of Bruch’s Scottish fantasy. Bruch had not yet visited Scotland but based the fantasy on Scottish melodies in a collection in the Munich library.

10:30 CONCERT HALL Prepared by Derek Parker Bax, A. Overture to a picaresque comedy (1930). London PO/Bryden Thomson.

Chandos CHAN 8494 11 Strauss, R. Horn concerto no 1 in E flat, op 11 (1883). Eric Terwilliger, hn; Polish Chamber PO/Wojciech Rajski.

Amati ami 9205/1 16 Liszt, F. A Dante symphony (1855-56).

Members of Dresden State Opera Ch; Staatskapelle Dresden/Giuseppe Sinopoli.

DG 457 614-2 52 12:00 SWING SESSIONS with John Buchanan 13:00 PIANO AND FRIENDS Prepared by Paul Hopwood Brahms, J. Piano trio in C, op 87 (1880-82).

Itzhak Perlman, vn; Lynn Harrell, vc; Vladimir Ashkenazy, pf.

EMI 7 54725 2 28 Dohnányi, E. Cello sonata in B flat minor, op 8 (1899). Bernard Gregor-Smith, vc; Yolande Wrigley, pf.

ASV DCA 796 26

Monday 12 August

Tuesday 13 August 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Julie Simonds 9:00 DIVERSIONS IN FINE MUSIC Colours of the keyboard Prepared by James Nightingale Albinoni, T. Harpsichord concerto in G, op 7 no 4.

Jörg Ewald Dähler, hpd; Accademia Instrumentalis Claudio Monteverdi/Hans Ludwig Hirsch.

Claves 50-602 10

Manuel Infante

14:00 A SPANISH HOUR Prepared by Di Cox Turina, J. Danzas fantásticas, op 22 (1920).

Cincinnati SO/Jésus López-Cobos.

Telarc 80574 15 Rodrigo, J. Adagio, from Concierto d’Aranjuez (1939; arr. Koch). Gareth Koch, gui.

Gracia 0010692 8 Sarasate, P. de Gipsy airs, op 20 (1878).

Leila Josefowicz, vn; Academy of St Martin in the Fields/Neville Marriner.

Philips 454 440-2 9 Infante, M. Andalusian dances. Darryl Coote, Robert Chamberlain, pf.

Move MCD 460 16 Granados, E. Intermezzo. Michael Conn, gui; English CO/Leslie Williams.

Decca 480 3913 5 15:00 CONCERTO FOR ORCHESTRA Prepared by James Nightingale Respighi, O. Brazilian impressions (192728). Liège Royal PO/John Neschling.

BIS 2050 21 Benjamin, A. Piano concertino (1927). Lamar Crowson, pf; London SO/Arthur Benjamin.

Everest EVC 9029 15 Kodály, Z. Concerto for orchestra (1927).

BBC PO/Yan Pascal Tortelier.

Chandos CHAN 9811 16 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm 19:00 JAZZ PULSE with Chris Wetherall 20:00 STORMY MONDAY with Austin Harrison and Garth Sundberg 22:00 THE AUSTRALIAN JAZZ SCENE with Susan Gai Dowling and Peter Nelson “A musicologist is a man who can read music but can’t hear it.”

— Thomas Beecham

Galuppi, B. Piano sonata in F. Matteo Napoli, pf.

Naxos 8.572263 12 Frescobaldi, G. Capriccio sopra ut, re, mi, fa, sol, la (1624). Richard Egarr, hpd.

Globe GLO 5056 10 Berio, L. Water piano (1965). Tamara Anna Cislowska, pf.

Artworks AW010 3 Respighi, O. Three preludes (1919-21).

Arabella Teniswood-Harvey, pf.

Move MD 3410 17 Boccherini, L. Cello sonata in A (version 1).

Christian Benda, vc; Sebastian Benda, fp.

Naxos 8.554324 14 Scarlatti, D. Keyboard sonatas: in D minor, Kk1; in F minor, Kk9; in F minor, Kk69; in C, Kk133. Joanna MacGregor, pf.

Warner 2564 67269-8 12 10:30 CONCERT HALL Prepared by Paul Hopwood Wagner, R. Overture to Tannhäuser (184245). Cleveland O/George Szell.

CBS M2YK 46466 13 Mozart, W. Clarinet concerto in A, K622 (1791).

Jack Brymer, cl; Royal PO/Thomas Beecham.

EMI CDC 7 47864 2 31 Borodin, A. Symphony no 1 in E flat (186267). Rotterdam PO/Valery Gergiev.

Philips 422 996-2 35 12:00 JAZZ RHYTHM with Jeannie McInnes 13:00 SYDNEY SYMPHONY 2019 Produced by Andrew Bukenya What’s on in concerts during the next month 14:00 A NEW LIFE ON THESE SHORES Part 3 Prepared by Frank Morrison Spagnoletti, E. Woolloomooloo; Leichhardt’s grave; Gallop for gold (arr. Powning). Pacific Wind Quintet.

Fine Music concert recording 3 Friedman, I. Frühlingsstimmen (1925). Piers Lane, pf.

Hyperion CDA66785 10

Andrew Ford

Ford, A. Five cabaret songs (1986). Gerald English, ten; Tall Poppies Ensemble.

Tall Poppies TP 128 10 Whiticker, M. Korokon (1983). Rotraud Schneider, vn; Daniel Herscovitch, pf.

Canberra School of Music CSM 17 12 Elgar, E. Cello concerto in E minor, op 85 (1919). Li-Wei Qin, vc; Adelaide SO/Nicholas Braithwaite.

ABC 476 7966 30 Fiocco, J-H. Harpsichord sonata in G. Monika Kornel, hpd.

Sydney Consort SC002 12 Mozart, W. Sinfonia concertante in E flat, K364 (1779). Christopher Kimber, vn; Alex Todicescu, va; Sydney Bach O/Alan Holley.

Fine Music concert recording 30 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm 19:00 THE JAZZ BEAT with Lloyd Capps 20:00 RECENT RELEASES with James Nightingale 22:00 CHAMBER SOIRÉE Prepared by Mariko Yata Mozart, W. Violin sonata no 29 in B flat, K454 (1784). Petra Müllehans, vn; Kristian Bezuidenhout, fp.

Harmonia Mundi HMU 907494 23 Edwards, R. Ulpirra suite (1993-98). Deborah de Graaff, cl; Len Vorster, perc.

Walsingham WAL80442 13 Shostakovich, D. Piano trio no 2 in E minor, op 67 (1944). Vienna Piano Trio.

Nimbus NI 5572 28 Piazzolla, A. Histoire du tango (1986; arr.

E. Grigoryan). Edward Grigoryan, vn; Slava Grigoryan, gui.

Sony SK63011 19 Schumann, R. Piano quintet in E flat, op 44 (1842). Marc-André Hamelin, pf; Takács Quartet.

Hyperion CDA67631 30 AUGUST 2019

23

Wednesday 14 August

Lazar Berman

Carl Ditters von Dittersdorf

Jonathan Summers

0:00 CONTEMPORARY COLLECTIVE

Dittersdorf, C. Symphony in D, The fall of Phaëton (pub. 1767). Failoni O/Hanspeter Gmür.

Naxos 8.553368 23

20:00 AT THE OPERA Prepared by Camille Mercep

3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Troy Fil 9:00 DIVERSIONS IN FINE MUSIC Inspired by literature Prepared by Jacky Ternisien Drigo, R. Pas de deux, from La Esmeralda (1886). London SO/Richard Bonynge.

Decca 452 767-2 10 Verdi, G. Figlia! Mio padre; Gualtier Maldé ...

Caro nome, from Rigoletto (1851). Angelina Arena, sop; Ray Myers, bar; Queensland SO/ Wilfred Lehmann.

ABC 476 8037 14 Liszt, F. Fantasies I and II on themes from Donizetti’s opera Lucrezia Borgia (1840, 1848). Leslie Howard, pf.

Hyperion CDS44543 26 Verdi, G. Solingo, errante e misero, from Ernani (1844). Joan Sutherland, sop; Marilyn Horne, mezz; Luciano Pavarotti, ten; New York City Opera O/Richard Bonynge.

Decca 478 2826 7 Mendelssohn, F. Ruy Blas, overture to Victor Hugo’s play, op 95 (1839). Edwin H. Lemare, org.

OEHMS Classics OC 840 8 Thalberg, S. Fantasy on Lucrezia Borgia.

Francesco Nicolosi, pf.

Marco Polo 8.223365 12 10:30 CONCERT HALL Prepared by Dan Bickel Berlioz, H. Overture: King Lear, op 4 (1831).

Philharmonia O/Jean-Philippe Rouchon.

ASV DCA 895 16 Rachmaninov, S. Piano concerto no 3 in D minor, op 30 (1909). Lazar Berman, pf; London SO/Claudio Abbado.

CBS MYK 44715 44 24

AUGUST 2019

12:00 JAZZ SKETCHES with Robert Vale 13:00 BLOWING IN THE WIND Prepared by Chris Blower Hurlstone, W. Four characteristic pieces.

John Bradbury, cl; James Cryer, pf.

Naxos 8.570539 17 Marshall-Hall, G. Phantasy (1905). Ben Jacks, hn; O Victoria/Barry Tuckwell.

Melba MR 301117 10 Leighton, K. Serenade in C. Kenneth Smith, fl; Paul Rhodes, pf.

ASV DCA 862 12 Britten, B. Phantasy quartet, op 2 (1932).

Kenneth Sillito, vn; Ian Jewels, va; Keith Harvey, vc; Derek Wickens, ob.

Unicorn-Kanchana UKCD 2060 14 14:00 IN CONVERSATION with Christopher Waterhouse 15:00 CHAMBER MUSIC OF THE WEIMAR REPUBLIC Prepared by James Nightingale

Leoncavallo, R. La bohème. Opera in four acts. Libretto by the composer. First performed Venice, 1897.

MIMÌ: Lucia Mazzaria, sop RODOLFO: Jonathan Summers, bar MUSETTE: Martha Senn, mezz MARCELLO: Mario Malagnini, ten SCHAUNARD: Bruno Praticò, bar COLLINE: Pietro Spagnoli, bar La FeniceTheatre Ch & O/Jan Lathan Koenig.

Nuova Era 233 931 2:13 Synopsis at finemusicfm.com/Opera Pretty waltz. Lang Lang, pf.

DG 477 6633 5 22:30 HUGO ALFVÉN: A SWEDISH MASTER Prepared by Ray Lemond Alfvén, H. Meditation (c1900; arr.

Källberg); Sleeping forest (c1900). Semmy Stahlhammer, vn; Love Derwinger, pf. nosag 4049 5

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

Fine Music concert recording 22

Suite: The prodigal son (1957). 19

Dohnányi, E. String quartet no 3 in A minor, op 33 (1926). Lyric Quartet.

ASV DCA 985 27

Stockholm PO/Neeme Järvi (3 above)

Korngold, E. Pierrots Tanzlied, from Die tote Stadt, op 12 (1920; arr). Detlef Hahn, vn; Andrew Ball, pf.

ASV DCA 1080 3 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm 19:00 JAZZ STARS AND STRIPES with Peter Mitchell

Swedish rhapsody no 3, op 47, Dalarapsodie (1931). 21 Symphony no 3 in E, op 23 (1905). 38 BIS CD-455 “In operas more than anywhere else, emphasis on arias (and on the big egos of performers who sang them) reduced the chorus to a much smaller and less important role. The composer and theorist Giovanni Andrea Bontempi, writing in 1662, said choruses should only be used in oratorios, and that’s that!”

— David W. Barber

Thursday 15 August

Josef Myslivecek

Anton Bruckner

Carl Stamitz

0:00 CONTEMPORARY COLLECTIVE

Alfvén, H. Symphony no 1 in F minor, op 7 (1897). Stockholm PO/Neeme Järvi.

BIS CD-395 41

Members of Haydn Sinfonietta/Manfred Huss.

BIS CD-1796/98 14

3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Simon Moore 9:00 DIVERSIONS IN FINE MUSIC The instruments: Winds Prepared by Jennifer Foong Berlioz, H. Overture: Rob Roy (1831).

Sydney Green, cora; Sheila Sterling, hp; San Diego SO/Yoav Talmi.

Naxos 8.550999 13 Telemann, G. Sonata in F. Michael Harris, tenor chalimeau; Colin Lawson, alto chalimeau; Collegium Musicum 90/Simon Standage.

Chandos CHAN 0593 14 Villa-Lobos, H. Quinteto em forma de chôros (1928). William Bennett, fl; Janice Knight, cora; Thea King, cl; Neil Black, ob; Robin O’Neill, db.

Hyperion CDA66295 10 Hough, S. Trio: What happens to the tears?

(2008). Michael Hasel, picc; Marion Reinhard, contra bn; Stephen Hough, pf.

BIS CD-1952 14 Myslivecek, J. Wind octet no 1 in E flat.

Harmoniemusik of London.

Virgin 5 61368 2 15 Schumann, R. Fantasiestücke, op 73 (1837).

Douglas Boyd, ob d’amore; Maria João Pires, pf.

DG 479 5964 12 10:30 CONCERT HALL Prepared by Ray Lemond Elgar, E. Nursery suite (1931). Ulster O/ Bryden Thomson.

Chandos CHAN 8318 25 Ibert, J. Flute concerto (1934). Johannes Walter, fl; Staatskapelle Dresden/Siegfried Kurz.

Berlin Classics 0012872BC 19

12:00 JAZZ, PURE AND SIMPLE with Maureen Meers 13:00 THE MIGHTY BRUCKNER Prepared by Ray Lemond Bruckner, A. Four motets (arr.). Septura.

Naxos 8.573314 15 Symphony no 7 in E (1881-83). London PO/ Stanislaw Skrowaczewski.

LPO Live 0071 1:09 14:30 HOME GROWN Prepared by Albert Gormley Collins, B. Stomp (2015). Grand Valley State University Wind Ensemble/Kevin Tutt. 4 Trumpet concerto (2016). Polish Camerata CO. 15 Richard Stoelzel, tpt (2 above) Private recording Westlake, N. Piano trio (2003). Niki Vasilakis, vn; Emma-Jane Murphy, vc; Kathryn Selby, pf.

Fine Music concert recording 21 Sculthorpe, P. Quamby (2000).

ABC 476 7627 21 Williamson, M. Sinfonia concertante (1962).

Caroline Almonte, pf.

ABC 476 3218 19

Bach, C.P.E. Erster theil, from The Israelites in the desert (1769). Barbara Schlick, sop; Lena Lootens, sop; Hein Meens, ten; Stephen Varcoe, bass; Corona Coloniensis; Cappella Coloniensis/William Christie.

Harmonia Mundi HMC 901321 4 Hasse, J. Ah non è ver, ben mio from Piramo e Tisbe (1768). Vince Yi, ct; Armonia Atenea/ George Petrou.

Decca 478 8094 5 Haydn, J. String quartet no 13 in G, Hob. III:21 (1771). Kodály Quartet.

Naxos 8.550786 15 Stamitz, C. Double concerto in B flat. Koji Okazaki, bn; Nicolaus Esterházy Sinfonia/ Kálmán Berkes, cl & dir.

Naxos 8.553584 24 Clementi, M. Piano sonata in G (1768).

Susan Alexander-Max, pf.

Naxos 8.555808 11 Mozart, W. An die Freude, K53 (1768).

Barbara Bonney, sop; Geoffrey Parsons, pf.

Teldec 2292-46334-2 4 Haydn, J. Symphony in F minor, Hob.I:49, La passione (1768). Academy of Ancient Music/ Richard Egarr.

ABC 481 0615 25

Tasmanian SO/Richard Mills (2 above)

22:00 RENÉ JACOBS SINGS BAROQUE Prepared by Rex Burgess

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

Schein, J. O Scheiden. 5

19:00 THE NEW JAZZ STANDARD with Frank Presley 20:00 THE WORLD OF A SYMPHONY Prepared by James Nightingale Gluck, C. Overture to Alceste (1767).

Drottingholm Theatre Ch & O/Arnold Östman.

Naxos 8.660066-68 4 Haydn, J. Quintet in D for baryton, horns, viola, cello and double bass, Hob.X:10 (1767).

Caccini, G. Amarilli mia bella. 3 Purcell, H. Music for a while; Sweeter than roses. 7 Steffani, A. Qui l’auretta. 7 Krieger, J.P. An die Einsamkeit. 4 René Jacobs, ct; Konrad Junghänel, lute (all above) Harmonia Mundi HMA 1901183 22:30 ULTIMA THULE with George Cruickshank AUGUST 2019

25

Friday 16 August 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 Paul Cooke Kats-Chernin, E. Cadences, deviations and Scarlatti (1995). Sydney Alpha Ensemble/ David Stanhope.

ABC 456 468-2 14 Martucci, G. Theme and variations, op 58 (1882). Lya De Barberiis, pf; Rome SO/ Francesco La Vecchia.

Naxos 8.570930 14 Canteloube, J. Baïlèro, from Chants d’Auvergne (arr.). Eddi Reader, voice; Richard Evans, cornet; Gavin Hall, flugelhorn; Nick Stones, hn; Matt Broardbent, tuba; John Douglas, gui; Paul Livingstone, gui; Michael Howley, euphonium.

Rough Trade RTRADCD233 4 Rinck, J. Six variations on a theme of Corelli, op 56. Ludger Lohmann, org.

Naxos 8.553925 11 Wagner, R. Wesendonck-Lieder (1857/58; arr. Henze). Marjana Lipovsek, mezz; Philadelphia O/Wolfgang Sawallisch.

EMI 5 56165 2 20 Nyman, M. String quartet no 3 (1990).

Balanescu Quartet.

Argo 433 093-2 16 10:30 CONCERT HALL Prepared by Denis Patterson Schumann, R. Overture to Manfred, op 115 (1848-49) Seattle SO/Gerard Schwarz.

Naxos 8.571214 14 Dvorák, A. Cello concerto in B minor, op 104 (1895). Mstislav Rostropovich, vc; Berlin PO/ Herbert von Karajan.

DG 479 2561 41 Weber, C.M. Symphony no 1 in C, op 19 (1807). Academy of St Martin in the Fields/ Neville Marriner.

Brilliant Classics 99935 25 12:00 A JAZZ HOUR with Barry O’Sullivan 13:00 MARCHES Prepared by Anabela Pina Lully, J-B. Marche pour la cérémonie des Turcs. Le Concert des Nations/Jordi Savall.

Auvidis/Valois V 4640 2 Mozart, W. Three marches in C, K408 (1782).

Vienna Mozart Ensemble/Willi Boskovsky.

Philips 422 642-2 12 26

AUGUST 2019

Beethoven, L. Three marches, op 45 (1804).

Cullan Bryant, Dmitry Rachmanov, pf.

Naxos 8.572519-20 17

20:00 EVENINGS WITH THE ORCHESTRA Development of the choral symphony Prepared by David Brett

Tchaikovsky, P. Marche slave, op 31 (1876).

London SO/André Previn.

EMI CDM 1 66420 2 9

Berlioz, H. Romeo and Juliet, op 17 (1839).

Monteverdi Choir; O Révolutionnaire et Romantique/John Eliot Gardiner.

Philips 454 454-2 7

Telemann, G. Two heroic marches: Generosity; Grace, from Musique héroïque (1728). Bruno Siketa, tpt; Rhys Boak, org.

Move MD 3379 6 Handel, G. Dead march, from Saul, HWV53 (1738; transcr. Stokowski). BBC PO/Matthias Bamert.

Chandos CHAN 9930 5 14:00 A MUSICAL CARAVAN Prepared by Frank Morrison Offenbach, J. Overture to Orpheus in the Underworld (1858/74). Detroit SO/Paul Paray.

Mercury 434 332-2 9 Debussy, C. Two arabesques (1888-91).

Richard Stoltzman, cl; Nancy Allen, hp.

RCA RD 60198 8 Gounod, C. O ma lyre immortelle, from Sappho (1851). Marilyn Horne, mezz; Suisse Romande O/Henry Lewis.

Decca 440 844-2 7 Couperin, F. La favorite, chaconne à deux tems, from Ordre 15 (pub. 1722). Bob van Asperen, hpd.

EMI CDC 7 49945 2 5 Franck, C. Symphonic variations (1885).

Jorge Bolet, pf; Concertgebouw O/Riccardo Chailly.

Decca 421 714-2 17 Fauré, G. Cello sonata no 1 in D minor, op 109 (1917). Paul Tortelier, vc; Jean Hubeau, pf.

Erato 2292-45738-2 19 Satie, E. Three gymnopédies (1896). New London O/Ronald Corp.

Hyperion CDA66365 9 Saint-Säens, C. Danse macabre, op 40 (1874; arr. Liszt). Vladimir Horowitz, pf.

Larrikin DDC 931 9 Poulenc, F. C’est ainsi que tu es. Frederica von Stade, mezz; Martin Katz, pf.

BMG Classics 09026 62711 2 2 Berlioz, H. Rêverie et caprice, op 8 (1841).

Patrice Fontanarosa, vn; Berlin SO/Michael Schönwandt.

EMI 5 55582 2 8 Bizet, G. Children’s games (1871). Montreal SO/Charles Dutoit.

