Fine Music November Magazine

NOVEMBER 2019

MAGAZINE

RUSSIAN NOVEMBER Exciting Pianist with the Sydney Symphony SPIRITUAL MINIMALISM Choral Music of Pärt and Kancheli ‘THE EXCELLENT MOZART’ Leopold Mozart’s 300th anniversary THE WANDERING ISRAELITES C.P.E. Bach’s progress of the oratorio tradition

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Contents

THIS MONTH @ FINE MUSIC As this edition goes to print we have just announced our first Ken Weatherley Jazz Scholarship recipient at our annual Celebration of Fine Music event.

VOL 46 No 11 2 Russian November 4 Spiritual Minimalism 5 ‘The Excellent Mozart’ 6 Old Testament Stories in Opera 7 The Wandering Israelites 9 Program Guide and Composer List 39 Casanova: The Cultured Lover 40 Musical Families 42 A Fiddle in Exchange for Riches

A Musical Life in Brief: Miriam Hyde

43 What’s On in Music 44 CD Reviews 46 How Technology changed Jazz 47 A Life Influenced by Music: Annabelle Drumm 48 Notes from the Editor

Kate Wadey began her performance career in Adelaide, at the age of 13 years, where she sang in gospel choirs and jazz vocal ensembles. She completed her Honours in Acting at Flinders University in 2010 and now resides among a hub of thriving Jazz musicians. Having made a side-step towards music and away from theatre, Kate’s voice has led her in the right direction. Following her debut album, A Hundred Years from Today, the recent release of Kate’s second album, Moon Songs, has seen her make waves as a jazz singer in the notoriously difficult-to-crack live music scene in Sydney.

As the recipient of the Weatherley Scholarship, Kate intends to utilise its $10,000 value to write and record an album of original vocal jazz music, composed collaboratively with Australian artists. I very much look forward to sharing the progress of this project with you all over the coming year.

As this magazine arrives in your homes, we also prepare for our Annual General Meeting. I want to take this opportunity to acknowledge the contribution of both Simon Moore and David Brett as Directors of the Fine Music Board.

At this Annual General Meeting Simon steps down after completing his second four-year term as a Director. Simon’s input as an arts industry professional has always been considered valuable.

David Brett has spent 12 of the past 16 years as a Director, with seven of those 12 years as our Board Chair. The Music Broadcasting Society of NSW is extremely grateful for his dedicated service and direction during this period. David’s historical and corporate knowledge of our organisation is invaluable.

Rebecca Beare Fine Music General 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, Chris Blower, Paul Cooke, Brian Drummond, Robert Gilchrist, Nicky Gluch, Raj Gopalakrishnan, Elizabeth Hill, Anne-Louise Luccarini, Pamela Newling, Catherine Peake, Frank Presley, Elaine Siversen, Christopher Waterhouse The views expressed by contributors to this magazine do not necessarily reflect or represent the views of the publisher, Fine Music 102.5 Images: Editor, Anne-Louise Luccarini, Alamy, Wirripang 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: Behzod Abduraim Photo: Nissor Abdourazakov

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 Vice Regal Patron: H ​ er Excellency the Honourable Margaret Beazley AO QC, Governor of New South Wales Honorary Patron: P ​ rofessor The Honourable Dame Marie Bashir AD CVO Artistic Patrons: Elena Kats-Chernin, Simon Tedeschi, Richard Tognetti AO, Brett Weymark Emerging Artists Patron: Toby Thatcher Young Composer Award 2019: Callum O’Reilly Young Virtuoso Award 2018: Anna Stephens Kruger Scholar 2020: Harry Sdraulig Ken Weatherley Jazz Scholar 2020: Kate Wadey NOVEMBER 2019

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RUSSIAN NOVEMBER CATHERINE PEAKE WITH SYDNEY SYMPHONY CONCERTS

Behzod Abduraimov Photo: Nissor Abdourazakov

The Sydney Symphony Orchestra has an exciting November ahead. The concert A Russian Gala, featuring Tchaikovsky’s Piano concerto no 1 in B flat minor, op 23 and Rachmaninov’s Symphony no 2 in E minor, op 27, will see former child prodigy turned acclaimed pianist Behzod Abduraimov at the piano, with conductor Lionel Bringuier on the podium. Musicologist Zoltán Szabó from the Sydney Conservatorium of Music will give a pre-concert talk on the all-Russian program.