Decca 421 527-2 11 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm 19:00 FRIDAY JAZZ SESSION with Christopher Waterhouse

Mendelssohn, F. Symphony no 2 in B flat, op 52, Hymn of praise (1840). Barbara Bonney, sop; Edith Wiens, sop; Peter Schreier, ten; Leipzig Radio Choir; Michael Schönheit, org; Gewandhaus O/Kurt Masur.

Teldec 244 178-2 58 Liszt, F. Symphony on Dante’s Divine comedy (1855-56). London Oratory School Schola; London SO/Leon Botstein.

Telarc 80613 43 22:00 BAROQUE AND BEFORE Born 400 years ago Prepared by Elaine Siversen Strozzi, B. Hor ch’ Apollo (1664). Maria Christina Kiehr, sop; Concerto Soave.

Ambronay AMY025 15 Duarte, L. Sinfonias nos 5 and 6. Fretwork.

Harmonia Mundi HMU 907478 4 Busatti, C. Surrexit Pastor bonus. Early Music Consort of London/David Munrow.

Virgin 5 61288 2 4 Weckmann, M. Toccata ex D; Fugue in D. Wolfgang Zerer, org.

Naxos 8.553850 9 Strozzi, B. Serenata e lamento: Lagrime mie.

Jane Edwards, sop; Aurora Musicale.

Fine Music concert recording 14 Weckmann, M. Four variations on Die lieblichen Blicke. Gisela Gumz, clvd.

Hungaroton HCD 31185 9 Garcia de Zéspedes, J. Ay que me abraso, El Arrancazacate. Montserrat Figueras, sop; Capella Reial de Catalunya; Tembembe Ensamble Continuo; Hesperion XXI/Jordi Savall.

Alia Vox AVSA 9876 3 Convidando esta la noche. Ex Cathedra/ Jeffrey Skidmore.

Hyperion CDA67380 4 Guaracha. Harp Consort/Andrew Lawrence King.

Harmonia Mundi HMX 2907293 4 Strozzi, B. Anima del mio core; Merce di voi; Noiosa lontananza; Gratie a Venere. Deborah Roberts, sop; Suzie le Blanc, sop; Mary Nichols, cont; Kasia Elsner, theorbo; John Toll, hpd.

Amon Ra CD SAR 61 20 Weckmann, M. Canzon IX. Concerto Palatino/Konrad Junghänel.

Harmonia Mundi HMC 902034 5 Wie liegt die Stadt so wüste. Maria Zedelius, sop; Michael Schopper, bass; Musica Antiqua Cologne/Reinhard Goebel.

Archiv 415 526-2 15

Saturday 17 August 18:00 THE MAGIC OF STAGE AND SCREEN Prepared by Sue Jowell

0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SATURDAY MORNING MUSIC 9:00 WHAT’S ON IN MUSIC Our weekly guide to musical events in and around Sydney

Come rain or come shine: musicals about the weather 19:00 THE BOHEMIAN SYMPHONY Prepared by Chris Blower

9:05 THE PIANO ALONE Prepared by Frank Morrison

Dvorák, A. Overture: Carnival, op 92 (1893).

Scottish NO/Neeme Järvi.

Chandos CHAN 241-44 9

Chopin, F. Barcarolle in F sharp, op 60 (1846). Artur Rubinstein, pf.

Larrikin DDC 935 8 Shostakovich, D. Prelude and fugue in D minor, op 87 no 24 (1950-51). Vladimir Ashkenazy, pf.

Decca 466 066-2 11 Liszt, F. Piano sonata in B minor (1852-53).

Sviatoslav Richter, pf.

Memories HR 4218 29 10:00 MUSIC OF THE DANCE Prepared by Gerald Holder Bartók, B. Dance suite (1923). Chicago SO/ Pierre Boulez.

DG 445 825-2 17 Farkas, F. Ancient Hungarian dances (1965).

Canberra Wind Soloists.

Fine Music tape archive 8 Lehár, F. Dance while you may, from The land of smiles (1929). Marilyn Hill Smith, sop; Chandos Singers; Chandos Concert O/Stuart Barry.

Chandos CHAN 8759 3 Weiner, L. Hungarian folk dance suite, op 18 (1931). Philharmonia O/Neeme Järvi.

Chandos CHAN 9029 28 Liszt, F. Csardas macabre (1881-82). Alfred Brendel, pf.

Philips 420 837-2 8 Kodály, Z. Dances of Galánta (1933).

Hungarian State SO/Adám Fischer.

Nimbus NI 5284 17 11:30 ON PARADE Music that’s band Prepared by Owen Fisher Hanssen, J. Valdres march. Band of Yorkshire Imperial Metals/Trevor Walmsley.

LP Astor GGS 1477 3 Clarke, H. Carnival of Venice. David Hickman, cornet; American Serenade Band/ Henry Charles Smith.

Summit DCD 114 3 Trad. Hava negila. Stanshawe (Bristol) Band/W.B. Hargreaves.

LP Decca SB 322 3 Waldteufel, E. L’estudiantina waltz. Allentown Band/Ronald Demkee.

AMP 99207 7

Camille Saint-Saëns

Bach, J.S. Toccata and fugue, BWV565 (arr.). Brighouse and Rastrick Band/Geoffrey Brand.

Chandos BBR 1003 9 12:00 URBAN JAZZ LOUNGE with Leita Hutchings 13:00 COME TO THE OPERA Prepared by Derek Parker Are you an opera fan? If not, why not?

Together the story and the song make for great entertainment as well as great art. Derek Parker tells the story of Bizet’s Carmen, and plays some of the music that makes it a great opera 14:30 SATURDAY MATINEE Manon Prepared by Chris Blower Massenet, J. Ballet: Manon (1884; arr.

Lucas, 1974). Royal Opera House O/Richard Bonynge.

LP Decca 414 585-2 1:40 Enfin, Manon. En fermant les yeux; Oui, ce qu’elle m’ordonne; Je suis seul! ... Ah! Fuyez, douce image, from Manon. Rolando Villazón, ten; French RPO/Evelino Pidò.

Virgin 5 45719 2 14 Auber, D-F-E. C’est l’histoire amoureuse, from Manon Lescaut (1856). Joan Sutherland, sop; Suisse Romande O/Richard Bonynge.

Decca 475 6302 4 Puccini, G. Tra voi, belle, brune e bionde; Cortese damigella; Vedete? Io sono fedele alla parola mia; In quelle trine morbide; L’ ora, o Tirsi, è vaga e bella, from Manon Lescaut.

Maria Callas, sop; Giuseppe di Stefano, ten; Vito Tatone, ten; Dino Formichini, ten; Giulio Fioravanti, bar; Franco Calabrese, bass; La Scala Ch & TO/Tullio Serafin.

Sarabandas 54040 21 17:00 SOCIETY SPOT Classical Guitar Society Prepared by Sue McCreadie

Symphony no 6 in D, op 60 (1880). London SO/István Kertész.

Decca 417 598-2 46 20:00 THE LIFE OF A COMPOSER Camille Saint-Saëns Prepared by Rex Burgess Saint-Saëns, C. Tarantella in A minor, op 6 (1857). Clara Novakova, fl; Richard Vieille, cl; Paris Orchestral Ensemble/Jean-Jacques Kantorow.

EMI 7 54913 2 6 Cello concerto no 1 in A minor, op 33 (1872).

Maria Kliegel, vc; Bournemouth Sinfonietta/ Jean-François Monnard.

Naxos 8.553039 19 Septet in E flat, op 65 (1881). David Guerrier, tpt; Renaud Capuçon, vn; Esther Hoppe, vn; Beatrice Muthelet, va; Gautier Capuçon, vc; Janne Saksala, db; Frank Braley, pf.

EMI/Virgin 5 45602 2 16 Saltarelle, op 74 (1885). Jean Sourisse Vocal Ensemble; Audite Nova Vocal Ensemble/Jean Sourisse.

FNAC 592224 6 La fiancée du timbalier (1887). Felicity Lott, sop; Graham Johnson, pf.

Harmonia Mundi HMC 901138 12 The lyre and the harp, op 57 (1879).

Françoise Pollett, sop; Héléne Perraguin, mezz; Daniel Galvez-Vallejo, ten; Didier Henri, bar; Île de France Regional Ch & NO/ Jacques Mercier.

Adès 204222 49 22:00 SATURDAY NIGHT AT HOME Prepared by Elaine Siversen Mozart, W. Sketches for a ballet intermezzo, K299c (1788; arr. Smith). Academy of St Martin in the Fields/Neville Marriner.

Philips 464 940-2 20 Schubert, F. Symphony no 8 in B minor, D759, Unfinished (1822; compl. Newbould, Venzago). Buffalo PO/JoAnn Faletta.

Naxos 8.572051 38 Elgar, E. Sketches for symphony no 3 (193233). BBC SO/Andrew Davis.

NMC D053 56 AUGUST 2019

27

Sunday 18 August 12:00 CLASSIC JAZZ AND RAGTIME with Jeannie McInnes 13:00 WORLD MUSIC: Whirled Wide with Anna Tranter 14:00 EARLY 18TH CENTURY IN ITALY Prepared by Albert Gormley Scarlatti, A. Sinfonia no 9 in G minor (c1715). Music Antiqua Toulon/Christian Mendoze.

Pierre Verany PV795031 8

William Byrd

0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SUNDAY MORNING MUSIC Prepared by Paul Roper 9:00 MUSICA SACRA Prepared by Chris Blower Byrd, W. Mass for five voices. Choir of Winchester Cathedral/David Hill.

Decca 478 5637 23 Bloch, E. Nigun (1923-24; arr. Purich). I Musici de Montréal/Yuli Turovsky, vc & dir.

Chandos CHAN 8800 7 Scarlatti, D. Stabat Mater (c1715). Sydney Chamber Choir/Nicholas Routley.

Fine Music concert recording 24 10:00 THE CLASSICAL ERA Prepared by Di Cox Schubert, F. Overture in D in the Italian style, D590 (1817). Stockholm Sinfonietta/Neeme Järvi.

BIS CD-453 8 Beethoven, L. Violin sonata no 5 in F, op 24, Spring (1800-01). Dene Olding, vn; Max Olding, pf.

ABC 432 699-2 23 Kraus, J.M. Non temer. Barbara Bonney, sop; Claes-Håkan Ahnsjö, ten; Drottningholm Court TO/Thomas Schuback.

Musica Sveciae MSCD 424 8 Berwald, F. Concert piece in F, op 2 (1820).

Klaus Thunemann, bn; Academy of St Martin in the Fields/Neville Marriner.

Philips 446 096-2 11 Haydn, J. Symphony in G, Hob:I:92, Oxford (1789). Royal Concertgebouw O/Karel Ancerl.

Radio Nederland RCO 06004 27 Hummel, J. Piano quintet in E flat, op 87 (1802). Melos Ensemble.

Decca 430 297-2 20 Giuliani, M. Gran sonata eroica in A, op 85 (pub. 1817). Pepe Romero, gui.

Philips 454 262-2 14 28

AUGUST 2019

Locatelli, P. Violin concerto in C minor, op 3 no 2 (pub. 1733). Elizabeth Wallfisch, vn; Raglan Baroque Players/Nicholas Kraemer.

Hyperion CDS44391/3 19 Scarlatti, A. Concerto grosso no 1 in F minor (c1740). I Musici.

LP Philips 9500 603 8 Vivaldi, A. Violin concerto in E minor, RV277, Il favorito. I Solisti delle Settimane Musicali Internazionali di Napoli/Salvatore Accardo, vn & dir.

EMI CDC 7 49320 2 17 15:00 SUNDAY SPECIAL Rarities from the Russian archives Prepared by Paolo Hooke Parsadanian, B. Symphony no 2 in E flat, op 6, Martiros Sarian (1906-07). USSR SO/ Yevgeny Svetlanov.

Russian Disc RD 11 050 43 Schnittke, A. Symphony no 1 (1969-74).

USSR Ministry of Culture SO/Gennady Rozhdestvensky.

Melodiya SUCD 10-00062 1:05 17:00 HOSANNA Prepared by Richard Munge Hymn: When morning gilds the skies. Choir of St Paul’s Cathedral/Barry Rose.

Guild GMCD 3 Psalms: No 39: I said I will take heed to my ways; no 96: O sing unto the Lord a new song. Choir of St John’s College, Cambridge/ George Guest.

Decca 452 941-2 9 John Scott, org (2 above) Brewer, H. Magnificat; Nunc dimittis, from Evening canticles in D (1927). Choir of St Paul’s Cathedral; Christopher Dearnley, org; John Scott, cond.

Hyperion CDA66249 7 Rutter, J. Pie Jesu, from Requiem (1985).

Edward Saklatvala, treb; City of London Sinfonia/Stephen Cleobury. 4 Vaughan Williams, R. Gloria, from Mass in G minor (1920-21). John Eaton, treb; Nigel Perrin, alto; Robin Doveton, ten; David van Asch, bass; David Wilcocks, cond. 4

Gibbons, O. Hosanna to the son of David (pub. 1641). Oliver Brett, org; Stephen Cleobury, cond. 3 Choir of King’s College, Cambridge (3 above) EMI 9 68957 2 Stopford, P. Anthems: Teach me, O Lord; The spirit of the Lord. Choir of Truro Cathedral; Luke Bond, org; Christopher Gray, cond.

Regent REGCD 400 10 Hymns: Lord enthroned in heavenly splendour; Forth in thy name, O Lord, I go.

Cantus Choro; Norman Kaye, org; Peter Chapman, cond.

Move MD 3032 6 Bach, J.S. Prelude and fugue in G, BWV541 (c1712-17). Timothy Byram-Wigfield, org.

Regent REG 200 8 18:00 SMALL FORCES Prepared by Krystal Li Beethoven, L. Duo in C, WoO27 no 1 (1796).

Charles Neidich, cl; Dennis Godburn, bn.

Sony SK 53367 13 Chaminade, C. Flute concertino in D, op 107 (1902). Janet Webb, fl; Jocelyn Fazzone, pf.

Fine Music concert recording 8 Dvorák, A. String sextet in A, op 48 (1878).

Raphael Ensemble.

Hyperion CDA66308 33 19:00 SUNDAY NIGHT CONCERT Prepared by Frank Morrison Bartók, B. Dance suite (1923). Hungarian State SO/Adám Fischer.

Nimbus NI 5309 18 Herbert, V. Cello concerto no 2 in E minor, op 30 (1894). Yo-Yo Ma, vc; New York PO/Kurt Masur.

Sony SK 67173 21 Schubert, F. Symphony no 8 in B minor, D759, Unfinished (1822; compl. Venzago).

Basle CO/Mario Venzago.

Sony 88985431382 43 20:30 NEW HORIZONS Prepared by Nev Dorrington O’Halloran, D. Excerpts from Breathe (2013).

Dustin O’Halloran, pf.

Milan 7313 83666223 32 Newman, T. Excerpts from Side effects (2013). Thomas Newman, pf.

Varese Sarabande VSD-7182 30 O’Halloran, D. Three movements; Five movements (2018). Dustin O’Halloran, pf; Volker Bertelmann, pf.

1631 Recordings 35 26 22:00 AFTER HOURS JAZZ

Monday 19 August Nielsen, C. Symphony no 3, op 27, Sinfonia espansiva (1910-11). Pia Raanoja, sop; Knut Skram, bar; Gothenburg SO/Myung-Whun Chung.

BIS CD-614/616 37 12:00 SWING SESSIONS with John Buchanan 13:00 THE GIULINI LEGACY Prepared by Ray Lemond Ravel, M. Alborada del gracioso (1905).

Philharmonia O. EMI CZS 7 67723 2 8 Iván Fischer

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: 1920 Prepared by Brian Drummond Coates, E. Coquette (1920). BBC Concert O/ John Wilson.

ASV WHL 2107 6 Korngold, E. Suite from Much ado about nothing, op 11 (1920). Gil Shaham, vn; André Previn, pf.

DG 439 886-2 13

Debussy, C. Nocturnes (1897-99).

Philharmonia Ch & O. EMI CDM 1 66432 2 26 Dvorák, A. Cello concerto in B minor, op 104 (1895). Mstislav Rostropovich, vc; London PO. EMI 5 65701 2 43 Brahms, J. Ihr habt nun Traurigkeit, from A German requiem, op 45 (1865-68). Barbara Bonney, sop; Vienna State Opera Concert Choir; Vienna PO. Decca 476 2649 7 Stravinsky, I. Suite from Petrushka (1947).

Chicago SO. EMI 5 85974 2 24 Carlo Maria Giulini, cond (all above)

Quilter, R. Three pastoral songs, op 22 (1920): I will go with my father a-ploughing; Cherry valley; I wish and I wish. Lisa Milne, sop; Luisa Fuller, vn; Ivan McCready, vc.

Collins 15122 8

15:00 CONCERTO FOR ORCHESTRA Prepared by James Nightingale

Villa-Lobos, H. Children’s carnival (1920).

Marcelo Bratke, pf.

Olympia OCD 455 16

Britten, B. Prelude and fugue, op 29 (1943).

English CO/Benjamin Britten.

Decca 478 5364 9

Turina, J. Sinfonia sevillana, op 23 (1920).

Gran Canaria PO/Adrian Leaper.

ASV DCA 1066 24 Dohnányi, E. Pastorale, Hungarian Christmas song (1920). Barry Snyder, pf.

Pro Arte D 240 6

Krása, H. Overture for small orchestra (194344). Music of Remembrance/Gerard Schwarz.

Naxos 8.570119 5

Bartók, B. Concerto for orchestra (1943).

Budapest FO/Iván Fischer.

Philips 456 575-2 36 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm

Sousa, J.P. Humoresque of George Gershwin’s Swanee (1920). Royal Artillery Band/Keith Brion.

Naxos 8.578001-02 6

19:00 JAZZ PULSE with Chris Wetherall

10:30 CONCERT HALL Prepared by Di Cox

22:00 THE AUSTRALIAN JAZZ SCENE with Susan Gai Dowling and Peter Nelson

Tchaikovsky, P. Capriccio italien, op 45 (1880). Kirov O/Valery Gergiev.

Philips 442 775-2 15 Mozart, W. Sinfonia concertante no 2 in E flat, K364 (1779). Christopher Moore, va; Australian CO/Richard Tognetti, vn & dir.

BIS SACD 1754 29

20:00 STORMY MONDAY with Austin Harrison and Garth Sundberg

Bartók said of his very popular Concerto for orchestra that he titled it this way instead of calling it a symphony because he had treated each section of the orchestra in a soloistic and virtuosic way.

Tuesday 20 August 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Julie Simonds 9:00 DIVERSIONS IN FINE MUSIC Colours of the keyboard Prepared by Frank Morrison Haydn, J. Piano sonata no 60 in C, Hob. XVI:50 (c1794-95). Andreas Staier, fp.

Harmonia Mundi RD 77160 15 Bernstein, L. Clarinet sonata (1941-42). Paul Meyer, cl; Eric Lesage, pf.

Denon CO-18016 11 Bach, C.P.E. Sonata in C, Wq63.1 (1753).

Christopher Hogwood, clvd.

Decca 444 162-2 6 Fuchs, R. Twelve waltzes, op 110 (1920).

Daniel Blumenthal, pf.

Marco Polo 8.223474 20 Albrechtsberger, J. Prelude and fugue.

Elizabeth Anderson, Douglas Lawrence, org.

Move MD 3180 6 Brahms, J. Piano trio no 3 in C minor, op 101 (1886). Itzhak Perlman, vn; Lynn Harrell, vc; Vladimir Ashkenazy, pf.

EMI 7 54725 2 21 10:30 CONCERT HALL Prepared by Dan Bickel Mozart, W. Sinfonia concertante in E flat, K364 (1779). Charmian Gadd, vn; Glenn Donnelly, va; Concertante Ensemble/ Christopher Bearman.

Fine Music concert recording 33 Strauss, R. Horn concerto no 1 in E flat, op 11 (1883). Dennis Brain, hn; Philharmonia O/ Wolfgang Sawallisch.

EMI 7 47834 2 15 Nielsen, C. Symphony no 1 in G minor, op 7 (1890-93). Gothenburg SO/Myung-Whun Chung.

BIS CD-614/616 34 12:00 JAZZ RHYTHM with Jeannie McInnes 13:00 PIANO AND FRIENDS Prepared by Paul Hopwood Mendelssohn, F. Viola sonata in C minor (1824). Paul Coletti, va; Leslie Howard, pf.

Hyperion CDA66946 28 Saint-Saëns, C. Piano trio in F, op 18 (1863). Marcia Crayford, vn; Christopher van Kampen, vc; Ian Brown, pf.

Virgin VC 7 90751-2 27 AUGUST 2019

29

Tuesday 20 August

Wednesday 21 August

14:00 MUSICAL FAMILIES Prepared by Jennifer Foong Ysaÿe, E. Violin sonata in E, op 27 no 6 (1924).

Chandos CHAN 8599 7 Howells, H. Three dances (1914). London SO/Richard Hickox.

Chandos CHAN 9557 14 Shostakovich, D. Violin sonata, op 134 (1968). Clifford Benson, pf.

Chandos 8988 30 Walton, W. Canzonetta; Scherzetto (1951).

London PO/Jan Latham-Koenig.

Chandos CHAN 9073 6 Grieg, E. Violin sonata no 2 in G, op 13 (1867). Elena Mordkovitch, pf.

Chandos CHAN 9184 21 Ireland, J. Phantasie trio (1907). Karine Georgian, vc; Ian Brown, pf.

Chandos CHAN 9377/8 11 Rimsky-Korsakov, N. Fantasy on Russian themes, op 33 (1887). Royal Scottish NO/ Neeme Järvi.

Chandos CHAN 10491 17 Lydia Mordkovitch, vn (all above) 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm 19:00 THE JAZZ BEAT with Lloyd Capps 20:00 RECENT RELEASES with Charles Barton 22:00 CHAMBER SOIRÉE Prepared by Rex Burgess Caplet, A. Conte fantastique (1908). Isabelle Moretti, hp; Quatuor Parisii. naïve V 5129 16 Say, F. Violin sonata, op 7 (1996). Patricia Kopatchinskaja, vn; Fazil Say, pf. naïve V5146 13 Ligeti, G. Six bagatelles (1951-53). Canberra Wind Soloists.

Fine Music tape archive 12 Haydn, J. String quartet in E, Hob.III:59 (1788). Kodály Quartet.

Naxos 8.550395 23 Rorem, N. Book of hours (1975). Fenwick Smith, fl; Ann Hobson Pilot, hp.

Naxos 8.559674 18 Schoenberg, A. Transfigured night, op 4 (1899). Paul Neubauer, va; Colin Carr, vc; Emerson Quartet.

Sony 88725470602 27 In his Violin sonata Turkish pianist Fazıl Say combines western classical form and folk music elements of his home country with intense jazz-like rhythms.

30

AUGUST 2019

Pablo de Sarasate

Bryden Thomson

0:00 CONTEMPORARY COLLECTIVE

Beethoven, L. Symphony no 7 in A, op 92 (1811-12). Vienna PO/Simon Rattle.

EMI 5 57448 2 40

3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Troy Fil 9:00 DIVERSIONS IN FINE MUSIC Inspired by literature Prepared by Paul Cooke Vaughan Williams, R. Merciless beauty (1921). John Mark Ainsley, ten; Leo Phillips, vn; Elizabeth Wexler, vn; Paul Watkins, vc.

Hyperion CDA67168 6 Dittersdorf, C. Symphony in D, The fall of Phaëton (pub. 1767). Failoni O/Hanspeter Gmür.

Naxos 8.553368 23 Mozart, W. Das Veilchen; Das Lied der Trennung; An Chloe. Nicky Spence, ten; Joseph Middleton, pf.

BBC Music BBCMM421 11 Dieren, B. Introit to Topers’ tropes: Les propos des beuveurs, after Rabelais (1921).

BBC NO/William Boughton.

Lyrita SRCD.357 13 Satie, E. Trois petites pièces montées (1920).

Katia Labèque, Marielle Labèque, pf.

KML 1120 4 Mackenzie, A. Prelude to Colomba, op 28 (1883). Royal Liverpool PO/Douglas Bostock.

RLPO Live RLCD301 7 Sarasate, P. de Carmen fantasy, op 25 (c1883; arr. Waxman). Joshua Bell, vn; Samuel Sanders, pf.

Decca 475 6715 15 10:30 CONCERT HALL Prepared by Michael Field Respighi, O. Brazilian impressions (1927).

Cincinnati SO/Jesús López-Cobos.

Telarc 80356 19 Westlake, N. Suite: The glass soldier (2008).

Geoffrey Payne, tpt; Melbourne SO/JeanLouis Forestier.

Move MD 3318 25

12:00 JAZZ SKETCHES with Robert Vale 13:00 FROM LECLAIR TO SATIE Prepared by Jacky Ternisien Leclair, J-M. Trio sonata in D, op 2 no 8 (pub. c1728). Fenwick Smith, fl; Laura Jeppesen, bass viol; John Gibbons, hpd.

Naxos 8.557440-41 9 Molter, J. Trumpet concerto no 1 in D. Håkan Hardenberger, tpt; London PO/Elgar Howarth.

Philips 426 311-2 11 Vanhal, J. Bassoon concerto in C (arr. Miller).

John Miller, bn; St Mary’s Chamber Players/ Neville Marriner.

Pro Arte D 195 17 Beethoven, L. Piano sonata no 25 in G, op 79 (1809). Maurizio Pollini, pf.

DG 427 642-2 9 Satie, E. Three gnossiennes. Pro Arte Guitar Trio.

ASV WHL2063 8 14:00 IN CONVERSATION with Christopher Waterhouse 15:00 A 20TH CENTURY ROMANTIC WINDOW Prepared by James Nightingale Kodály, Z. Cello sonatina (1922). Natalie Clein, vc; Julius Drake, pf.

Hyperion CDA67829 9 Delius, F. A song of summer (1929-30).

London SO/Anthony Collins.

Belart 461 3582 10 9 Rachmaninov, S. Rhapsody on a theme of Paganini, op 43 (1934). Howard Shelley, pf; Royal Scottish NO/Bryden Thomson.

Chandos CHAN 9192 24 Hyde, M. Fantasy trio in B minor (1932-33).

Antoni Bonetti, vn; Marc Bonetti, vc; James Muir, pf.

Walsingham 2WAL8036-2 11

Thursday 22 August

Wednesday 21 August

Angela Gheorghiu

John Field

Felicity Lott

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

0:00 CONTEMPORARY COLLECTIVE

12:00 JAZZ, PURE AND SIMPLE with Maureen Meers

19:00 JAZZ STARS AND STRIPES with Peter Mitchell 20:00 AT THE OPERA Prepared by Elaine Siversen Puccini, G. La bohème. Opera in four acts.

Libretto by Luigi Illica and Giuseppe Giacosa.

First performed Turin, 1896.

MIMI: Angela Gheorghiu, sop RODOLFO: Roberto Alagna, ten MUSETTA: Elisabetta Scano, sop MARCELLO: Simon Keenlyside, bar SCHAUNARD: Roberto de Candia, bar COLLINE: Ildebrando d’Archangelo, bass-bar Verdi Conservatorium Ch; La Scala Ch & O/ Riccardo Chailly.

Decca 466 070-2 1:40 Synopsis at finemusicfm.com/Opera Verdi, G. Cielo di stelle orbato ... Vieni a mirar la cerula, from Simon Boccanegra (1857/81).

Angela Gheorghiu, sop; Roberto Alagna, ten; Berlin PO/Claudio Abbado.

EMI 5 56656 2 5 22:00 A POLISH CAVALCADE Prepared by Rex Burgess Chopin, F. Krakowiak, concert rondo, op 14 (1828). Idil Biret, pf; Slovak State PO/Robert Stankovsky.

Naxos 8.554541 16 Scharwenka, X. Violin sonata in D minor, op 2 (1869). Lydia Mordkovitch, vn; Seta Tanyel, pf.

Collins 14482 21 Moszkowski, M. From foreign lands, op 23 (1884). Polish National RSO/Antoni Wit. Naxos 8.553989 22 Szymanowski, K. Mythes, op 30 (1915).

Miriam Kramer, vn; Nicholas Durcan, pf.

Naxos 8.557748 24 Lutoslawski, W. Symphony no 1 (1947).

Polish Radio NSO/Witold Lutoslawski.

EMI 5 65076 2 25

3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Simon Moore 9:00 DIVERSIONS IN FINE MUSIC The instruments: Winds Prepared by Chris Blower

13:00 DEDICATED TO WOMEN Prepared by Jacky Ternisien Mozart, W. Piano concerto no 9 in E flat, K271, Jeunehomme (1777). Mitsuko Uchida, pf; English CO/Jeffrey Tate.

Philips 475 7306 32

Devienne, F. Flute concerto no 4 in G. Swedish CO/Patrick Gallois, fl & dir.

Naxos 8.573230 17

Jarre, M. La chanson de Lara, from Doctor Zhivago (1965; arr. Ross). Andrea Bocelli, ten; O/Gavin Greenaway.

Sugar 4811885 3

Koechlin, C. Sonatine, op 194b no 2 (1943).

David Brutti, sax; Città Aperta O/Filippo Farinelli.

Brilliant Classics 9266 11

Beethoven, L. Bagatelle in A minor, WoO59, Für Elise (1808). Gerard Willems, pf.

ABC 476 4113 3

Kalliwoda, J. Variations and rondo in B flat, op 57. Klaus Thunemann, bn; Academy of St Martin in the Fields/Neville Marriner.

Philips 446 096-2 11

Flotow, F. M’appari tutt’amor, from Martha (1847). Plácido Domingo, ten; London SO/ Nello Santi.

Sony 88875123122 4

Pleyel, I. Quartets. Christoff Ogg, cl; Regula Schneider, bshn; Markus Niederhauser, bshn; Andreas Ramseier, bshn.

Claves 50-9212 17

Bernstein, L. Maria, from West Side story (1957). Simon Tedeschi, pf; Kevin Hunt, pf.

ABC 275 205-2 4

Schumann, R. Fantasy pieces, op 73 (1849).

David Nuttall, ob d’amore; Larry Sitsky, pf.

Tall Poppies TP041 12 Dreyfus, G. The adventures of Sebastian the fox (1963). Bruce Knappet, narr; Diane Ridell, fl; Marla Swift, cl; Geoffrey Dodd, ob; George Dreyfus, bn; Jochen Schubert, gui.

Move MD 3071 11 10:30 CONCERT HALL Prepared by James Nightingale Haydn, M. Notturno in F. German Chamber Academy Neuss/Johannes Goritzki. cpo 999 512-2 16 Field, J. Piano concerto no 3 in E flat (c1805). Michael McHale, pf; RTE National SO/Courtney Lewis.

RTE Lyric 150 32 Martinu, B. Symphony no 4 (1945). BBC SO/ Jirí Belohlávek.

Onyx 4061 34

Maria, from West Side story (arr. Ross).

Andrea Bocelli, ten; O/Gavin Greenaway.

Sugar 4811885 3 Offenbach, J. Overture to La belle Hélène (1864). Polish National RSO/Richard Hayman.

Naxos 8.553264 5 Haydn, J. Symphony in C, Hob.I:48 (176869). Vienna CO/Ernst Märzendorfer.

Musical Heritage Society OR H-201-249 23 14:30 AN ENGLISH CONCERT Prepared by Ray Lemond Britten, B. Les illuminations, op 18 (1939).

Felicity Lott, sop; Scottish NO/Bryden Thomson.

Chandos CHAN 8657 24 Bliss, A. Seven waves away (1956). CzechoSlovak RSO/Adriano.

Marco Polo 8.223315 9 Suite from Adam Zero (1946). London SO/ Arthur Bliss.

Lyrita SRCD.225 9 AUGUST 2019

31

Thursday 22 August

Friday 23 August

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

Chandos CHAN 8862 45 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm 19:00 THE NEW JAZZ STANDARD with Frank Presley 20:00 THE WORLD OF A SYMPHONY Prepared by Jacky Ternisien Wolf, H. Italian serenade (1892). Ana Bela Chaves, va; Paris O/Daniel Barenboim.

Apex 0927-49582-2 8 Schumann, R. Cello concerto in A minor, op 129 (1850). Yo-Yo Ma, vc; Bavarian RSO/ Colin Davis.

CBS M2K 44562 25 Wolf, H. Bitt ihn, o Mutter; In dem Schatten meiner Locken; Alle gingen, Herz, zur Ruh, from Spanish songbook (1889-90), Jessye Norman, sop; James Levine, pf.

Philips 422 378-2 6 Mendelssohn, F. Sinfonia no 10 in B minor (1823). Orpheus CO. DG 437 528-2 10 Schubert, F. Symphony no 9 in C, D944, Great C Major (1825-28). Royal Concertgebouw O/Nikolaus Harnoncourt.

Teldec 4509-91184-2 58 22:00 TAIL WAGGING Prepared by Derek Parker Askill, M. The hour of the dog. Synergy.

Celestial Harmonies 13081-2 7 Morley, T. Will ye by a fine dog? Alfred Deller, ct; Desmond Dupré, lute.

Vanguard 08 2038 71 1 McAllister, S. Black dog. Andrew Doyle, cl; Royal Australian Navy Band/Andrew Stokes.

Royal Australian Navy RAN-008 10 Gilfedder, J. Dog tired tune. Southern Cross Soloists; David Mitchell, bn.

Melba MR301140 3 Lord Berners. Dialogue between Tom Filyter and his man, by Ned the dog stealer (1921).

Bernard Dickerson, ten; Richard Rodney Bennett, pf.

LP Unicorn-Kanchana RHS 355 1 Coward, N. Mad dogs and Englishmen. Noël Coward, voice; Peter Matz, pf; O/Carl Hayes.

Sony MDK 47253 2 22:30 ULTIMA THULE with Jon Shapiro The subtitle The Great C major of Schubert’s Ninth Symphony refers to the majesty of the work as well as to its length.

32

AUGUST 2019

Leopold Godowsky

Hugo Alfvén

0:00 CONTEMPORARY COLLECTIVE

10:30 CONCERT HALL Prepared by Ray Lemond

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 Respighi, O. Aria for strings (1901; transcr. di Vittorio). New York CO Ottorino Respighi/ Salvatore di Vittorio.

Naxos 8.572332 6

Kodály, Z. Variations on a Hungarian folk song, The peacock (1937). Vienna PO/Georg Solti.

Decca 452 853-2 24 Berwald, F. Piano concerto in D (1855).

Marian Migdal, pf; Royal PO/Ulf Björlin.

EMI CDM 5 65073 2 21 Alfvén, H. Symphony no 3 in E, op 23 (1905).

Stockholm PO/Neeme Järvi.

BIS CD-455 38

Rossini, G. Overture to The barber of Seville (1816; arr. Carulli). Debra Wendells Cross, fl; Robert Alemany, cl; JoAnn Falletta, gui.

Virginia Arts Festival 84501 74917 7

12:00 A JAZZ HOUR with Barry O’Sullivan

Panufnik, A. Homage to Chopin: Five pieces for flute and string orchestra (1966; transcr.

1949 from Vocalises for soprano and piano).

Hanna Turonek, fl; Polish CO/Mariusz Smolij.

Naxos 8.570032 13

Hill, M. Carnival night (1971). Adelaide SO/ Henry Krips.

LP ABC AC 1013 5

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

Hyperion CDA66785 12 Tartini, G. Concerto grosso no 5 in C (1734; transcr. Meneghini from Sonata, op 1 no 5). Enrico Gatti, vn; Ensemble 415/Chiara Banchini, vn & dir.

Harmonia Mundi HMX 2908601.30 10 Saxton, R. Paraphrase on Mozart’s Idomeneo.

David Theodore, ob; Joan Whiting, ob; Robert Hill, cl; Peter Maunder, cl; John Price, bn; Philip Tarlton, bn; Richard Bissill, hn; Gareth Mollison, hn; Andrew Parrott, cond.

EMI CDC 7 54424 2 11 Falla, M. de Two Spanish dances, from La vide breve (arr. Cooke). Darryl Coote, Max Cooke, pf.

Move MCD 460 9 Tallis, T. Spem in alium à 40 (arr. Keyte).

Taverner Consort; Taverner Choir; Wim Becu, bass-sackbut; Paul Nicholson, Alan Wilson, org; Andrew Parott, cond.

EMI CDC 7 49555 2 10

13:00 REMEMBERING MIRRIE HILL Prepared by Anne Irish

Abinu malkenu. Jane Peters, vn; Rachel Valler, pf.

MBS 27 10 The leafy lanes of Kent (1950). Tamara Anna Cislowska, pf.

ABC 476 6298 4 My bird singing; I heard a sound of singing; Down sunlit glades. Margaret Schindler, sop; Philip Mayers, pf.

Wirripang WIRR 076 7 Andante (1971). Adelaide SO/Henry Krips.

LP ABC AC 1013 6 Come summer. Philippa Robinson, cl; Josephine Allan, pf.

Innaminka 720 4 Psalm 3. Adelaide Singers/Patrick Thomas.

LP ABC AC 1019 7 Three aboriginal dances (1950). Larry Sitsky, pf.

Canberra School of Music CSM:40 7 Aboriginal themes (1971). Norma Hunter, cont; Alan McKie, bar; Adelaide SO/Henry Krips.

LP ABC AC 1013 26

Friday 23 August

Saturday 24 August

Paul Paray

Domenico Zipoli

Maria João Pires

14:30 THE LONDON PROMS September 1900 Prepared by Ron Walledge

Debussy, C. Nocturnes (1897-99). Royal Concertgebouw O/Bernard Haitink.

Philips 438 742-2 24

0:00 CLASSIC-ALL THROUGH THE NIGHT

Mozart, W. Overture to The marriage of Figaro, K492 (1786). German Opera O/Karl Böhm.

DG 469 666-2 4

Fauré, G. Dolly suite, op 56 (1893-96; orch.

Rabaud). BBC PO/Yan Pascal Tortelier.

Chandos CHAN 9416 17

Beethoven, L. Overture to Coriolan, op 62 (1807). Columbia SO/Bruno Walter.

CBS MYK 42599 8 Symphony no 2 in D, op 36 (1801-02). Berlin PO/Herbert von Karajan.

DG 429 038-2 31 Bizet, G. Suite from Carmen (1875). Detroit SO/Paul Paray.

Mercury 475 6268 12 Dvorák, A. Scherzo capriccioso, op 66 (1883). Czech PO/Karel Sejna.

Supraphon SU 1915-2 001 12 Strauss, J. II Waltz: On the beautiful blue Danube, op 314 (1867). Vienna PO/Carlos Kleiber.

CBS M2XK 45564 10 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm 19:00 FRIDAY JAZZ SESSION with Christopher Waterhouse 20:00 EVENINGS WITH THE ORCHESTRA In France Prepared by Di Cox Méhul, É-N. Overture to La chasse du jeune Henri (1791). New Philharmonia O/Raymond Leppard.

Philips 446 569-2 11 Alkan, C-V. Chamber concerto in A minor, op 10 no 1 (1832). Marc-André Hamelin, pf; BBC Scottish SO/Martyn Brabbins.

Hyperion CDA66717 14 Bizet, G. Symphony in C (1855). Royal PO/ Enrique Bátiz.

ASV DCA 696 34

Françaix, J. Concertino (1932). Jean-Yves Thibaudet, pf; Montreal SO/Charles Dutoit.

Decca 452 448-2 9 22:00 BAROQUE AND BEFORE Baroque music from Latin America Prepared by Paul Cooke Zipoli, D. Adagio. Alexandre Oguey, cora; Sally Maer, vc; Sinfonia Australis/William Motzing.

ABC 476 5162 9 Garcia de Zéspedes, J. Guaracha. Harp Consort/Andrew Lawrence King.

Harmonia Mundi HMX 2907293 4 Zipoli, D. Suite in F. Maurice André, tpt; JeanFrançois Paillard CO/Jean-François Paillard.

Erato 2292-45062-2 12 Padilla, J. de Mass Ego flos campi. Ex Cathedra/Jeffrey Skidmore.

Hyperion CDA67380 15 Fernandes, G. Eso rigo e reprente; Tleycantimo choquiliya; Xicochi conetzintle; Botay fora. La Compañia/Danny Lucin.

ABC 476 4955 15 Zipoli, D. Vêpres de San Ignacio. Andriana Fernandez, sop; Silvia Perez, sop; Claudio Cavina, ct; Tu Shi-Chiao, ct; Josep Benet, ten; Victor Torres, bar; Coro de Niños Cantores de Córdoba, Argentinia; Ensemble Elmaya/Gabriel Carrido.

Association Française D’Action Artistique K 617 56 Italian-born Domenico Zipoli worked and died in Córdoba in the Viceroyalty of Peru, Spanish Empire (now Argentina).

He was the most accomplished musician among Jesuit missionaries in that area and taught music to the Guarani people.

6:00 SATURDAY MORNING MUSIC 9:00 WHAT’S ON IN MUSIC Our weekly guide to musical events in and around Sydney 9:05 THE PIANO ALONE Prepared by Chris Blower Liszt, F. Mephisto waltz no 1: The dance in the village inn (1859-60). Khatia Buniatishvili, pf.

Sony 88697766042 11 Vaughan Williams, R. Suite in G (1920).

Peter Jacobs, pf.

TRAC Classique TRXCD 126 15 Schubert, F. Piano sonata in A minor, D784 (1823). Maria João Pires, pf.

DG 427 769-2 23 10:00 MUSIC OF THE DANCE Prepared by Frank Morrison Gounod, C. Ballet music from Faust (1859).

Czecho-Slovak RSO/Ondrej Lenard.

Naxos 8.550081 16 Dukas, P. Ballet: La péri (1912). New York PO/Pierre Boulez.

Sony SMK 68 333 19 Chopin, F. Four mazurkas, op 24 (1834-35).

Alexander Brailowsky, pf.

Sony SB2K 63237 11 Delibes, L. Prelude; Mazurka, from Coppélia (1870). Philharmonia O/Robert Irving.

EMI 1664462 5 Prokofiev, S. Waltz suite, op 110 (1946).

Mikhail Chernykhovsky, vn; USSR RTV Large SO/Gennady Rozhdestvensky.