Born in Uzbekistan, Abduraimov says that Russian culture is very close to him. His early learning was steeped in Russian literature and art, with classical music a big part of his education. His mother introduced him to recordings of great musicians and taught him the piano from the age of five. Moving to Kansas City, Missouri at age 16, Abduraimov studied with Professor Stanislav Ioudenitch at the International Center for Music at Park University. Maintaining his connections with the university, Abduraimov has been ICM’s Artist-in-Residence since 2014.

Abduraimov has won prizes and recommendations for live performance and for recording work, beginning with winning the 2009 London International Piano Competition at age 18. His Decca recording of Sergei 2

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Prokofiev’s Piano sonata no 6 in A major, op 82 on an album that includes works by Prokofiev, Liszt and Saint-Saëns won the Choc de Classica and the Diapason Découverte.

Abduraimov has performed solo recitals and chamber music, and as soloist with such orchestras as the Boston Symphony, City of Birmingham Symphony and the Israel Philharmonic. He has also appeared at several music festivals, including the Aspen Music Festival and the Ravinia Festival, the longest running outdoor classical music festival in the United States. His playing has attracted international acclaim; The Independent states that Abduraimov is ‘the most perfectly accomplished pianist of his generation’ while David Gutman in Gramophone writes that he plays ‘with no lack of infectious brilliance.’

French conductor Lionel Bringuier, who is also a cellist and pianist, will be leading Abduraimov and the Sydney Symphony Orchestra in A Russian Gala. Coming from a musical family, Bringuier began musical studies at the age of five at the Conservatory of Nice and moved to the Conservatoire national supérieur de musique et de danse de Paris at age 13. He won the International Besançon Competition for Young Conductors in 2005, and has since conducted the Seoul Philharmonic Orchestra,

the Atlanta Symphony Orchestra and the Los Angeles Philharmonic Orchestra, among others.

Bringuier also conducts operatic works and has worked with the Royal Swedish Opera, the Mariinsky in Russia and the opera house at Valladolid in Spain. In 2019/2020 he will return to his hometown of Nice as Artist Associate for the Opéra season. The Financial Times has said that Bringuier is ‘a natural talent whose good instincts are bolstered by good taste plus a strong technique. He steps back and just lets the music show off’. Bringuier has been awarded the Chevalier de l’Ordre National du Mérite, and received the Médaille d’or from the City of Nice.

Bringuier and Abduraimov have worked together previously in Russian repertoire.

When asked who is his favourite composer, Abduraimov says that although he can’t really pick a favourite, ‘Tchaikovsky will be my absolute favourite during my performances with the Sydney Symphony Orchestra’.

Pyotr Ilyich Tchaikovsky was the first Russian composer whose work became well-known internationally. There was no established education system for music in Russia at the time and, having started his career as

a civil servant, Tchaikovsky became one of the first students at the newly-formed St Petersburg Conservatory from which he graduated in 1865. With this new approach to music education in Russia, embodying as it did a fusion of Russian with wider European influences, Tchaikovsky’s compositions were unlike those of earlier Russian composers.

These included the work of the established musicians known as the Russian ‘Five’ (Mily Balakirev, Alexander Borodin, César Cui, Modest Mussorgsky and Nikolai Rimsky-Korsakov), whose music embodied strong nationalistic themes and with whom Tchaikovsky had occasionally strained professional relations.

Tchaikovsky conducted throughout Europe and the United States, and his music became some of the best-known in the repertoire. A Russian Gala begins with his Piano concerto no 1. He wrote the concerto over a few months in 1874-75, later revising it in 1879 and again in 1888, which is the version most commonly played now. He was not a great pianist and had intended it to be performed at its premiere by his friend Nikolai Rubinstein, a conductor and composer. Rubinstein criticised the concerto although he later changed his mind and championed the work.