Consonance 81-5005 28 11:30 ON PARADE Prepared by Chris Blower Sullivan, A. A Sullivan fantasy (arr. Langford). John Foster Black Dyke Mills Band/Roy Newsome.

Chandos CHAN 4533 7 Arnold, M. Little suite no 2, op 93 (1967).

Grimethorpe Colliery Band/Elgar Howarth.

Sony 88875181702 6 AUGUST 2019

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Saturday 24 August

Carl Zeller

Geoffrey Burgon

Alexander Glazunov

Vinter, G. Salute to youth. Black Dyke Mills Band/Peter Parkes.

Chandos CHAN 4509 12

18:00 THE MAGIC OF STAGE AND SCREEN Prepared by Paul Cooke

Nights in the gardens of Spain (1909-15).

Javier Perianes, pf; BBC SO/Josep Pons.

Harmonia Mundi HMC 902099 24

12:00 URBAN JAZZ LOUNGE with Leita Hutchings

Burgon, G. Variations, from Brideshead revisited (1981). Philharmonia O/Geoffrey Burgon.

Silva Screen FILMCD 723 19

Nana, from Seven popular Spanish songs (1914-15). Renée Fleming, sop; Philharmonia O/Sebastian Lang-Lessing.

Decca 478 5107 2

Loewe, F. Excerpts from Brigadoon (1947).

Brent Barrett, Rebecca Luker, John Mark Ainsley, voices; Ambrosian Ch; London Sinfonietta/John McGlinn.

Angel 0777 7 54481 2 2 17

Four Spanish pieces (1909; arr. Grigoryan).

Slava Grigoryan, gui; Leonard Grigoryan, gui.

ABC 476 6088 16

13:00 IN A SENTIMENTAL MOOD with Maureen Meers Nostalgic music and artists from the 30s, 40s and 50s and occasionally beyond, in a trip down many memory lanes 14:00 THE VOICES, THE ROLES Prepared by Angela Cockburn Tragic tenors 14:30 SATURDAY MATINEE Operetta in the afternoon Prepared by Elaine Siversen Zeller, C. Der Vogelhändler.Operetta in three acts. Libretto by Moritz West and Ludwig Held. First performed Vienna, 1891.

ADAM: Sebastian Reinthaller, ten CHRISTEL: Birgid Steinberger, sop LORD STANISLAUS: Jörg Schneider, ten BARON WEPS: Eduard Lehmann, ten PRINCESS MARIE: Ingrid Habermann, sop ADELAIDE: Marika Lichter, sop Mörbisch Festival Ch & O; Rudolf Bibl.

OEHMS Classics OC 220 1:20 Synopsis at finemusicfm.com/Opera d’Albert, E. The departure. Musical comedy in one act. Libretto by Ferdinand Sporck. First performed Frankfurt, 1898.

GILFEN: Hermann Prey, bar LUISE: Edda Moser, sop TROTT: Peter Schreier, ten Philharmonia Hungarica/János Kulka.

EMI 5 75996 2 46 Synopsis at finemusicfm.com/Opera Heuberger, R. Overture to The opera ball (1898). Vienna PO/Willi Boskovsky.

Decca 436 785-2 7 17:00 SOCIETY SPOT Sydney Schubert Society Prepared by Ross Hayes 34

AUGUST 2019

Jaubert, M. Excerpts from L’histoire d’Adèle H. O/Patrice Mestral.

King Records KICP 814 18 19:00 THE BOHEMIAN SYMPHONY Prepared by Chris Blower Fibich, Z. The great musical monograph of the building of the National Theatre (c1881).

Naxos 8.573310 6 Vesna, op 13, Spring (1881).

Naxos 8.573197 13 Czech NSO/Marek Stilec (2 above) Symphony no 1 in F, op 17 (1883).

Razumovsky SO/Andrew Mogrelia.

Naxos 8.553699 35 20:00 THE LIFE OF A COMPOSER Manuel de Falla Prepared by Madilina Tresca Falla, M. de Psyché (1924). Claron McFadden, sop; Cello Octet Conjunto Ibérico/ Elias Arizcuren.

Canal Grande 9531 6 Concerto for harpsichord, winds and strings (1923-26). Lenka Kozderková-Simková, fl; Vladislav Borovka, ob; Karel Dohnal, cl; Adéla Stajnochrová, vn; Tomás Strasil, vc; Monika Knoblochová, hpd.

Supraphon SU 3805-2 14 Trois mélodies. Bernarda Fink, mezz; Anthony Spiri, pf.

Harmonia Mundi HMC 902133 7

Ballet: The three-cornered hat (1919). Jan DeGaetani, mezz; New York PO/Pierre Boulez.

Sony SMK 68 333 39 22:00 SATURDAY NIGHT AT HOME Prepared by Stephen Wilson Ippolitov-Ivanov, M. Caucasian sketches, suite no 1, op 10 (1894). Sydney SO/ Christopher Lyndon-Gee. Marco Polo 8.220369 25 Grieg, E. Last Spring, op 33 no 2 (orch.

1894-95). Marita Solberg, sop; Bergen PO/ Ole Kristian Ruud.

BIS CD-1740/42 8 Hofmann, L. Cello concerto in D. Northern Sinfonia/Tim Hugh, vc & dir.

Naxos 8.553853 23 Myslivecek, J. Wind octet no 1 in E flat.

Harmoniemusik of London.

Virgin 5 61368 2 15 Glazunov, A. Ballet: The seasons, op 67 (1899). Concert Arts O/Robert Irving.

EMI 5 65911 2 36 The Kapellmeister of St Stephen’s Cathedral in Vienna, Leopold Hofmann, was a rival of Joseph Haydn but is little known today. His eight cello concertos are among nearly 60 concertos that he composed for various instruments. These technically demanding works are among the finest concertos written in Vienna in the 18th century.

Sunday 25 August

Marc-Antoine Charpentier

Andrew Manze

Edith Wiens

0:00 CLASSIC-ALL THROUGH THE NIGHT

Eybler, J. Symphony no 1 in C (c1780).

Geneva CO/Michael Hofstetter. cpo 777 104-2 24

Adams, J. The wound-dresser (1988). Nathan Gunn, bar; Bournemouth SO/Marin Alsop.

Naxos 8.559031 19

12:00 CLASSIC JAZZ AND RAGTIME with John Buchanan

Whitman, W. O captain! My captain! Ed Begley, narr.

Caedmon 4708 (1) 2

6:00 SUNDAY MORNING MUSIC 9:00 MUSICA SACRA Prepared by Paul Cooke Elgar, E. Te Deum; Benedictus, op 34 (1897).

London Symphony Ch; Northern Sinfonia/ Richard Hickox.

EMI CDC 7 47658-2 20 DeBlasio, C. God is our righteousness (1992). Nicholas Goluses, gui; Harry Huff, org.

Catalyst 09026 61979 2 9 Charpentier, M-A. Miserere. Edwige Parat, sop; Anne Magouët, sop; Sabine Garrone, mezz; François-Nicolas Geslot, ct; Hervé Lamy, ten; Jean-Claude Sarragosse, bar; Ensemble Jacques Moderne/Joël Suhubiette.

MBF 1108 25 10:00 THE CLASSICAL ERA Prepared by Krystal Li Albrechtsberger, J. Fugue for quartet in C (c1770). Camerata Bern/Thomas Füri.

Archiv 410 599-2 6 Moscheles, I. Recollections of Ireland, op 69 (1826). Tasmanian SO/Howard Shelley.

Hyperion CDA67430 15 Weigl, J. Dille che in lei rispetto, from L’imboscata (1815). Ann Hallenberg, mezz; Johannes Weisser, bar; Halvor F. Melien, bar; Stavanger Chamber Ch & SO/Fabio Biondi. naïve V 5309 6 Wranitzky, A. String sextet in G. Ensemble Cordia.

Brilliant Classics 94168 24 Albrechtsberger, J. Aria de passione Domine: O Traurigkeit, O Herzeleid (ed. Hanlon).

Monica Groop, mezz; Christian Lindberg, tb; Ann Wallström, vn; Marit Bergman, vn; Olof Larsson, vc; Björn Gäfvert, org.

BIS CD-548 8 Reicha, A. Clarinet quintet in B flat, op 89 (c1809). Ensemble Carl Stamitz.

Pierre Verany PV 789101 23

13:00 WORLD MUSIC: Whirled Wide with Orli Zahava 14:00 BAROQUE CHARACTERISTICS The concerto Prepared by Albert Gormley Monteverdi, C. Concerto, from Vespers of the Blessed Virgin (1610). Jennifer Bates, sop; Romola Tyrrell, sop; Gerald English, ten; Ian McCahon, ten; Chamber Choir of Sydney University; Neil McEwan, cantor; Baroque Ensemble/Nicholas Routley.

LP MBS 11 4 Vivaldi, A. Concerto in A for multiple instruments, RV 552, Per eco in lontano (1740).

Academy of Ancient Music/Andrew Manze.

Harmonia Mundi HMU 907230 15 Stanley, J. Organ concerto in C minor, op 10 no 4 (pub. 1775). Northern Sinfonia O/Gerald Gifford, org & dir.

CRD 3409 12 Bach, J.S. Oboe d’amore concerto in D minor, BWV1053. Thomas Stacy, ob d’amore; Toronto CO/Kevin Mallon.

Naxos 8.570735 22 15:00 SUNDAY SPECIAL Walt Whitman and music Prepared by Dan Bickel Holst, G. Walt Whitman overture, op 7 (1899). Ulster O/JoAnn Falletta.

Naxos 8.572914 7 Whitman, W. When I heard the learn’d astronomer. Ed Begley, narr.

Caedmon 4708(1) 1 Stanford, C. Villiers To the soul, op 97 no 4 (1906). Christopher Maltman, bar; BBC Scottish SO/Martyn Brabbins.

Hyperion CDA67065 5

Holst, G. Ode to death, op 38 (1914). London Symphony Ch; City of London Sinfonia/ Richard Hickox.

Chandos CHAN 9437 13 Vaughan Williams, R. Dona nobis pacem.

Edith Wiens, sop; Brian Rayner Cook, bar; London Philharmonic Choir; London PO/ Bryden Thomson.

Chandos CHAN 8590 36 Delius, F. Sea drift (1903-04). Thomas Hampson, bar; Welsh National Opera Ch & O/Charles Mackerras.

Argo 430 206-2 25 17:00 HOSANNA Prepared by Jeremy Hall Hymns: Praise to the Lord, the almighty; Faithful shepherd; Faithful shepherd lead me; Praise to the holiest in the height. Choir of St Paul’s Cathedral; Christopher Dearnley, org; John Scott, cond.

Hyperion CDH88036 11 Howells, H. Magnificat; Nunc dimittis, from Collegium regale (1944). Choir of Trinity College, Cambridge/Stephen Layton.

Hyperion CDA68105 9 Tippett, M. Five spirituals, from A child of our time (1939-41). The Sixteen/Harry Christophers.

Coro CORO16111 13 Bairstow, E. Save us, O Lord. Choir of St John’s College, Cambridge; Paul Provost, org; David Hill, cond.

Hyperion CDA67497 5 Palestrina, G. da Agnus Dei, from Missa brevis. Choir of Wellington Cathedral; Andrew Macmillan, org; Phillip Walsh, cond.

Herald HAPV 191 6 AUGUST 2019

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Sunday 25 August

Monday 26 August

Whitacre, E. I thank you God for this most amazing day. Eric Whitacre Singers/Eric Whitacre.

Decca 274 3209 7

12:00 SWING SESSIONS with John Buchanan

18:00 SMALL FORCES Prepared by Frank Morrison

Ketèlbey, A. In the mystic land of Egypt (1931). Laurence Dale, ten; Ambrosian Ch; London Promenade O/Alexander Faris.

Philips 400 011-2 6

13:00 IN THE MYSTIC LAND OF EGYPT Prepared by Dan Bickel

Saint-Saëns, C. Piano quartet in E (1853).

Quatuor Élyséen.

Arion ARN 68242 21

Cimarosa, D. Overture to Cleopatra (1789).

Nicolaus Esterházy Sinfonia/Alessandro Amoretti.

Naxos 8.570508 4

Danzi, F. Wind quintet in B flat, op 56 no 1 (pub. 1821). Berlin Philharmonic Wind Quintet.

BIS CD-552 16 Enescu, G. Violin sonata, Torso (1911).

Adelina Oprean, vn; Justin Oprean, pf.

Hyperion CDA66484 16 19:00 SUNDAY NIGHT CONCERT Prepared by Rex Burgess Kozeluch, L. Sinfonia concertante in E flat. Siegfried Goethel, tpt; Walter Meuter, db; Akashi Ochi, mand; Werner Genuit, pf; Consortium Classicum; Academy of St Martin in the Fields/Iona Brown.

EMI CDM 7 69389 2 28 Pfitzner, H. Preludes to Acts I, II, III, from Palestrina (1915). Berlin Opera O/Christian Thielemann.

DG 449 571-2 22 Martinu, B. Symphony no 4 (1945). Czech PO/Jirí Belohlávek.

Chandos CHAN 9138 34 20:30 NEW HORIZONS Prepared by James Nightingale Thomas, Augusta. Carillon sky (2006). Baird Dodge, vn; MusicNOW Ensemble; Chicago SO/Pierre Boulez.

Nimbus NI 6258 8

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: 1905 Prepared by Derek Parker Elgar, E. Introduction and allegro, op 47 (1905). English CO/Julian Lloyd Webber.

Naxos 8.573250 14 Hahn, R. Childish variations on a melody of Carl Reinecke (1905). Leslie Howard, Mattia Ometto, pf.

Melba MR 301148-49 6 Lehár, F. Vilia, from The merry widow (1905).

Yvonne Kenny, sop; Doug de Vries, mand; Melbourne Symphony Ch & O/Richard Bonynge.

ABC 481 1873 6 Debussy, C. Images, set I (1905). Michael Ierace, pf.

Move MCD 497 16

Respighi, O. Church windows: The flight into Egypt (1925). Pacific SO/Keith Clark.

Reference RR-15 8 Mozart, W. Four interludes from Thamos King of Egypt, K345 (1773-76). London SO/Peter Maag.

Decca 466 500-2 18 Prokofiev, S. Suite: Egyptian nights, op 61 (1938). Leningrad Philharmonic SO/Gennady Rozhdestvensky.

LP Melodiya C10-10453-4 20 Glass, P. Prelude; Dance, from Akhnaten (1984). Ulster O/Takuo Yuasa.

Naxos 8.554568 18 Saint-Saëns, C. Piano concerto no 5 in F, op 103, Egyptian (1896). Magda Tagliaferro, pf; Lamoureux Concerts O/Jean Fournet.

Philips 438 959-2 29 15:00 CONCERTO FOR ORCHESTRA Prepared by James Nightingale Serra, J. Symphonic poem: Puigsoliu (1954; orch. Brotons). El Vallès SO/Salvador Brotons.

Naxos 8.555871 8 Larsson, L-E. Piano concertino, op 45 no 12 (1954-57). Hans Pålson, pf; Musica Sveciae/ Sven Verde.

BIS CD-473/474 15

Dargaville, T. Invisible dance (2006).

Christina Leonard, sax; Claire Edwardes, mar.

ABC 481 4828 2

Vaughan Williams, R. Norfolk rhapsody in E minor, no 1 (1905-06). City of Birmingham SO/Norman del Mar. Varèse-Sarabande VCD47248 10

Kolam (2012). Continuum Sax. New Music Network 20130715 7

Fauré, G. Piano quintet no 1, op 89 (1895/1905). Schubert Ensemble.

Chandos CHAN 10576 29

Lutoslawski, W. Concerto for orchestra (1954). Bavarian RSO/Mariss Jansons.

BR Klassik 900107 30

10:30 CONCERT HALL Prepared by Derek Parker

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

Tchaikovsky, P. Hamlet, fantasy overture after Shakespeare, op 67 (1888). Vienna PO/ Lorin Maazel.

Decca 480 6617 17

20:00 STORMY MONDAY with Austin Harrison and Garth Sundberg

Negra 1 (1999). Michael Kieran Harvey, pf.

Move MD 3288 19 Lauba, C. Dream in a bar. Marie-Bernadette Charrier, sax; Philippe Valentine, perc.

Octandre OC931 14 Saariaho, K. Nuits, adieux (1991/96).

Norwegian Soloists’ Choir; Oslo Sinfonietta/ Grete Pedersen.

BIS BIS-2139 10 Lim, L. The alchemical wedding (1996).

Elision Ensemble; musicians of Ensemble Modern/Dominique My. ABC 456 6872 18 22:00 AFTER HOURS JAZZ 36

Gabriel Fauré

AUGUST 2019

Vaughan Williams, R. Piano concerto in C (1926-30). Piers Lane, pf; Royal Liverpool PO/Vernon Handley.

EMI 5 65742 2 27 Mendelssohn, F. Symphony no 5 in D minor, op 107, Reformation (1832). Philharmonia O/ Walter Weller.

Chandos CHAN 9099 33

19:00 JAZZ PULSE with Chris Wetherall

22:00 THE AUSTRALIAN JAZZ SCENE with Susan Gai Dowling and Peter Nelson “I believe in using the entire piano as a single instrument capable of expressing every possible musical idea.”

— Oscar Peterson

Tuesday 27 August 12:00 JAZZ RHYTHM with Jeannie McInnes

0:00 CONTEMPORARY COLLECTIVE

13:00 MUSIC FOR STRINGS Prepared by Paul Hopwood

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

Borodin, A. String quartet no 2 in D (1881).

Borodin Quartet.

Le Chant du Monde LDC 278 793 29 Beethoven, L. String quartet no 16 in F, op 135 (1826). Lindsay String Quartet.

ASV DCS 403 27

Barbara Bonney and Geoffrey Parsons

0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Julie Simonds 9:00 DIVERSIONS IN FINE MUSIC Colours of the keyboard Prepared by Elaine Siversen Schubert, F. Gretchen am Spinnrade, D118 (1814); Die Forelle, D550 (c1817-20); Auf dem Wasser zu singen, D774 (1823). Barbara Bonney, sop; Geoffrey Parsons, pf.

Teldec 4509-90873-2 10 Bach, J.S. Concerto no 1 in D, after Vivaldi, BWV972 (1713-14). Nicholas Parle, hpd.

MBS 26 8 Grieg, E. Piano sonata in E minor, op 7 (1865). Leif Ove Andsnes, pf.

Virgin VC 7 59300 2 19 Haydn, J. Piano trio in G, Hob.XV:25, Gypsy (1795). London Fortepiano Trio.

Hyperion CDA66297 15 Adams, S. The Holy City (pub. 1892). Stuart Burrows, ten; Eurfryn John, org.

LP World Record Club WRC S/5313 6 Debussy, C. La mer (1905; transcr. Griguoli).

Giorgia Tomassi, pf; Carlo Maria Griguoli, pf; Alessandro Stella, pf.

EMI 7 21119 2 21 10:30 CONCERT HALL Prepared by Michael Field Prokofiev, S. Suite no 1, op 64a, from Romeo and Juliet (1936). Royal Scottish NO/ Neeme Järvi.

Chandos CHAN 8940 28 Edwards, R. The heart of night (1995). Riley Lee, shakuhachi; Melbourne SO/Arvo Volmer.

ABC 476 3768 18 Alfvén, H. Symphony no 3 in E, op 23 (1905).

Stockholm PO/Neeme Järvi.

BIS CD-455 38

Wednesday 28 August

14:00 A NEW LIFE ON THESE SHORES Part 4 Prepared by Frank Morrison Weber, C.M. Grand duo concertant, op 48 (1815-16). Murray Khouri, cl; David Bollard, pf.

LP RCA VRL1 0162 18 Gross, E. Song of the Darling River; The shearers dream; Address to a toothache; Epitaph on holy Willie (1970). Alan Light, bass; Sydney SO/Eric Gross.

Jade JADCD 1039 12 Haydn, J. Oboe concerto in C, Hob.VII:C1 (c1800). Jirí Tancibudek, ob; Adelaide CO/ Richard Divall.

ABC 461 703-2 23 Delany, J. Mass in A flat (c1892). Jennifer Bates, sop; Elizabeth Campbell, mezz; David Hamilton, ten; Michael Hissey, bass-bar; Choir of St Mary’s Cathedral; Sydney Conservatorium Choir; Sydney Conservatorium Chorale; Jubilee Choir & O/David Russell.

Walsingham WAL 8010-2 54

3:00 CLASSICAL TILL DAWN

9:00 DIVERSIONS IN FINE MUSIC Inspired by literature Prepared by Adam Bowen Herrmann, B. The three worlds of Gulliver (1961). National PO/Bernard Hermann.

Hyperion CDA66391 22 Schumann, R. Scheherazade, from Album for the young, op 68 (1848). Geoffrey Tozer, pf.

Tall Poppies TP001 3 Rimsky-Korsakov, N. The sea and Sinbad’s ship, from Scheherazade, symphonic suite after 1001 Nights, op 35 (1888). Seattle SO/ Gerard Schwarz.

Naxos 8.578269-70 11 Szymanowski, K. Schéhérazade, from Masques, op 34 (1916). Piotr Anderszewski, pf.

Virgin 5 45730 2 12 Stenhammar, W. Aladdin of the lamp, from Songs and moods, op 26 (1903-04). Peter Mattei, bar; Bengt-Ake Lundin, pf.

BIS CD-654 5 Smetana, B. Symphonic poem: Richard III, op 11 (1858). Czech PO/Karel Sejna.

Supraphon SU 1915-2 001 13

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

Mahler, G. Excerpts from Des Knaben Wunderhorn (1892-93). Lucia Popp, sop; Geoffrey Parsons, pf.

Orfeo C 363 941 B 14

19:00 THE JAZZ BEAT with Lloyd Capps

10:30 CONCERT HALL Prepared by Denis Patterson

20:00 RECENT RELEASES with David Garrett

Salieri, A. Overture to Angiolina (1800).

London Mozart Players/Matthias Bamert.

Chandos CHAN 9877 4

22:00 CHAMBER SOIRÉE Prepared by Paul Cooke Giuliani, M. Sérénade, op 127 (pub. 1827).

Nora Shulman, fl; Norbert Kraft, gui.

Naxos 8.554560 17 Alfano, F. Sonata (1925). Samuel Magill, vc; Scott Dunn, pf.

Naxos 8.570928 32 Skryabin, A. Piano sonata no 3 in F sharp minor, op 23 (1897-98). Gordon FergusThompson, pf.

ASV DCA 882 21 Knussen, O. Cantata for oboe and string trio, op 15 (1977). Nash Ensemble.

Unicorn-Kanchana UKCD2010 10 Reicha, A. String quartet in E flat, op 48, no 3 (1802-3). Kreutzer Quartet.

Toccata TOCC 0040 32

Chopin, F. Piano concerto no 1 in E minor, op 15 (1830). Roger Woodward, pf; Sydney SO/ Werner Andreas Albert.

ABC 481 1322 41 Dvorák, A. Symphony no 7 in D minor, op 70 (1885). London SO/István Kertész.

Decca 478 6420 37 12:00 JAZZ SKETCHES with Robert Vale 13:00 AFTER ROSSINI Prepared by Chris Blower Britten, B. Matinées musicales after Rossini, op 24 (1941). English CO/Alexander Gibson.

EMI 1 66442 2 16 Giuliani, M. Rossiniana no 3, op 121. Bruno Giuffredi, gui.

Arkadia AK 128.1 15 AUGUST 2019

37

Wednesday 28 August

Thursday 29 August

Respighi, O. Suite from La boutique fantasque after Rossini, op 40 (1919; ed.

Sargent). Würzburg PO/Enrico Calesso.

Naxos 8.573382 23 14:00 IN CONVERSATION with Christopher Waterhouse 15:00 BETWEEN THE WARS Prepared by James Nightingale Ravel, M. Violin sonata in G (1923-27).

Janine Jansen, vn; Itamar Golan, pf.

Decca 478 2256 18 Pierné, G. Cello sonata in F sharp minor, op 46 (1922). Nicolas Altstaedt, vc; José Gallardo, pf.

Naxos 8.572105 21 Poulenc, F. Trio (1926). Gareth Hulse, ob; Ursula Leveaux, bn; Ian Brown, pf.

Hyperion A67255/6 13 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm 19:00 JAZZ STARS AND STRIPES with Peter Mitchell 20:00 AT THE OPERA Prepared by James Nightingale Puccini, G. The girl of the golden West.

Opera in three acts. Libretto by Guelfo Civinini and Carlo Zangarini. First performed New York, 1910.

MINNIE: Renata Tebaldi, sop DICK JOHNSON: Mario del Monaco, ten St Cecilia Academy Choir & O/Franco Capuana.

Decca 421 595-2 2:14 Synopsis at finemusicfm.com/Opera 22:30 RE-INVENTED Prepared by Chris Blower Yu, J. Pictures at an exhibition, after Mussorgsky (2001). Australia Pro Arte CO/ Jeffrey Crellin.

Move MD 3312 32 Kats-Chernin, E. Re-inventions; based on two-part inventions of J.S. Bach (1720-23; transcr. 2004). Alicia Crossley, rec; Diana Weston, hpd.

Thoroughbass 20130731 23 Prutsman, S. Fantasy excerpt on themes from Richard Strauss’s Der Rosenkavalier.

Livia Sohn, vn; Benjamin Loeb, pf.

Naxos 8.570202 16 Mangani, M. Fantasy, after Puccini’s Tosca.

European Wind Soloists/Patrick de Ritis.

Naxos 8.573259 12 Music begins where the possibilities of language end.

— Jean Sibelius 38

AUGUST 2019

Georg Druschetzky

Gheorghe Zamfir

0:00 CONTEMPORARY COLLECTIVE

Zamfir, G. Panpipes concerto no 1 in G. Gheorghe Zamfir, panpipes; Monte Carlo PO/ Lawrence Foster.

LP Philips 412 221-1 16

3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Simon Moore 9:00 DIVERSIONS IN FINE MUSIC The instruments: Percussion Prepared by Paul Cooke Copland, A. Fanfare for the common man (1942). West Australian SO/Benjamin Northey.

ABC 476 4110 3 Bach, J.S. Well-tempered percussionists, BWV870, 882, 875, from The well-tempered clavier (arr. Norgård). Safri Duo, perc.

Chandos CHAN 9482 7 Druschetzky, G. Concerto for six timpani and orchestra. Dresden Philharmonic CO/ Alexander Peter, timp & dir.

Naxos 8.557610 16 Albéniz, I. Asturias (transcr. Parnell, Bailey).

Nick Parnell, mar.

ABC 476 2838 7 Satie, E. Gnossiennes, nos 1, 3 and 5 (188991). Members of Ensemble Sarband.

Dou-Tak NT098 16 Holst, G. Jupiter the bringer of jollity, from The planets, op 32 (1914-16). Queensland SO/Nicholas Braithwaite.

ABC 481 1143 8 Brophy, G. The republic of dreams (1996).

Genevieve Lang, hp; Philip South, darabukka; Tasmanian SO/Kenneth Young.

ABC 476 3218 9 Aldridge, R. Combo platter (1983). Allan Chase, alto sax; Sharan Leventhal, vn; Nancy Zeltsman, mar.

Catalyst 09026 62667 2 11 10:30 CONCERT HALL Prepared by Elaine Siversen Walton, W. Ballet: The wise virgins, after J.S. Bach (1940). London PO/Bryden Thomson.

Chandos CHAN 8871 20

Brahms, J. Serenade no 1 in D, op 11 (185758). London SO/István Kertész.

Decca 448 200-2 46 12:00 JAZZ, PURE AND SIMPLE with Maureen Meers 13:00 IVOR AND NOËL The music of Ivor Novello and Noël Coward Prepared by Derek Parker Novello, I. Fold your wings, from Glamorous nights (1935). 2 Rose of England, from Crest of the wave (1937). 4 Julie Bryan, sop; Ivor Emmanuel, ten; O/ Michael Collins (2 above) Five songs, from The dancing years (1939/68). Anne Rogers, sop; Ann Howard, mezz; Ch & O/Geoff Love. 19 Classics for Pleasure 35985 2 (3 above) We’ll gather lilacs, from Perchance to dream (1945). Marilyn Hill Smith, sop; Chandos Concert O/Stuart Barry. 5 Four songs, from King’s rhapsody (1949).

Pamela Woolmore, sop; Patricia Johnson, cont; Mike Sammes Singers; New World Show O/Jan Cervenka. 10 Finder please return, from Gay’s the word (1951). Marilyn Hill Smith, sop; Chandos Concert O/Stuart Barry. 4 Flyback FBCD 20006 (3 above) Coward, N. Three songs, from Bitter sweet (1929). Peggy Wood, sop; Ivy St Helier, sop; Georges Metaxa, ten; Lionel Salter, pf; O/Ray Noble. 11 Three songs, from Conversation piece (1933). Yvonne Printemps, sop; Pat Worsley, sop; Moya Nugent, sop; Heather Thatcher, sop; Sidney Grammer, ten; Anthony Brian,

Thursday 29 August

Friday 30 August

ten; Noël Coward, bar; George Sanders, bar; Reginald Burston, cond. 12 Dearest love; The stately homes of England, from Operette (1938). Peggy Wood, sop; Hugh French, Ross Landon, John Gatrell, Kenneth Carten, voices; Benjamin Frankel, cond. 10 His Majesty’s TO (2 above) Past CD 7080 (3 above) 14:30 KARAJAN’S BEETHOVEN Prepared by Ray Lemond Beethoven, L. Leonore overture no 1, op 138 (1806).

DG 445 112-2 11 Piano concerto no 1 in C, op 15 (1797).

Christoph Eschenbach, pf.

Philips 456 763-2 42 Symphony no 4 in B flat, op 60 (1806).

DG 429 038-2 31 Berlin PO/Herbert von Karajan (all above) 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm 19:00 THE NEW JAZZ STANDARD with Frank Presley 20:00 THE WORLD OF A SYMPHONY Prepared by Frank Morrison Hummel, J. Septet no 2 in C for winds, strings and piano, op 114, Military (1829).

Capricorn.

Hyperion A66396 31 Salieri, A. Piano concerto in B flat (1773).

Philharmonia O/Pietro Spada, pf & dir.

ASV DCA 955 25 Haydn, J. String quartet in D minor, Hob. III:43 (1784). Salomon Quartet.

Hyperion A66682 15 Mozart, W. Symphony no 38 in D, K504, Prague (1787). Royal Concertgebouw O/ Nikolaus Harnoncourt.

Teldec 9031-77596-2 38 22:00 BIRD QUARTET Prepared by James Nightingale Kleinig, H. A rain from the shadows. Zephyr Quartet.

Zephyrquartet 20130223 5 Haydn, J. String quartet in C, Hob.III:39, The bird (1781). Jerusalem Quartet.

Harmonia Mundi HMX 2962030 20 22:30 ULTIMA THULE with George Cruickshank

“However Mozart enters a music-lover’s life, he will undoubtedly take root there.”

— Neville Garden

Niccolò Paganini

Giuseppe Tartini

0:00 CONTEMPORARY COLLECTIVE

Beethoven, L. Triple concerto in C, op 56 (1803-04). Beaux Arts Trio; Gewandhaus O/ Kurt Masur.

Decca 478 6962 34

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 Brod, H. Fantasia op 57, after the mad scene in Donizetti’s Lucia di Lammermoor. Céline Moinet, ob; Sarah Christ, hp.

Harmonia Mundi HMC 902175 8 Paganini, N. Bravura variations on Dal tuo stellato soglio, from Rossini’s Moses, op 24 (1818-19). Salvatore Accardo, vn; CO of Europe/Franco Tamponi.

EMI 5 72854 2 10 Ernst, H. Othello fantasy, after Rossini, op 11 (1839). Ilya Gringolts, vn; Ashley Wass, pf.

Hyperion A67619 15 Barret, R. Fantasy on Donizetti’s Lucrezia Borgia (arr. Price). Bert Lucarelli, ob; Manhattan String Quartet.

Price-Less D 21062 10 Bottesini, G. Fantasia on Bellini’s Beatrice di Tenda. Joel Quarrington, db; Andrew Burashko, pf.

Naxos 8.557042 11 Müller, I. Trio, after a theme from Rossini’s Armida (c1828). Dieter Klöcker, cl; Martin Ostertag, vc; Edward Witsenburg, hp.

Schwann 310 001 H1 11 Glinka, M. Divertimento brillante on themes from Bellini’s opera La sonnambula (1832).

Alexei Bruni, vn; Mikhail Moshkunov, vn; Andrei Kevorkov, va; Erik Pozdeev, vc; Rustem Gabdulin, db; Leonid Ogrinchuk, pf.

Olympia MKM 76 13 10:30 CONCERT HALL Prepared by Elaine Siversen Tchaikovsky, P. Suite no 4 in G, op 61, Mozartiana (1887). Detroit SO/Neeme Järvi.

Chandos CHAN 9514 25

Bennett, W. Sterndale Symphony in G minor, op 43 (1864). London PO/Nicholas Braithwaite.

Lyrita SRCD.206 24 12:00 A JAZZ HOUR with Barry O’Sullivan 13:00 ‘IN THE COMPOSER’S MIND’ Prepared by Anabela Pina Bloch, E. Three pieces, from Jewish Life (1924). David Berlin, vc; Len Vorster, pf.

Tall Poppies TP214 10 Barrios Mangoré, A. La catedral (1921).

David Russell, gui.

Telarc CD 80373 7 Tartini, G. Sonata in G minor, Devil’s trill (pub. 1734; arr. Kreisler). David Garrett, vn; Alexander Markovich, pf.

DG 479 0933 17 Smetana, B. Vltava, from Má vlast (1874).

Queensland SO/Patrick Thomas.

ABC 476 4564 12 Grieg, E. Solveig’s song, from Peer Gynt suite no 2, op 55 (1875). Berlin PO/Herbert von Karajan.

DG 479 0540 6 14:00 A MUSICAL CARAVAN Prepared by Frank Morrison Albéniz, I. Rapsodia española, op 70 (1911; arr. Cristobal Halffter). Alicia de Larrocha, pf; London PO/Rafael Frühbeck de Burgos.

Decca 433 905-2 18 Arriaga, J. String quartet no 1 in D minor (1824). Camerata Boccherini.

Naxos 8.557628 23 Hidalgo, J. Tonante Dios! (1672). Montserrat Figueras, sop; Jordi Savall, va da gamba; Ton Koopman, hpd.

Philips 432 822-2 3 AUGUST 2019

39

Friday 30 August

Joaquín Rodrigo

Anton Arensky

Orlande de Lassus

Granados, E. Spanish dance no 4 (18921900). Alicia de Larrocha, pf.

Decca 414 557-2 6

Siegel, W. 42nd Street rondo (1994). Safri Duo; Thomas Dausgaard, cond.

Chandos CHAN 9645 5

Lassus - Laurenzi. Susanne un jour. Jakob Lindberg, lute.

BIS CD-211 4

Sarasate, P. de Dance in C, op 26 no 1 (pub. 1878-82). Ruggiero Ricci, vn; Louis Persinger, pf.

Decca 458 191-2 5

Gade, N. Symphony no 1 in C minor, op 5 (1840-42). Dmitri Kitaienko, cond.

Chandos CHAN 9422 36

Cabezón, A. de Susana un dia. Hespèrion XX/Jordi Savall.

Astrée E 8764 4

Danish National RSO (3 above)

Lassus, O. de Missa puisque j’ay perdu, à 4 (c1560). Pro Cantione Antiqua/Bruno Turner.

Harmonia Mundi GD 77083 29

Falla, M. de Concerto for harpsichord, flute, oboe, clarinet, violin and cello (1923-26).

Members of New York PO/Pierre Boulez.

Sony SMK 68 333 13 Soler, A. Sonata no 69 in F (pub. 1796). Scott Ross, hpd.

Erato 2292-45435-2 3 Baguer, C. Symphony no 13 in E flat (c1790).

London Mozart Players/Matthias Bamert.

Chandos CHAN 9456 13 Rodrigo, J. Concierto de Aranjuez (1939).

John Williams, gui; English CO/Daniel Barenboim.

CBS M2YK 45610 22 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm 19:00 FRIDAY JAZZ SESSION with Christopher Waterhouse 20:00 EVENINGS WITH THE ORCHESTRA Prepared by Frank Morrison Horneman, C. Ouverture héroïque (1867).

Michael Schönwandt, cond.

Chandos CHAN 9373 13 Arensky, A. Suite no 2 op 23, Silhouettes (1892). Neeme Järvi, cond.

Chandos CHAN 8898 19 Danish National RSO (2 above) Pizzetti, I. Recordare, Domine quid acciderit nobis, from Three choral compositions (194243). Danish National Radio Chamber Choir/ Stefan Parkman.

Chandos CHAN 8964 9 Nielsen, C. Clarinet concerto, op 57 (1928).

Niels Thomsen, cl; Michael Schönwandt, cond.

Chandos CHAN 8894 26 40

AUGUST 2019

22:00 BAROQUE AND BEFORE Masses of Lassus Lassus, O. de Multarum hic resonat, à 5 (1571). Musica Antiqua, Vienna/Bernhard Klebel.

Christophorus 74526 2 Lucia, celu, hai, hai, biscania, à 4; Chi, chilichi? Cucurucu, à 6 (1581). Dominique Visse, ct; Michel van Goethem, ct; Bruno Boterf, ten; Paul de los Cobos, ten; François Fauché, bar; Marc Busnel, bass; Matthieu Lusson, bass viol; Eric Bellocq, lute; Aline Zylberajch, hpd.

Harmonia Mundi HMC 901391 5 Missa venatorum, à 4 (1570-77). Choir of Christ Church Cathedral, Oxford/Stephen Darlington.

Nimbus NI 5150 11 Susanne un jour d’amour solicitée (1560).

David James, ct; Rogers Covey-Crump, ten; Paul Elliott, ten; Leigh Nixon, ten; Paul Hillier, bar & dir.

EMI CDC 7 49210 2 2

Audite, nova, Der Bau’r von Eselskirchen; Ich hab ein Mann der gar nichts kann (1573).

Stimmwerck.

Christophorus CHR 77311 5 Bicinia, nos 3 and 14 (1577). His Majestys Sagbutts and Cornetts.

ASV GAU 150 3 Striggio, A. Ecce beatem lucem, à 40 (1561).

Huelgas Ensemble/Paul van Nevel.

Sony SK 66261 9 Lassus, O. de Bonjour, mon coeur, à 4 (1564). Cantus Cölln/Konrad Junghänel.

Harmonia Mundi 05472 77304-2 1 Philips, P. Bonjour mon coeur (1602).

Elizabeth Farr, hpd.

Naxos 8.557864 5 Lassus, O. de Osculetur me osculo oris sui, à 8 (1582). Cardinall’s Musick/Andrew Carwood.

Regis RRC 1369 3 Missa osculetur me, à 8 (c1582). Tallis Scholars/Peter Phillips.

Gimell GIM 018 22

Reporting on Carl Nielsen’s Clarinet concerto, the newspaper Politiken said: “... he has liberated the soul of the clarinet, not only the wild animal aspect but also its special brand of ruthless poetry ... Oxenvad’s sonority is in tune with the trolls and the giants, and he has soul, a rough and stocky primordial force mixed with naive Danish mildness. Certainly Carl Nielsen must have had his particular clarinet sound in mind while composing this Concerto.”

Clarinettist Aage Oxenvad grumbled that Nielsen ‘had systematically used the notes that are most difficult to play’. Deeply concerned with the unsettled state of the world, Nielsen seems to have expressed his fears in this concerto with a bitter struggle between tonalities. When the conflict appears resolved, a snare drum incites the combatants to renew the battle.

Saturday 31 August Reger, M. Chaconne, from Violin sonata in A minor, op 91 (1905). Michelle Makarski, vn.

ECM 1587 14

Symphony no 2 (1943). Royal Scottish NO/ Bryden Thomson.

Chandos CHAN 8916 23

11:30 ON PARADE Prepared by Robert Small

20:00 THE LIFE OF A COMPOSER Louis Spohr Prepared by Frank Morrison

Verdi, G. Triumphal march, from Aïda (1871; arr. Creatore). 5 Stravinsky, I. Symphonies of wind instruments (1920). 8 Naxos 8.570243 (2 above)

John Philip Sousa

0:00 CLASSIC-ALL THROUGH THE NIGHT

Respighi, O. The jubilee; The Epiphany, from Roman festivals (1928-29; transcr.

Patterson).

Altissimo ALT63132 12

6:00 SATURDAY MORNING MUSIC

President’s Own United States Marine Band/ Michael Colburn (all above)

9:00 WHAT’S ON IN MUSIC Our weekly guide to musical events in and around Sydney

12:00 FINE MUSIC LIVE Finals of the Fine Music Schools Jazz Band Competition

9:05 THE PIANO ALONE Prepared by Jennifer Foong Balakirev, M. Tarantelle in B (1901). Nicholas Walker, pf.

ASV DCA 940 6 Grieg, E. Waltz-caprices, op 37 (1887). Eva Knardahl, pf.

BIS CD110 11 Moszkowski, M. Barcarolle, op 27 no 1. Seta Tanyel, pf.

Collins 15192 8 Beethoven, L. Piano sonata no 23 in F minor, op 57, Appassionata (1804-05). Paul Lewis, pf.

Harmonia Mundi HMC 901906.08 25 10:00 MUSIC OF THE DANCE Prepared by Paul Cooke Howells, H. Penguinski (1933). BBC SO/ Richard Hickox.

Chandos CHAN 9874 4 Ponchielli, A. Dance of the hours, from La Gioconda (1876). Gothenburg SO/Neeme Järvi.

DG 429 494-2 11 Arnold, M. English dances, set 2, op 33 (1951). Queensland SO/Andrew Penny.

Naxos 8.553526 9 Sousa, J.P. Suite from People who live in glass houses (1909). Royal Norwegian Navy Band/Keith Brion.

Naxos 8.559397 12 Szymanowski, K. Mazurkas, op 50 nos 1 to 4 (1924-25). Martin Rosco, pf.

Naxos 8.553016 9 Janácek, L. Lachian dances (1925). Slovak RSO/Ondrej Lenárd.