German pianist Hans von Bülow premiered the concerto in 1875 in Boston, describing it as ‘original and noble’. The Russian premiere took place a month later in St Petersburg with Russian pianist Gustav Kross. Tchaikovsky didn’t like the performance and Sergei Taneyev performed the work in Moscow in the same month with conductor Nikolai Rubinstein, who later performed it as soloist throughout Europe. The work is now one of Tchaikovsky’s most popular compositions. It is also one of the most popular of all piano concertos. As Betty Schwarm says, the piece is ‘particularly famed for the sequence of pounding chords with which the soloist launches the first movement’.

the closing ceremony of the 2014 Winter Olympics in Sochi, Russia. It was used as the theme to American actor Orson Welles’ radio series and came to be associated with him throughout his career. The concerto has also been employed in various film and popular projects such as a Monty Python’s Flying Circus sketch and in the Hooked on Classics series.

Rachmaninov’s Symphony no 2 in E minor forms the other half of A Russian Gala. Born into the Russian aristocracy in 1873 Sergei Rachmaninov left Russia in 1917, fleeing the revolution with his family and settling in the United States when he wasn’t on tour.

He still spent time in Europe but his rate of composition fell, and although he made a point of continuing to observe Russian customs and eat Russian food wherever he was, he said that by leaving Russia, ‘I left behind my desire to compose: losing my country, I lost myself also’. He battled depression and other health concerns throughout his life, and some writers have detected a depressive note in his music, including in the Symphony no 2. Thomas May states: “A deep underlying melancholy can be heard in such works as the Second Symphony, a note which seems almost to foretell the permanent condition of homesickness that would become his fate.”

Rachmaninov conducted the premiere of his Symphony no 2 in St Petersburg in 1908. He was later awarded a Glinka medal for it and it became one of his best-known compositions.

Played in full, the symphony lasts for about an hour. There have been several revisions to reduce the time taken to play it, some that almost halve the length. The symphony is now usually played in its original form, although sometimes without the repeat in the first movement. It had been thought that the manuscript of the work was lost, but in 2004 it was rediscovered in the estate of a private collector and ten years later auctioned

by Sotheby’s for £1.2 million (British pounds).

Although writing mostly in the 20th century, Rachmaninov’s work encompassed an earlier romantic style, ‘the final expression of the tradition embodied by Tchaikovsky’. A virtuosic pianist, Rachmaninov often wrote for the piano, although his compositions included orchestral works such as his three symphonies and vocal work encompassing opera, choral works and songs.

His musical reputation fluctuated throughout the 20th century, but much of his work is now established Behzod Abduraimov Photo: Nissor Abdourazakov among the most popular

The concerto has several times played a role in popular culture, including the introduction to the first movement being played during

in the repertoire. As with Tchaikovsky’s Piano concerto no 1, Rachmaninov’s Symphony no 2 holds a position in popular culture and has been used in film and also by performers including ‘pop’ singer Eric Carmen and jazz pianist Danilo Pérez.

In other concerts during November, the Sydney Symphony Orchestra will present English pianist Paul Lewis with Paul Lewis in Recital, and the Sydney Symphony concertmaster Andrew Haveron in his Andrew Haveron performs Mozart concerts.

Paul Lewis will be performing two piano works: Schubert’s Piano sonata in G major, D894, said by Robert Schumann to be the ‘most perfect in form and conception’ of his sonatas, and Beethoven’s 33 Variations on a waltz by Anton Diabelli, op 120. Along with J.S. Bach’s Goldberg Variations, the Diabelli Variations is often thought to be one of the greatest sets of variations for keyboard. Regarded as a leading exponent of Beethoven and Schubert, Lewis consistently receives both critical and public acclaim. Writer Geoffrey Norris has said of Lewis’s playing that ‘there is a strong physicality, a firm connection between his deep thinking about the music and his articulation of it’.

Having worked extensively as a soloist, chamber musician and concertmaster, London-born Andrew Haveron takes a Turkish theme for his concert. He will be performing in three pieces: Beethoven’s Overture to The ruins of Athens, op 113, from the incidental music written by Beethoven for a play of the same name; Mozart’s Violin concerto no 5 in A major, K219, known as the Turkish, which premiered during the 1775 Christmas season; and Haydn’s Symphony in G major, Hob.I:100 (the Military Symphony).