Naxos 8.550411 19

16:00 THE DANISH CONNECTION Prepared by Anne Irish Kuhlau, F. Overture to The elf’s hill, op 100 (1828). Odense SO/Othmar Maga.

Unicorn-Kanchana DKPCD 9110 11 Riisager, K. Ballet: Études, after Czerny (1948). Danish National RSO/Gennady Rozhdestvensky.

Chandos CHAN 9432 41 Hartmann, E. Piano concerto in F minor, op 47 (1889-90). Oleg Marshev, pf; South Jutland SO/Matthias Aeschbacher.

Danacord DACOCD 581 21 Helsted, E. Pas de deux, from Flower festival in Genzano (1858). London SO/Richard Bonynge.

Decca 452 767-2 9 Nielsen, C. Little suite, op 1 (1888/89).

Danish National RSO/Ulf Schirmer.

Decca 452 486-2 16 Lumbye, H. Amélie waltz (1846); Champagne galop, op 14 (1845). Odense SO/Peter Guth.

Unicorn-Kanchana DKP(CD)9089 12 18:00 THE MAGIC OF STAGE AND SCREEN Prepared by Sue Jowell The sky’s the limit: musicals about the stars 19:00 THE BOHEMIAN SYMPHONY Prepared by Chris Blower Martinu, B. Butterflies and birds of paradise (1920). Emil Leichner, pf.

Supraphon 11 1010-2 16 La revue de cuisine (1927). David Campbell, cl; Graham Sheen, bn; Barry Collarbone, tpt; Oliver Butterworth, vn; Michael Evans, vc; John Bryden, pf.

Hyperion CDD22039 15

Spohr, L. Potpourri on themes of Mozart, op 22 (1807). Academy of St Martin in the Fields Chamber Ensemble.

Chandos CHAN 9424 13 Nonet in F for winds and strings, op 31 (1813). Nash Ensemble. crd 3354 29 Rondoletto in G, op 149 (1848). Howard Shelley, pf.

Hyperion CDA 67947 4 An Rosa Maria, op 72 no 5 (1826). Marjorie Patterson, sop; Daniel Sarge, pf.

Marco Polo 8.223869 3 Piano trio no 4 in B flat, op 133 (1846).

Borodin Trio.

Chandos CHAN 9372 29 Symphony no 9 in B minor, op 143, The seasons (1850). Bavarian RSO/Karl Anton Rickenbacher.

Orfeo C 094-841 A 31 22:00 SATURDAY NIGHT AT HOME Prepared by Chris Blower Meyerbeer, G. Ballet: Les patineurs (1894; arr. Lambert 1937). Israel PO/Jean Martinon.

Decca 476 2742 21 Onslow, G. String quartet in G, op 10 no 1.

Mandelring Quartett. cpo 999 329-2 20 Schumann, R. Carnaval, op 9 (1833-35).

Joyce Yang, pf.

Avie AV2229 33 Reznicek, E. Symphony in F minor (pub.

1919). Philharmonia Hungarica/Gordon Wright.

Schwann 11091 39 Martinu’s La revue de cuisine is a witty depiction of objects found in a kitchen.

Accompanied by a sextet of clarinet, bassoon, trumpet, violin, cello and piano, the ballet was the composer’s first popular success. The suave Twirling Stick tries to break up the marriage of Pot and Lid by flattering Pot who succumbs. Dishcloth fancies Lid but is challenged to a duel by Broom. Lid cannot be found when Pot wants to be reunited. Suddenly an enormous foot kicks Lid back on to the stage. Pot and Lid begin to flirt again while Twirling Stick leaves with Dishcloth. It’s an involved story worthy of any complicated opera plot!

AUGUST 2019

41

The following composers have works of at least five minutes on the August dates listed Adams, J. b1947 25 Adams, S. 1844-1913 27 Albéniz, I. 1860-1909 29,30 Albicastro, H. fl 1700-1706 2 Albinoni, T. 1671-1751 13 Albrechtsberger, J. 1736-1809 20,25 Aldridge, R. b1954 29 Alfano, F. 1875-1954 27 Alfvén, H. 1872-1960 8,14,15,23,27 Alkan, C-V. 1813-1888 23 Archer, M. b1952 11 Arensky, A. 1861-1906 30 Armanini, M. 20th c 9 Arnold, M. 1921-2006 1,3,24,31 Arriaga, J. 1806-1826 4,6,30 Askill, M. b1952 22 Atterberg, K. 1887-1974 8 Austin, F. 1972-1952 4

Chaminade, C. 1857-1944 18 Charpentier, M-A. 1635-1704 25 Chausson, E. 1855-1899 6 Chen Yi. b1953 11 Chopin, F. 1810-1849 1,5,6,9,10,17,21,24,28 Clementi, M. 1752-1832 15 Coates, E. 1886-1957 19 Corelli, A. 1653-1713 3 Couperin, F. 1668-1733 4,6 Couperin, L. c1626-1661 4,9 Coward, N. 1899-1973 29

Danzi, F. 1763-1826 25 Dauvergne, A. 1713-1797 10 DeBlasio, C. 1959-1993 25 Debussy, C. 1862-1918 2,11,16,19,23,26,27 Delany, J. 1852-1907 27 Delerue, G. 20th c 3 Delibes, L. 1836-1891 24 Bach, C.P.E. 1714-1788 6,20 Delius, F. 1862-1934 21,25 Bach, J.S. 1685-1750 Devienne, F. 1759-1803 22 2,8,9,11,17,18,25,27,29 Dieren, B. 1884-1936 21 Bagdasarjanz, U. b1934 2 Dieupart, C. c1667-c1740 9 Baguer, C. 1768-1808 4,30 Dittersdorf, C. 1739-1799 14,21 Bairstow, E. 1874-1946 25 Balakirev, M. 1837-1910 3,5,31 Dohnányi, E. 1877-1960 5,12,14,19 Baltas, A. b1948 4 Dragatakis, D. 1914-2001 4 Barret, R. b1959 30 Dreyfus, G. b1928 22 Barrios Mangoré, A. Drigo, R. 1846-1930 14 1885-1944 30 Druschetzky, G. 1745-1819 29 Bartók, B. 1881-1945 Dukas, P. 1865-1935 9,24 9,17,18,19 Dvorák, A. 1841-1904 Bax, A. 1883-1953 3,12 Beethoven, L. 1770-1827 6,7,8, 5,9,16,17,18,19,23,28 10,11,16,18,21,23,27,29,30,31 Edwards, R. b1943 13,27 Bellini, V. 1801-1835 8 Elgar, E. 1857-1934 Benjamin, A. 1893-1960 12 2,7,13,15,17,25,26 Bennett, W. Sterndale Enescu, G. 1881-1955 10,25 1816-1875 30 Ernst, H. 1814-1865 30 Berlioz, H. 1803-1869 Eybler, J. 1765-1846 25 3,5,7,14,15,16 Bernstein, L. 1918-1990 20 Falla, M. de 1876-1946 Berwald, F. 1796-1868 18,23 23,24,30 Bizet, G. 1838-1875 9,10,16,23 Farkas, F. 1905-2000 17 Bliss, A. 1891-1975 22 Fauré, G. 1845-1924 Bloch, E. 1880-1959 2,18,30 10,12,16,23,26 Boccherini, L. 1743-1805 13 Fernandes, G. c1570-1629 23 Boito, A. 1842-1918 7 Fibich, Z. 1850-1900 24 Borodin, A. 1833-1887 Field, J. 1782-1837 22 9,11,13,27 Fiocco, J-H. 1703-1741 13 Bottesini, G. 1821-1889 30 Firsova, A. b1986 11 Boulanger, N. 1887-1979 10 Ford, A. b1957 13 Brahms, J. 1833-1897 Fossa, F. de 1775-1849 4 1,2,6,8,12,19,20,29 Françaix, J. 1912-1997 8,23 Brewer, H. 1865-1928 18 Franck, C. 1822-1890 16 Britten, B. 1913-1976 Francoeur, F. 1698-1787 4 3,8,14,19,22,28 Frescobaldi, G. 1583-1643 13 Brod, H. 1801-1838 30 Friedman, I. 1882-1948 13 Brophy, G. b1953 29 Fuchs, R. 1847-1927 20 Brouwer, L. b1939 1 Gade, N. 1817-1890 30 Bruch, M. 1838-1920 11 Bruckner, A. 1824-1896 1,11,15 Galuppi, B. 1706-1785 13 Gaubert, P. 1879-1941 7 Brusa, E. b1954 8 Giuliani, M. 1781-1829 Burgon, G. b1941 24 10,18,27,28 Busoni, F. 1866-1924 7,12 Glass, P. b1937 26 Byrd, W. 1543-1623 18 Glazunov, A. 1865-1936 6,24 Caplet, A. 1878-1925 20 Glière, R. 1875-1976 9 Casella, A. 1883-1959 3 Glinka, M. 1804-1857 5,11,30 Catoire, G. 1861-1926 3 Godowsky, L. 1870-1938 23 Cavalli, F. 1602-1676 2 Goossens, E. 1893-1962 7 Cesnokov, P. 1877-1944 4 Gounod, C. 1818-1893 7,16,24 Chabrier, E. 1841-1894 12 Granados, E. 1867-1916 3,30

Graupner, C. 1683-1760 1 Greenbaum, S. b1966 2 Grieg, E. 1843-1907 6,12,20,24,27,30,31 Gross, E. 1926-2011 27 Gubaidulina, S. b1931 4

Ligeti, G. 1923-2006 4,20 Lim, L. b1966 25 Linde, H-M. b1930 2 Liszt, F. 1811-1886 7,10,11,12,14,16,17,24 Locatelli, P. 1695-1764 18 Loesser, F 1910-1969 10 Loewe, F. 1901-1988 24 Lumbye, H. 1810-1874 31 Lutoslawski, W. 1913-1994 21,26

Purcell, H. 1659-1695 3,6,9,15 Quilter, R. 1877-1953 3,19

Rachmaninov, S. 1873-1943 4,14,21 Raksin, D. 1912-2004 3 Rameau, J-P. 1683-1764 4 Hahn, R. 1875-1947 26 Rangström, T. 1884-1947 8 Halvorsen, J. 1864-1935 8 Ravel, M. 1875-1937 10,19,28 Handel, G. 1685-1759 11,16 Reger, M. 1873-1916 31 Hartmann, E. 1836-1898 31 Reicha, A. 1770-1836 11,25,27 Harvey, J. b1939 8 Respighi, O. 1879-1936 Hasse, J. 1699-1783 15 Mackenzie, A. 1847-1935 21 3,5,12,13,21,23,26,28,31 Haydn, J. 1732-1809 Mageau, M. b1934 11 Reznicek, E. 1860-1945 31 2,6,9,15,18,20,22,27,29 Mahler, G. 1860-1911 1,28 Ries, F. 1784-1838 1 Haydn, M. 1737-1806 8,22 Mangani, M. b1966 28 Riisager, K. 1897-1974 31 Helsted, E. 1816-1900 31 Marais, M. 1656-1728 2,6,10 Herbert, V. 1859-1924 18 Marshall-Hall, G. 1862-1915 14 Rimsky-Korsakov, N. 1844-1908 20,28 Herrmann, B. 1911-1975 28 Martin, F. 1890-1974 2 Heuberger, R. 1850-1914 24 Martinu, B. 1890-1959 22,25,31 Rinck, J. 1770-1846 16 Rodrigo, J. 1901-1999 12,30 Higdon, J. b1962 1,11 Martucci, G. 1856-1909 16 Romberg, A. 1767-1821 11 Hindemith, P. 1895-1963 5,8 Mason, R. b1959 3 Hofmann, L. 1738-1793 24 Massenet, J. 1842-1912 10,17 Rorem, N. b1923 20 Rosenmüller, J. c1619-1684 2 Holst, G. 1874-1934 25,29 McAllister, S. b1969 22 Ross, J. 1763-1837 10 Honegger, A. 1892-1955 2 Méhul, É-N. 1763-1817 23 Rossini, G. 1792-1868 2,3,23 Horneman, C. 1840-1906 30 Mendelssohn, F. 1809-1847 Ruiz-Pipó, A. 1934-1997 1 Hough, S. b1961 15 2,4,6,14,16,20,22,26 Rutter, J. b1945 1 Hovhaness, A. 1911-2000 10 Merula, T. c1595-1665 6 Howells, H. 1892-1983 20,25 Messiaen, O. 1908-1992 4 Saariaho, K. b1952 25 Hummel, J. 1778-1837 1,18,29 Meyerbeer, G. 1791-1864 31 Saint-Saëns, C. 1835-1921 Hurlstone, W. 1876-1906 1,14 Milhaud, D. 1892-1974 4,6 16,17,20,25,26 Hyde, M. 1913-2005 21 Molter, J. 1696-1765 21 Saint-Säens, C. 1835-1921 Monteverdi, C. 1567-1643 6 Ibert, J. 1890-1962 5,7,15 16,17,20,25,26 Moscheles, I. 1794-1870 5,25 Infante, M. 1883-1958 12 Salieri, A. 1750-1825 29 Moszkowski, M. 1854-1925 Ippolitov-Ivanov, M. Sanz, G. 1640-1710 9 21,31 1859-1935 24 Mozart, W. 1756-1791 1,2,5,6, Sarasate, P. de 1844-1908 Ireland, J. 1879-1962 20 12,21,30 7,8,9,10,11,13,16,17,19,20,21 Satie, E. 1866-1925 16,21,29 22,26,29 Jacquet de la Guerre, E-C. Saxton, R. b1953 23 Müller, I. 1786-1854 8,30 c1666-1729 6 Say, F. b1970 20 Mussorgsky, M. 1839-1881 9 Janácek, L. 1854-1928 31 Scarlatti, A. 1659-1725 18 Myaskovsky, N. 1881-1950 5 Jaubert, M. 1900-1940 24 Myslivecek, J. 1737-1781 15,24 Scarlatti, D. 1685-1757 13,18 Scharwenka, X. 1850-1924 21 Kalliwoda, J. 1801-1866 22 Nasopoulou, A. b1972 4 Schein, J. 1586-1630 6 Kalomiris, M. 1883-1962 4 Newman, T. b1955 3,18 Schnittke, A. 1934-1998 18 Kats-Chernin, E. b1957 16,28 Nielsen, C. 1865-1931 Schoeck, O. 1886-1957 2 Ketèlbey, A. 1875-1959 26 19,20,30,31 Schoenberg, A. 1874-1951 1,20 Kleinig, H. 20th c 29 Nyman, M. b1948 16 Schubert, F. 1797-1828 Knussen, O. b1952 27 1,3,5,7,10,17,18,22,24,27 Kodály, Z. 1882-1967 O’Halloran, D. b1971 18 Schulhoff, E. 1894-1942 7 5,9,12,17,21,23 Offenbach, J. 1819-1880 Schultz, A. b1960 2 Koechlin, C. 1867-1950 22 2,16,22 Schumann, R. 1810-1856 Korngold, E. 1897-1957 5,19 Onslow, G. 1784-1853 31 1,4,7,13,15,16,22,31 Kozeluch, L. 1747-1818 25 Schütz, H. 1585-1672 2 Padilla, J. de c1590-1664 23 Krása, H. 1899-1944 19 Sculthorpe, P. 1929-2014 3,8,15 Paganini, N. 1782-1840 7,30 Kraus, J.M. 1756-1792 1,18 Serra, J. 1907-1957 26 Paisiello, G. 1740-1816 11 Kreutzer, J. 1778-1832 1 Shostakovich, D. 1906-1975 Palestrina, G. da c1525-1594 Krommer, F. 1759-1831 8 4,13,17,20 3,25 Kuhlau, F. 1786-1832 1,31 Sibelius, J. 1865-1957 9 Panufnik, A. 1914-1991 23 Kurtág, G. b1926 4 Siegel, W. b1953 30 Parcham, A. 17th-18th c 11 Parsadanian, B. 1925-1997 18 Skalkottas, N. 1904-1949 4 Lachenmann, H. b1935 4 Skryabin, A. 1872-1915 6,27 Lalande, M-R. de 1657-1726 7 Pfitzner, H. 1869-1949 25 Smetana, B. 1824-1884 28,30 Piazzolla, A. 1922-1992 13 Lalo, E. 1823-1892 6 Soler, A. 1729-1783 4 Pierné, G. 1863-1937 28 Larsson, L-E. 1908-1986 26 Sousa, J.P. 1854-1932 10,19,31 Pizzetti, I. 1880-1968 30 Lassus, O. de c1530-1594 30 Spohr, L. 1784-1859 4,31 Pleyel, I. 1757-1831 22 Lauba, C. b1952 25 Stamitz, C. 1745-1801 15 Ponchielli, A. 1834-1886 31 Lawes, W. 1602-1645 9 Stanford, C. Villiers Porter, C. 1891-1964 10 Leclair, J-M. 1697-1764 21 1852-1924 1 Poulenc, F. 1899-1963 Legrenzi, G. 1626-1690 2 Stanley, J. 1712-1786 25 6,7,10,28 Lehár, F. 1870-1948 26 Steffani, A. 1654-1728 15 Prokofiev, S. 1891-1953 Leighton, K. 1929-1988 14 Stenhammar, W. 1871-1927 8 Leoncavallo, R. 1858-1919 7,14 24,26,27 Stopford, P. b1977 18 Prutsman, S. b1960 28 Lhoyer, A. de 1768-1852 11 Puccini, G. 1858-1924 17,21,28 Strauss, J. II 1825-1899 23 Lidholm, I. 1921-2017 8

Strauss, R. 1864-1949 8,12,20 Stravinsky, I. 1882-1971 9,19,31 Striggio, A. c1535-1592 30 Strozzi, B. 1619-1664 16 Stuck, J-B. 1680-1755 7 Suk, J. 1874-1935 3 Sullivan, A. 1842-1900 10,24 Suppé, F. 1819-1895 11 Susato, T. d c1561 9 Sutherland, M. 1897-1984 11 Szymanowski, K. 1882-1937 21,28,31 Tabakova, D. b1980 11 Tallis, T. c1505-1585 23 Taneyev, S. 1856-1915 7 Tartini, G. 1692-1770 23,30 Tchaikovsky, P. 1840-1893 2,9,16,19,26,30 Telemann, G. 1681-1767 4,6,8,9,15,16 Thalberg, S. 1812-1871 14 Theodorakis, M. b1925 4 Thomas, Augusta. b1964 25 Tippett, M. 1905-1998 25 Todd, W. b1970 4 Tomlinson, E. 1924-2015 3 Triana, J. de fl.1478-83 6 Turina, J. 1882-1949 12,19 Vanhal, J. 1739-1813 3,21 Varèse, E. 1883-1965 9 Vaughan Williams, R. 1872-1958 21,24,25,26 Verdi, G. 1813-1901 14,21,31 Villa-Lobos, H. 1887-1959 15,19 Vinter, G. 1909-1969 24 Vivaldi, A. 1678-1741 11,18,25 Vivanco, S. de c1551-1622 4 Vorisek, J. 1791-1825 10 Wagner, R. 1813-1883 7,9,13,16 Waldteufel, E. 1837-1915 17 Walton, W. 1902-1983 20,22,29 Weber, C.M. 1786-1826 9,16,27 Weckmann, M. 1619-1674 16 Weigl, J. 1776-1846 25 Weill, K. 1900-1950 14 Weiner, L. 1885-1960 17 Wesley-Smith, M. b1945 9 Wesley, S.S. 1810-1876 4 Westlake, N. b1958 2,15,21 Whitacre, E. b1970 25 Whiticker, M. b1954 13 Wieniawski, H. 1835-1880 8,9 Williamson, M. 1931-2003 15 Wills, A. b1926 11 Wolf, H. 1860-1903 22 Wranitzky, A. 1761-1820 25 Wranitzky, P. 1756-1808 11 Ysaÿe, E. 1858-1931 20 Yu, J. b1957 28 Zamfir, G. b1941 29 Zelenka, J. 1679-1745 11 Zeller, C. 1842-1898 24 Zemlinsky, A. 1871-1942 4 Zimbalist, E. 1890-1985 9 Zipoli, D. 1688-1726 23

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

THE POET’S INFLUENCE ON MUSIC DAN BICKEL REFLECTS ON WALT WHITMAN’S LIFE My Captain, which is included in many poetry anthologies.

The American poet Walt Whitman has had a lasting influence on English-speaking culture. His major work, Leaves of Grass, was published in many versions over his lifetime.

Although his poetry was at times denounced for being obscene (which by today’s standards would be considered mild indeed), Whitman’s all-embracing earthy humanity and disdain for rigid social behaviour found a receptive audience during the late 19th century. His work has provided inspiration for generations of writers, musicians, bohemians and ‘free spirits’ everywhere.

Whitman was born on 31 May 1819 in New York and grew up in a large family. His formal schooling ended at age 11, after which he worked at various jobs and later for New York newspapers where he learned the printing trade. He often wrote filler pieces for the papers as well as freelance fiction and poetry.

Whitman was determined to become a poet.

Leaves of Grass, self-published in 1855, was a collection of 12 poems, the longest being Song of Myself. In his poetry, Whitman discarded traditional form in favour of a voice that speaks directly to the reader in the first person, without formal metre but having a free form almost approaching prose. The book received its strongest praise from Ralph Waldo Emerson, who wrote a flattering five-page letter to Whitman and spoke highly of it. The first edition was widely distributed, in part due to Emerson’s approval, but it was increasingly criticised for the seemingly ‘obscene’ nature of the poetry. The negative reputation of the book often made it difficult for Whitman to hold down jobs. However, an 1882 edition earned him fresh newspaper coverage after a Boston district attorney blocked its publication. The banning in Boston only served to boost the sales of Leaves of Grass, such that Whitman was able to buy a modest house of his own.

Whitman liked being among the everyday working population where his open personality would engage people. He would also retreat into the countryside to ‘loaf in the woods’.

After suffering a stroke in early 1873, Whitman moved to Camden, New Jersey, across the Delaware River from Philadelphia. In 1891, Whitman prepared the final edition of Leaves of Grass, which had started as a collection of 12 poems and was finished some 40 years later with over 400 poems. He died in 1892 at the age of 72.

Walt Whitman, circa 1887

American Civil War was no exception, where 627,000 to 880,000 soldiers are estimated to have died. Whitman volunteered in the army hospitals near Washington DC where he nursed the wounded and the dying. He spent two years there, helping the men, talking with them, writing letters for them and bringing them small gifts. When soldiers died he wrote to their parents about their last hours and his friendship with them in the hospitals.

He records: “My hospital ministrations are very fascinating with all of their sadness. The wounded & sick get incredibly near to one. Poor young men, they respond so affectionately to kindness & magnetism.” Whitman was tireless in his hospital work and spent day after day there, often in horrendous conditions. He wrote poignant descriptions of his interactions with the Civil War wounded in his memoir Specimen Days, which also includes accounts of his life and travels. The assassination of Abraham Lincoln in 1865 affected Whitman deeply, and in response he wrote Oh Captain,

After the start of the American Civil War in 1861, Whitman’s brother joined the Union army and began sending back letters describing the battle front. Whitman went to find his brother and was profoundly affected by seeing wounded soldiers and piles of amputated limbs near the field hospitals.

History shows that civil wars are often the most destructive, and the Walt Whitman, circa 1855

Whitman’s poetry has influenced many composers, including John Adams, Leonard Bernstein, Benjamin Britten, George Crumb, Paul Hindemith, Ned Rorem, Kurt Weill and Roger Sessions, among others. However, it was English orchestral composers, in particular Ralph Vaughan Williams, Frederick Delius and Gustav Holst, who took Whitman to heart, inspired by the openness and freshness of his verse. Indeed, Holst saw Whitman ‘as a New World prophet of tolerance and internationalism as well as a new breed of mystic whose transcendentalism offered an antidote to encrusted Victorianism’.

Whitman’s elegiac Civil War poetry has been the basis for a number of compositions.

The wound-dresser by American composer John Adams is from Whitman’s poem about his experience in the war hospitals. Gustav Holst wrote Ode to death to mourn friends killed in World War I and it is centred on Whitman’s When Lilacs Last in the Dooryard Bloom’d, written after the death of Abraham Lincoln. The cantata Dona nobis pacem by Ralph Vaughan Williams from 1936 includes sections of three poems by Whitman as well as parts of the Mass and Bible, and is a plea for peace. Other major compositions include Frederick Delius’ Sea drift for baritone, chorus and orchestra, based on Out of the Cradle Endlessly Rocking from Whitman’s Sea Drift, a selection of poems about the sea and shore. Another work, Vaughan Williams’ A sea symphony has text from several poems in Leaves of Grass.

Music based on Walt Whitman’s poetry can be heard in Sunday Special at 3pm on 25 August.

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WHAT’S ON IN MUSIC FIRE’S ON Streeton Trio Sunday 25 August, 3.30pm Independent Theatre, North Sydney Bookings: theindependent.org.au Tickets: From $17 Afternoon tea available from 2.30pm

Arthur Streeton’s Fire’s On, painted in 1891, depicts a man being stretchered out of the Lapstone tunnel after a botched explosion.

The drama of the scene, almost overshadowed by the heroic landscape, sets the backdrop for this passionate program of Russian and Armenian trios.

It begins with Arensky’s Piano trio no 1 in D minor, op 32 with its dramatic and turbulent finale.

Arno Babadjanian’s Piano trio in F sharp minor was regarded as a masterpiece from the time of its premiere in 1952.

The Piano trio no 2 in E minor, op 67 of Shostakovich continues the fiery theme with the finale beginning with a staccato-like ‘dance of death’ and the ending fading away to an almost inaudible tortured chord.

MUSICA VIVA COFFEE CONCERTS Goldner String Quartet Wednesday 21 August, 11am The Concourse, Chatswood Bookings: Musica Viva Box Office, 1800 688 482 or musicaviva.com.au Tickets: from $54 Complimentary morning tea will be served from 10am in the concert hall foyer.

It wouldn’t be a Coffee Concert season without the Goldners, Australia’s finest string quartet.

Beethoven’s three Razumovsky Quartets bear the name of their commissioner, the Russian ambassador to Vienna, Andrey Razumovsky, and are dear to the hearts of chamber musicians all over the world. The first of the set, to be played in this concert, is well-loved for the eminently hummable cello melody of its opening movement and for the playful Russian folk theme of its finale.

Beethoven Four Skye McIntosh, director Sunday 11 August, 2.30pm Verbrugghen Hall, Sydney Conservatorium of Music Bookings: 1800 334 388 or australianhaydn. com.au Tickets: Adult $80; Concession $70; Under 30 $35; Student $25

The Australian Haydn Ensemble performs a rare chamber version of Beethoven’s Symphony no 4 in B flat, op 60. It is a sunny AUGUST 2019

Dixon Advisory is a proud sponsor of Musica Viva Coffee Concerts. and cheerful work containing many aspects of his growing strengths as a composer. Chamber versions of large orchestral works were quite common in the 19th century ensuring a wider audience for the works.

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Opening the concert is Rachmaninov’s brief, wistful first quartet, composed while he was still a student at the Moscow Conservatory.

Also on the program is a virtuosic Sextet for flute and strings by Boccherini along with Mozart’s much-loved String quartet no 15 in D minor, K421. This is one of the two string quartets that Mozart dedicated to his friend Joseph Haydn.

WHAT’S ON IN MUSIC COOL FIRE Australia Ensemble Saturday 17 August, 8pm Sir John Clancy Auditorium, University of NSW Bookings: eventbrite.com.au Tickets: From $33

Much-loved Australian composer Miriam Hyde’s Trio for flute, oboe and piano sets the tone of neoclassical elegance in this program of contrasts, which also serves as the Australian premiere of American Paul Moravec’s zesty ensemble work Cool fire.

These treats are paired with Mozart, whose Oboe quartet in F, K370/368b, a beautifully poised and highly virtuosic piece of chamber music, resembles a concerto for oboe. Gabriel Pierné’s Piano quintet in E minor, op 41 concludes the concert.

Guest

JOAN CARDEN AWARD 2019 AND PUCCINI MESSA DI GLORIA Soloists, Sydney University Graduate Choir & O/Christopher Bowen Sunday 11 August, 3pm – 5pm The Great Hall, University of Sydney Bookings: at the door or trybooking.com/ eventlist/sydneyunigraduatechoir Tickets: Adults $50, pensioners $40, students $25 Tickets: Adults $50, pensioners $40, students $25 Website: https://www.facebook.com/ SydneyUniversityGraduateChoir

ENJOY, LEARN, DISCUSS The Art of Instrumentation Presenter: Nicky Gluch Sunday 18 August, 2.30pm Fine Music Centre, 72-76 Chandos St, St Leonards Bookings: 9439 4777 or finemusicfm.com/ ELD $15 general or $5 for Fine Music subscribers and volunteers

wind

players

are

flautist

Lisa

Osmialowski and oboist Huw Jones, with regular members of the Australian Ensemble Dene Olding and Dimity Hall, violins; Irina Morozova, viola; Julian Smiles, cello; Ian Munro piano.

At our August concert Sydney University Graduate Choir is delighted to present the three finalists in the Joan Carden Award for 2019: sopranos Jessica Blunt and Sandra Liu, and baritone Tristan Entwhistle. They will perform selected opera arias by the great masters in this singing competition that was established by the Choir in 2004 to foster and showcase young professional singers in the early stage of their careers.

compositions. Written as a graduation exercise, the work reveals much of the mastery of Puccini’s mature operatic works and features an extensive and ‘operatic’ Gloria Another highlight of the concert will be which is the core of the work and the reason the Choir’s performance of Puccini’s for its nickname. Soloists will be tenor Simon exuberant Messa di gloria, one of his earliest Kim and bass Adrian Tamburini.

Let’s turn back the clock, to a time before music notation software and when pianos were found in nearly every home. In this world, writing music for soloist and piano, or for piano alone, was both accessible and ensured performance. However, if the fame of a piece grew, or if its popularity called for a grander, concert performance, what was required for the composer to change the piece (or that of another composer) from being written for one instrument to a composition scored for many different instruments? What is the art of orchestration?

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FRANZ LISZT: MUSIC VISIONARY ELAINE SIVERSEN REVISITS HIS LITERARY INSPIRATIONS “I am a mixture of gypsy and Franciscan”, observed Franz Liszt, a man who was simultaneously aware of ‘the two worlds’.”

Franz Liszt was a contemplative thinker, profoundly conscious of the spiritual world and, at the same time, a worldly, passionate man both in his life and music. For him music was a means of expressing nature and emotions, and his vision of the way in which music could encapsulate them made him one of the great innovators in the history of music.

His precocity as a pianist was apparent at a very young age. He was born at Raiding in Hungary in 1811 as Ferencz but, as an adult, used the German form of Franz. His father, Adam, was an accountant and steward of the Esterházy family properties in that district. He had been acquainted with Haydn, Hummel and Cherubini during their times of employment by the Esterházy family and was himself an excellent musician, playing the flute, violin, guitar and piano. Observing his son’s interest in music, Adam gave Ferencz his first music lessons. The nine-year-old boy gave his first piano recital in the Esterházy palace at Oedenburg and soon after played for Prince Nicolaus Esterházy at Eisenstadt. Following another successful recital, the local nobility raised a subscription which guaranteed the young Liszt enough money to enable him to further his studies for the next six years.

He went to Vienna where he studied composition with Antonio Salieri and piano with Carl Czerny who greatly influenced his keyboard style. He played for Beethoven, who became one of his great admirers. Three years later, aged 12 years, the young prodigy arrived in Paris and became an overnight sensation. Over the next three years he was invited to London three times and played for King George IV at Windsor Castle. After the Revolution of 1830, Paris became the musical centre of the world and for 12 years, Liszt mixed with musical giants such as Chopin, Berlioz, Paganini, Bellini and Meyerbeer.

His virtuosity as a pianist has never been disputed and it is said that only Anton Rubinstein has come close to challenging the supremacy of Liszt. It is true that Liszt had a hypnotic effect upon his audiences much like that of an Indian fakir. Today’s pianists may be just as virtuosic as Liszt but due to modern communications much of the mystery and aura surrounding a great artist has tended to disappear.

Liszt first came to prominence as a composer with his piano works. His anthologies, The years of pilgrimage, were composed during several years of wandering from country to 46

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country as a result of the scandal caused by his liaison with the married Countess Marie d’Agoult. This collection of short piano works in three volumes with a supplement is an example of Liszt’s visionary way of observing everyday moments and translating them into poetic music. They are musical interpretations of paintings, objects, buildings, landscapes and gardens. In the third volume, Les jeux d’eau à la Villa d’Este (The fountains of the Villa d’Este), and in the stand-alone piece, Nuages gris (Grey clouds), Liszt appears to be the forerunner of Impressionism anticipating Debussy’s shifting harmonic scheme and Ravel’s techniques. It is worth remembering that these works were composed when Liszt was still a young man in the 1830s and 40s, a long time before Debussy and Ravel were born.

d’Este which begins with a visual picture but fades, as one writer has said, ‘into a vast meditation on the beauties of creation’.

This literary inspiration was the creative force for one of the important innovations in music: the symphonic poem. However, Liszt was not the inventor of program music. There had been a few examples in the Baroque and earlier eras, and towards the end of the Classical period Beethoven’s Pastoral symphony drew on nature and the landscape.

The first major programmatic work was Symphonie fantastique of Berlioz, based on his own fantasies, and some of Weber’s overtures followed a program. Berlioz also wrote concert overtures based on literary ideas but no one before Liszt took a literary theme and developed it as a major symphonic work. He wrote 13 symphonic poems, some of the best-known being Les préludes, Mazeppa, Orpheus, Prometheus, Hungaria and The battle of the Huns.

It was Camille Saint-Saëns who praised Liszt for having created a style that was neither symphony nor overture, but an authentic marriage of poetry and music: a summary of and not a commentary on the poem. The symphonic poem is therefore not a description following the scenario step by step but a work in which Liszt describes the general atmosphere and the colour of his theme.

Franz Liszt

With his romantic looks, passionate ways and superb pianism, the young Liszt was admired and adored everywhere and as a result of his intense interest in art, literature, mysticism and various revolutionary political ideals, he made friends with many writers including Victor Hugo and Alphonse de Lamartine. It is generally accepted that Liszt wrote very little abstract music and that the majority of his works are based on poetry. Even his B minor sonata, his undoubted piano masterpiece, is a poem translated into musical terms. Much of his music is descriptive but even pieces describing a picture or landscape are poetic.

A good example is The fountains of the Villa

In addition to his creation of the symphonic poem, the far-reaching legacy of Liszt in his piano works was in enlarging the conventional range of the piano. He developed techniques such as the double trill, tremolos with crossing hands and glissandos and, following Chopin’s example, he added a cantabile style of playing that made the piano almost the equal of the orchestra. Perfect examples are his transcriptions for piano performance of his symphonic poems, the Beethoven symphonies and many of the orchestral works of Berlioz.

The impetus for these transcriptions was partly his performance needs (despite a large oevre of original piano works) and partly, because of his generous nature, a desire to promulgate the works of other composers. Perhaps one of his greatest achievements was in transforming the piano from a drawing room light entertainment instrument into a piano of supreme expressiveness and, conversely, of epic power.

Some of these works can be heard in Sunday Special at 3pm on 11 August.

MUSICAL FAMILIES ELIZABETH HILL DISCOVERS GENERATIONAL TALENT about the French composer and viol player Marin Marais, won him awards and allowed him to launch his own record label, Alia Vox, which has introduced early music to an international audience.

She grew up in Odessa, where she studied at the Stolyarsky School of Music. In 1962 she studied briefly under David Oistrakh at the Tchaikovsky Conservatory in Moscow.

When she won a Gramophone Award in 1990 for her recording of the Shostakovich violin

Jordi Savall

Catalan musician Jordi Savall, once described as the ‘certifiable superstar’ of early music, is largely responsible for reintroducing the viola da gamba into the modern musical repertoire.

He recalls that when he picked up his first cello at the age of 15 it was a revelation. Quoting Mark Twain he says: “There are two important moments, the day you are born, and the day you discover why you were born.” His lifechanging moment, however, came at the age of 24 when he discovered the viola da gamba, a 15th century instrument that had slipped into obscurity by 1800.

Since then, he has devoted his life to rediscovering ancient music, searching Europe’s museums and libraries for longforgotten scores. With no tutor, he refused to record a note for ten years, until he was certain he had mastered the instrument.

As a musicologist, Savall bridges the past and the present through music: “Without memory we cannot have a civilisation. And music is part of that memory.” He is also a prolific ‘bridger of cultures’. Savall and his wife, Montserrat Figueras, worked tirelessly to find, through music, dialogue between cultures and peoples. UNESCO named them Artists for Peace, and Savall received the European Union Ambassador for Intercultural Dialogue and the International Music for Peace Award.

For his life’s work he received Denmark’s highest music accolade, the Léonie Sonning Prize.

In 1974, he and his wife (a Spanish soprano and harpist) formed the Early Music ensemble Hespèrion XX (now Hespèrion XXI), the choir La Capella Reial and Le Concert des Nations. Their early audiences were small, but passionate. In 1991, his soundtrack for the movie Tous Les Matins du Monde, a biopic

became one of its leading violinists. An ardent champion of British composers, her eclectic repertoire ranged from Britten to the more obscure such as John Veale and E.J. Moeran. Yet she never forgot her Russian heritage. The critic Edward Greenfield wrote that her recordings bore witness ‘not only to her masterly technique and gloriously varied tone colours’, but also to her extraordinary dedication to playing long-neglected Russian works.

Montserrat Figueras

Like her husband, Montserrat Figueras was also a specialist in baroque and earlier music.

Her intuitive and spiritual vocal style defined the ensembles she co-founded with him and reflected her fascination with Eastern philosophies. She was a prolific recording artist of music from the Middle Ages to the Classical period. The early focus was the music of Spain, but it expanded to take in most of mainland Europe and the Middle East, making her the pre-eminent singer of preBaroque music for three decades.

Their two children, Arianna and Ferran, are also baroque specialists. Arianna is a harpist, soprano and composer renowned for her performances of early music, while her brother Ferran plays the theorbo (bass lute) and sings.

Arianna was a member of Hespèrion XXI until 2008 when she created her own group, Hirundo Maris. Since then she has participated in various recording projects and has appeared in concerts worldwide. She sings in a number of languages, including Catalan, French and Portuguese, in a repertoire spanning from the Middle Ages to the Baroque. More recently, her passion for early music and for improvisation has led her to begin working with the contemporary Swiss composer Conrad Steinmann on reconstructed ancient Greek music and the poems of Sappho.

As with the Savall family, Soviet-born violinist Lydia Mordkovitch championed forgotten and lesser-known works. She made Britain her home for the second half of her life and

Lydia Mordkovitch

concertos, Greenfield wrote ‘Mordkovitch even outshines the works’ dedicatee and first interpreter, David Oistrakh, in the dark reflectiveness of her playing’.

After migrating to Israel she was ‘discovered’

by Brian Couzens, a British record company executive, who persuaded her to record the Brahms Violin Concerto. Six years later she made her British debut with the Hallé Orchestra, and in 1980 she and her daughter Elena settled permanently in Britain where she became a widely respected teacher and a professor at the Royal Academy of Music.

Elena is a pianist who plays in recital and chamber concerts, and accompanies instrumentalists in competitions and master classes. In 2017 Elena and her two daughters, Juliette and Tatjana, played in Odessa in memory of the Mordkovitch Family’s historic connections to the Stolyarsky School where Lydia studied, and where their grandfather and great-grandfather were renowned professors.

These families of musicians will be performing in Musical Families on Tuesdays 6 and 20 August at 2pm.

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CD REVIEWS LISZT’S ITALIAN PILGRIMAGE Tristan Lee, piano Move MCD 593

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“Having recently travelled to many new countries, through different settings and places consecrated by history and poetry; having felt that the phenomena of nature and their attendant sights did not pass before my eyes as pointless images but stirred deep emotions in my soul, and that between us a vague but immediate relationship had established itself, an undefined but real rapport, an inexplicable but undeniable communication, I have tried to portray in music a few of my strongest sensations and most lively impressions.”

Thus wrote Franz Liszt who, following a series of journeys through Switzerland and Italy, was inspired to write a set of three piano cycles called Années de pèlerinage (Years of pilgrimage), widely considered as the masterwork and summation of his musical style. The second volume, Deuxième année:

EDGE OF YOUTH

Janet Sung, violin William Wolfram, piano Sono Luminus DSL 92230

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HINTERLAND

Michael Wallace Quartet Independent

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Following extensive research on the music of Beethoven and Liszt for his PhD, the talented and expressive Australian pianist Tristan Lee takes us through the seven movements of the second cycle, inspired by the works of Raphael, Michelangelo and Petrarch, concluding with the beautiful and evocative Après une lecture du Dante.

The disc is rounded off with masterly performances of Liszt’s Two legends: Saint Francis of Assisi’s sermon to the birds and Saint Francis of Paola walking on the waves, in which Liszt creates an impressionistic level of musical imagery by exploring the outer registers of the piano.

Highly recommended!

David Ogilvie

When an internationally acclaimed conductor like Leonard Slatkin, director of the Detroit Symphony Orchestra and the Lyon National Orchestra, says that young American violinist Janet Sung is a major musical personality who blends bravura technique with a logical sense of musical style, then I guess we’d better listen; and listen I did to her latest recording, Edge of Youth. In it she blends music ancient and modern in fine style.

Having given her first major concert with the Pittsburgh Symphony at the age of just nine, she’s had plenty of time to mature as a soloist and, as she says, this recording represents a time when one starts to discover a new, more mature version of one’s own voice and self.

I don’t know how old she is, but I’m guessing that the three contemporary composers featured, Missy Mazzoli, Dan Visconti, and Sergei Prokofiev’s grandson, Gabriel Prokofiev are all of similar age, that is, in their 30s. If modern music is your ‘bag’, then you’ll love this CD. For those not so inclined, Janet devotes ten tracks to Georges Enescu’s Impressions from childhood, and a further five to Benjamin Britten’s Suite for violin and piano. Some of it is quite challenging, some of it sublime. I agree with Leonard Slatkin.

Melbourne tenor saxophonist Michael Wallace was based in Bergen, Norway between 2013 and 2015, where he formed the associations that make up this quartet recording of 2016. The unique Nordic landscape that so characterised Jan Garbarek’s style and tone is evident on this recording of eight original pieces. The interactions with his guitarist, Thomas T. Dahl, his bassist, Petter Asbjørnsen and his drummer, Øyvind Skarbø are absorbing to say the least, and none more so than the haunting harmonics created between saxophonist and guitar on Dark ages.

that seems to galvanise the drums to form an undercurrent. This allows Dahl’s guitar to wander freely before Wallace re-enters and the band coalesces in a brief crescendo before Wallace’s brooding melody takes the piece out, but this time with the backdrop of Skarbø’s ice-cold cymbals.

A searching free-form double bass, drums and cymbals dialogue opens the piece, before Wallace states the brooding melody in unison with bass and the guitar enters with a most oblique harmonic shadow of the saxophone which is evident all throughout the disc.

Gradually a groove is formed by Asbjørnsen 48

Italie pays homage to Italian art and literature.

Michael Morton-Evans

Walk cheerfully has an Ornette Coleman logic about it but played with a jubilant Sonny Rollins-like tone, while Third person has a strong backbeat with an atonal melody. It’s pleasing to note that this album is also issued on a limited edition vinyl pressing and has all the crystalline acoustic hallmarks that deserve such a listen. Michael Wallace has produced a stunning debut album packed with visual imagery at every turn.

Frank Presley

LULLABY OF SHEARING JEANNIE McINNES REMEMBERS THE GREAT JAZZ PIANIST Jazz musicians, t h r o u g h improvisation and personal approach to a tune, bring an individual voice to their playing.

One of those distinctive piano voices belonged to George Shearing, born 100 years ago this month.

Born in London as the youngest of nine children in a working-class family, and blind from birth, he George Shearing had just several years of music training before being offered a university scholarship. This he turned down in favour of the more lucrative employment of playing piano and accordion in the local pub for ‘25 bob a week’, and joining an all-blind band.

The 1930s was the decade in which he broadcast on BBC radio and began a friendship with Leonard Feather with whom he started his recording career. The 1940s saw Shearing win six consecutive Melody Maker polls as top pianist, contribute to the post-war comeback of Stéphane Grappelli and then migrate to the USA where he became a citizen a decade later.

His career was firmly established with the 1949 Shearing Quintet recording of September in the rain, followed by engagements at the New York jazz venue, Birdland. So successful were these residencies that the owner of Birdland asked Shearing to record a theme for a sponsored disc-jockey show. Lullaby of Birdland reputedly took him ten minutes to compose and was one of his biggest hits. The song is in both major and minor keys and has become one of the jazz standards visited by many other performers.

Shearing’s style mixed swing, bop and modern classical, and he developed a personal method of playing known as ‘The Shearing Sound’, or ‘locked hands’ style. With this he played the melody using both hands in unison: the right hand played a four-note chord with the melody note being the highest, while the left hand played a similar chord with the melody note an octave lower. This requires the hands to be placed close to each other on the keyboard

and to move in unison, thus appearing to be locked together. While this became associated with Shearing, the technique was also used

by Ellington, Basie and Garland, and these harmonies were incorporated into Glenn Miller’s big band arrangements. Shearing, however, combined this piano style with other instruments, doubling the top notes with the vibraphone and the bottom with the guitar, thus making his own signature sound.

Of course, this was just the starting point; it allowed his hands, particularly the right hand, to use so much of the keyboard.

The first George Shearing Quintet included piano, vibes, guitar, bass and drums, and recorded what he described as ‘my other hit’, September in the rain. Later, he preferred smaller combos, playing as a soloist, in trios and often in a duo. Small group collaborations with Mel Tormé led to his two Grammy Awards in the 1980s. Shearing performed in the United Kingdom at the Royal Command Performance for Queen Elizabeth and Prince Philip, and for presidents Ford, Carter and Reagan at the White House, spending part of every year in each country.

There was also the playful side to Shearing.

Once asked if he had been blind all his life, he replied ‘not yet’. Another time, in concert, he announced the next tune as ‘On a clear day, I still can’t see a thing’, while reminding the audience that his CDs were on sale following the concert: “Remember, profits from these sales will go to help the blind. Not many of the blind, mind you”.

His memory was astounding. After being assisted down the subway stairs on the

Queens line late one night after a gig, he gingerly descended over 200 s t e p s grouped in random o r d e r , maybe eight steps then a landing, followed by 17 and a landing, with other random s t e p s following, all the while being told where each landing was by friend Stan Shaw. Shaw reported that the next night, Shearing felt for the hand rail before declaring, ‘Come on, I’ll race you to the bottom’, and first to the bottom he was! He had memorised the number of stairs, their groupings and where the landings were. That same memory informed his playing over many decades.

Such were Shearing’s contributions that he received many awards. In America there were three honorary doctorates in music, an American Music Award by the National Arts Club and the Horatio Alger Award for Distinguished Americans, while in the United Kingdom he received the British equivalent of the Grammy, the Ivor Novello Award for Lifetime Achievement, the Battersea community recreational facility named in his honour, an OBE, a special 80th birthday celebration with the BBC Big Band, the London Symphony, Cleo Laine and John Dankworth, and ultimately a knighthood for his services to music. When informed of this, his response was: “I don’t know why I’m getting this honour … I’ve just been doing what I love to do.” At a time of reflection Shearing commented about how far he had come, from the little blind boy in Battersea whose father delivered coal, and from playing in the local pub for a couple of ‘quid’, to receiving a knighthood at Buckingham Palace. He also declared that this might also show young people what can be achieved in life if one learns a craft and follows one’s dreams.

George Shearing died in 2011 at the age of 91.

The centenary of his birth will be celebrated in Jazz Rhythm at 12 noon on Tuesday 13 August.

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FINE MUSIC SCHOOL JAZZ COMBO COMPETITION JEANNIE McINNES PREVIEWS THE 2019 EVENT of July. Some of these schools were part of last year’s event and it has been wonderful to welcome those younger students back and to hear their progress. We also welcomed several new groups this year and hope to do so in future years as well.

After the inaugural event last year, the Fine Music School Jazz Combo Competition is happening again. The competition is an opportunity for young musicians working in small groups to showcase their collective talents, to highlight the excellent programs in schools, to have a professional studio experience, and to allow the wider community to hear their playing and participate via the airwaves.

These groups are performing not only for the love of their music, for the opportunity to share it and for the experience of a radio studio, but for the opportunity for the winning combo to receive a studio recording, a special trophy (pictured) created by musician and artist Jiri Kripac and, this year for the first time, an invitation to perform at the Manly Jazz Festival. Of course, after the preparation and performance, all the students participating are considered champions!

It is also one of the ways we here at Fine Music are contributing to our community and the wider cultural life of our city and beyond.

We do this by supporting and encouraging young performers, the musicians to whom we will hopefully be listening in future years.

The first event attracted five combos from a mix of public and private schools across Sydney. Each performed in our Founders’ Studio over two live-to-air events, with the finals including interviews with student and teacher representatives from each school.

In 2019, our participating schools now number six: Caringbah High, Chatswood High, Knox Grammar, Mosman High, Northern Beaches

Jazz Combo Trophy

Secondary College Manly Campus and Northern Beaches Secondary College Offbeat Combo. The first round of performances was recorded over one day and they were broadcast in two sessions at the beginning

Which of these schools will be going forward to the finals? Which group will be the ultimate winner? Join our bands and adjudicators for this live event where the selected bands will be playing, where students and teachers will talk about what it all means to them, and where the adjudicators will share the results. Tune in at 12 noon on Saturday 31 August.

A MUSICAL LIFE IN BRIEF PAMELA NEWLING REVIEWS THE LIFE OF MIRRIE HILL One of the first composition students of the newly-opened New South Wales Conservatorium of Music was Mirrie Irma Jaffa Solomon. The outbreak of the First World War prevented Mirrie from studying in Germany but fortunately she was awarded a composition scholarship for 1916-18 by the Conservatorium’s first director, Henri Verbrugghen. Mirrie studied piano with Josef Kretschman and Godfrey Smith, harmony with Ernest Truman and composition with Alfred Hill, whom she married in 1921.

In 1914 Mirrie’s first orchestral work, Rhapsody for piano and orchestra, had been performed at the Sydney Town Hall by Godfrey Smith, with the Sydney Amateur Orchestral Society conducted by Alfred Hill. Mirrie went on to become a talented composer and one of the most prolific of her time, creating over 500 works, with almost half of them published, some under male pseudonyms.

Mirrie described her music as ‘not [in] the very modern idiom but entirely individual as to style and content’. She drew inspiration for several works from recordings of Aboriginal music made by the anthropologist Charles 50

AUGUST 2019

her innate sense of humour and serenity, she radiated such quiet happiness to those around her.” Shy and self-effacing, Mirrie found it difficult to promote her own work. Typical of the time, she willingly allowed her husband’s composing career to come before her own.

Mirrie Hill

Mountford: Three Aboriginal dances, Aborigines of the sea coast, Symphony in A: Arnhem Land and a major vocal work Aboriginal themes for contralto, baritone and orchestra. She used traditional Hebrew melodies for Abinu malkenu and set to music verses by Australian poets such as Mary Gilmore, John Wheeler and Hugh McCrae.

Composer Dorothy Dodd observed: “With

She gained a reputation as a miniaturist, because most of her published or broadcast compositions were for voice and piano or were short piano works for educational purposes, but she also wrote many larger pieces for orchestra, chamber ensembles, solo instruments, choir and film. The conductor Henry Krips performed and recorded some of her orchestral works for the Australian Broadcasting Commission.

It was not until several years after Alfred Hill’s death in 1960 that Mirrie Hill began to receive appropriate recognition. She was appointed an honorary life member of the Fellowship of Australian Composers in 1975 and was awarded an OBE in 1980, six years before her death.

You can hear some of the music of Mirrie Hill at 1pm on Friday 23 August.

CURIOSITY + RESEARCH = KNOWLEDGE PAUL COOKE TALKS TO MARIKO YATA works and has discovered wonderful new pieces. She has overcome an antipathy to Haydn and to more recent music. There are numerous works from the 20th century that she enjoys, and she is curious about how the music of today’s composers may develop.

Mariko has always enjoyed listening to classical music and has been a long-standing listener to Fine Music. When she discovered that there were vacancies at the station for volunteers, she decided to get involved: “I thought that it would be the perfect opportunity to gain exposure to a larger range of music.

I also saw this opportunity as a way of challenging age-old perceptions I’ve had about certain composers and types of music.”

She has been volunteering for about three years, starting off as a programmer and later diversifying into being a presenter as well, and has found it refreshing to meet people who share a common interest. She has found that the skills involved in presenting have been useful in other areas of her life, whether it be speaking with people in general or the more formal situations of teaching students and speaking to an audience.

Mariko loves music for solo piano, especially Schubert’s late piano works; she loves neoclassical music, ‘from the satirical ones to

Mariko Yata with her cat Batty

the ones that elegantly place old conventions into new contexts’; and she enjoys compositions that are fun, like Dohnányi’s Variations on a nursery tune, or those that are rhythmically or percussively driven. Both programming and presenting have involved Mariko in listening to and researching a wide range of music. As a result she has come across great performances of well-known

While she used to play piano and flute, Mariko is more likely these days to be an audience member attending concerts, ‘soaking in the artistry of the many great musicians out there’.

By profession she is a veterinarian, mostly looking after dogs and cats and their owners, noting that ‘it’s easy for people to forget that a large part of our job is to look after owners!’

She is particularly interested in small animal cardiology. She recently completed a PhD on the topic of congestive heart failure therapeutics and is headed overseas to undertake further specialty training. While this will mean that we won’t hear Mariko on the radio, we are hopeful that she will occasionally take time out of her veterinary studies to research and put together some programs for us!

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 AUGUST Charles Barton, Peter Bell, Nena Beretin, Dan Bickel, Chris Blower, Adam Bowen, David Brett, John Buchanan, Andrew Bukenya, Rex Burgess, Lloyd Capps, Vince Carnovale, 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, Troy Fil, Owen Fisher, Jennifer Foong, Tom Forrester-Paton, Susan Foulcher, Carole Garland, David Garrett, Robert Gilchrist, Nicky Gluch, Joe Goddard, Albert Gormley, Giovanna Grech, Jeremy Hall, Austin Harrison, Celeste Haworth, Ross Hayes, Gerald Holder, Paulo Hooke, Paul Hopwood, James Hunter, Leita Hutchings, Anne Irish, Sue Jowell, David Knapp, Peter Kurti, Ray Lemond, Ray Levis, Krystal Li, Lachlan Mahoney, Linda Marr, Meg Matthews, Stephen Matthews, Sue McCreadie, Jeannie McInnes, Terry McMullen, Maureen Meers, Camille Mercep, Peter Mitchell, Saufian Mokhtar, Simon Moore, Frank Morrison, Michael MortonEvans, Richard Munge, Gerry Myerson, Peter Nelson, James Nightingale, David Ogilvie, Barry O’Sullivan, Calogero Panvino, Derek Parker, Denis Patterson, Keith Pettigrew, Anabela Pina, Peter Poole, Frank Presley, Karoline Ren, Katy Rogers-Davies, Marilyn Schock, Debbie Scholem, Jon Shapiro, Julie Simonds, Elaine Siversen, Robert Small, Garth Sundberg, Jacky Ternisien, Anna Tranter, Madilina Tresca, Robert Vale, Richard Verco, Ron Walledge, Christopher Waterhouse, Chris Wetherall, Stephen Wilson, Glenn Winfield, Chris Winner, Mariko Yata, Orli Zahava, Tom Zelinka PROGRAM SUBEDITORS Jan Akers, Chris Blower, Maureen Chaffey, Paul Cooke, Di Cox, Elaine Siversen, Jill Wagstaff, Teresa White LIBRARIANS Jan Akers, Rex Burgess, Maureen Chaffey, John Clayton, Di Cox, Helen Dignan, Lynden Dziedzic, Peter Gair, 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, Jacky Ternisien, Andrew Treloar, Ricky Yu STATION OPERATIONS Transmitter: Max Benyon, John Shenstone; Studio operations: Roger Doyle, Robert Tregea; Live broadcasts and recordings: Jayson McBride; IT: Alice Roberts; Digitisation: John Xuereb STAFF Station Manager: Rebecca Beare; Office Manager: Sharon Sullivan; Community Access Manager: Sophie McCulloch; Community Engagement Manager: Mona Omar; Production Coordinator: Joe Goddard; Administration Assistants: Krystal Li, Eddie Bernasconi AUGUST 2019

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FINE MUSIC PATRONS Fine Music Honour Roll (Bequest Received 2009-2019) Dr Alison Burrell, Mr Keith John Cosack, Mr Paul de Leuil, Ms Jean Priscilla Deck, Mr Colin Enderby, Ms Rose Gibb, Mr David Henry James, Mr Leslie Kovacs, Mr Stefan Kruger, Mrs Myra Christina Polson, Mr Michael Patrick Sheehan, Mr Charles Herbert Stokes, Mr Ronald Tinslay, Mrs Rose Varga, Mrs Norma Walledge, Mr Ken Weatherley, Mr Colin Webb, Mr Barry Willoughby, Mr John Albert Wright

Fine Music Guardians (Known Future Bequests) Mr Geoffrey Anderson, Mr David Bell, Mr David Brett, Mrs Halina Brett, Mr Rex Burgess, Mr Lloyd Capps, Ms Marilyn Endlein, Mr Robin Gandevia, Mr Bruce Graham, Mr James Hunter, Mr David James, Ms Maureen Meers, Mr Glenn Morrison, Mr Desmond Mulholland, Mr Derek Parker, Dr Neil Radford, Mr Gregory Sachs, Ms Elaine Siversen, Mr Bruce Smith, Mr Anthony Tenney, Mr Ron Walledge

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

Platinum Patrons ($25,000 – $49,999) 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 Albert, Mr J D O Burns, Mrs Dorothy Curtis, Garrett Riggleman Trust, Dr Janice Hirshorn, Mrs Patricia McAlary, Anonymous 5

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

Emerald Patrons ($2,500 – $4,999)

NOTE S FROM T H E E DI TOR

Mrs Halina Brett, Mrs Lorna Carr, Mrs Margaret Epps, Prof Michael Field AM, Mr Heinz Gager, Mrs Freda Hugenberger, Dr Peter Ingle, Ms Sue

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Although winter days are short, they often seem longer because of the cold. Sometimes, for those working or studying, bad weather can make the journey home in the evening very long. If you’ve been able to listen to Fine Music (on 102.5, DAB+ or via streaming), I’m sure that the music has made it less onerous. On winter evenings we often find it’s good to settle down for some pleasant reading and hopefully the articles in Fine Music magazine have brought a little extra warmth into your life.

Once again this month, we acknowledge some important anniversaries, ranging from five years ago to 400 years ago. We pay tribute to one of Australia’s finest composers, Peter Sculthorpe,

AUGUST 2019

Jowell, Mr Ian Juniper, Mr D & Mrs R Keech, Ms Maureen Meers, Dr Andrew Mitterdorfer, Dr W J Poate, Mr Jude Rushbrooke, Mr Richard Thompson, Ms Wendy Trevor-Jones, Mr A G Whealy QC, Mr Richard Wilkins, Yim Family Foundation, Anonymous 5

Gold Patrons ($1,000 – $2,499) Ms Jan Bowen AM, Mrs Di Cox, Mr Paul Hopwood, Mr David Jacobs, Mrs Barbara Johnson, Mr Reginald John Lamble AO, Mr Trevor Parkin, Mr J A Roberts, Dr Paul Wormell, Anonymous 2

Silver Patrons ($500 – $999) Mr Claus Blunck, Mr Colin Boston, Mr Barrie Brockwell, Mr Robert Clark, Mrs T Cox, Mr David Cummins OAM, Ms Prudence Davenport, Prof C E Deer, Mr Ian de Jersey, Mrs Dorothy Dunn, Mr John Fairfax AO, Mr Richard Farago, Dr David Gorman, Mrs Madeleine Juchau, Hon Mr Justice D Kirby, Mr Nicholas Korner, Dr Peter Krinks, Mrs Jennifer Lewis, Mrs Meryll Macarthur, Mr M F Madigan, Mrs Shirley McEwin, Mrs E M McKinnon, Mr Simon Moore, Mr Michael Morton-Evans OAM, Mr Ken Nielsen, Mrs Monica Olave, Ms Christina Pender, Ms Susan Ping Kee, Dr Neil A Radford, Ms Catherine Ruff, Mrs Margaret Suthers, Dr Pye Twaddell, Mr Kevin Vaughan, Anonymous 20

Bronze Patrons ($250 – $499) Ms Jacqui Axford, Ms Lily Bao, Ms Jane Barnes, Dr H Bashir, Mr John Bell, Mr Don Bennett, Mrs Susan Berger, Mrs Marion Blin, Mr Stephen Booth, Mr David Branscomb, Mrs Alexandra Buchner, Dr Rhonda Buskell, Ms Ruth Campbell, Mr David Clark, Mr Dom Cottam & Ms Kanako Imamura, Ms Dora Den Hengst, Dr David Dixon, Mrs Melinda Dixon, Hon J R Dunford QC, Mr Andrew Dziedzic, In Memory of David W Allen, Mr Paul Evans, Ms Elizabeth Evatt, Mrs Jennifer Ferns, Mr William Fleming, Mrs Kathy Freedman, Mr Robert Gilchrist, Mrs Jocelyn Hackett, Mr Geoffrey Hogbin, Prof Wendy Hu, Mr Paul Jackson, Ms Ruth Jeremy, Mr Bill and Eva Johnstone, Mr Robert King, Mr Gerhard Koller, Mrs Sarah Lawrence, Ms Valerie Lhuede, Mr Geoffrey Magney, Mrs Robyn Manoy, Dr Jim Masselos, Mr Stephen & Mrs Meg Matthews, Mr Philip Maxwell, Ms Kerrin McCormack, Ms Ursula Mooser, Mrs Jean Murphy, Mr Peter Poole, Mr James Poulos QC, Mr Mike Price, Mr Gwynn Roberts, Mr Joseph Rooney, Dr Gideon Schoombie, Mrs Zvjezdana Skopelja, Ms Mei Wah So, Mrs Ruth Staples, Ms Rachel Westwood, Mr Richard Williamson, Mr Alastair Wilson, Walkerville Pty Ltd, Anonymous 26

who died in August 2014. You’ll find an article on page 5 and two programs will celebrate his music and will include his Requiem.

So who was so important 400 years ago? We are recognising several composers from that time including two women, one of whom is the Venetian singer and composer Barbara Strozzi.

She was the most outstanding composer of the group, a woman who was able to publish her own compositions and to live off the earnings from their sales. Page 4 tells her story.

The opera article on page 9 commemorates the 100th anniversary of the death of Ruggero Leoncavallo. As well as broadcasting his most famous opera Pagliacci, we’ll have his La bohème as well as Puccini’s version of the same story. They were composed one year apart and will be heard one week apart giving you the opportunity to compare them.

Elaine Siversen

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