The eighth of the 12 ‘London’ symphonies, this work takes its popular name from the fanfares of the second movement. Haveron will repeat his concert in three venues.

Also giving music lovers more than one opportunity to listen to the program, the Sydney Symphony, Behzod Abduraimov and Lionel Bringuier will be repeating A Russian Gala in a second concert.

EVENTS, DATES AND VENUES A RUSSIAN GALA Friday 8, Saturday 9 November, 8pm Concert Hall, Sydney Opera House ANDREW HAVERON PERFORMS MOZART Thursday 14 November, 7pm City Recital Hall, Angel Place PAUL LEWIS IN RECITAL Monday 18 November, 7pm City Recital Hall, Angel Place BOOKINGS AND INFORMATION Sydney Symphony website, Sydney Opera House or City Recital Hall NOVEMBER 2019

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SPIRITUAL MINIMALISM JAMES NIGHTINGALE EXPLAINS A MODERN TREND In 1992, the recording of the Symphony no 3 by Henryk Gorécki spent 38 weeks at the top of the US Classical Music charts and climbed as far as number six on the UK mainstream charts. It is probably the most commercially successful recording of any work of contemporary classical music. This success led to a search for similar works that record companies thought could be just as popular. Starting with the back catalogue of Gorécki himself, disparate composers from a range of European countries, often from the Eastern side of the Iron Curtain but not exclusively, were invited to have their works recorded on the most prestigious labels. These included Arvo Pärt, John Tavener and many more: composers who didn’t necessarily have anything in common other than a fondness for tonality, slow tempi and the spiritual.

This musical genre has been called ‘spiritual minimalism’.

homesickness. The work is definitely one that feels like spiritual minimalism, a label that I am sure, Kancheli would also reject.

Alongside the discovery and recognition of composers whose work fits the marketing concept, are recordings that have actively tried to endear themselves to the marketplace through adopting ‘spiritual minimalism’. The film and television composer John Harle achieved popularity with Silencium suite which originated in music for the television program Silent Witness. Silencium was soon found on compilation recordings alongside music by Pärt, Gorécki, Tavener and others. This piece isn’t exactly my ‘cup of tea’ but it has been proven to be someone’s ‘cup of tea’, maybe even the ‘cup of tea’ of someone you know!

This month a Sunday Special program investigates spiritual minimalism For most of these composers, the beginning with music by Arvo Pärt. act of expressing one’s faith through Pärt first found popularity with Western music was an act of rebellion. Pärt and audiences with his piece Fratres, Arvo Pärt at Classical Brit Awards in London 2011 Image: Alamy Gorécki grew up in Soviet Estonia and a work featuring his tintinabulation Poland, respectively, and both initially technique. Shortly after the reunification of wrote in a style that is best described as serial admiration for the music of Johann Sebastian Germany, Pärt was commissioned to write a atonality, a style influenced by the music of Bach. As described, you might think that Mass for the 90th Catholics Day events held in Anton Webern. Writing in this style behind the she is a perfect fit for this new genre but her Berlin in 1990. Although not related to the fall Iron Curtain was an act of subversion, although music is not minimal nor, it must be said, of the Berlin Wall, Pärt’s Mass has taken on a perhaps not so risky in Poland where there does it fit easily within any musical genre symbolic attachment to this time of hope amid was a thriving avant-garde in the 1960s. In other than broadly avant-garde classical political turmoil.

England, the pre-eminent spiritual minimalist music. Her music represents another way to was John Tavener. A former boy chorister, bring the expression of spiritual values into It is hope that ends this Sunday Special with the Concerto bianco by Georgs Pelecis, a work organist and Church composer, Tavener contemporary classical music. turned to the Orthodox Church, finding in the Another composer from the old Soviet Union filled with a delightful minimalistic counterpoint byzantine history and ancient rituals of its is Giya Kancheli. Born in Tblisi, Georgia, that uses only the white notes of the piano. practice a muse that brought out an original Kancheli’s music often consists of long time It’s a work that reminds us of the beauty of musical approach. Tavener too was turning frames filled with very little. His symphonies the simple things in life and the joy found in away from the academically accepted styles of have long passages featuring just a few opening your ears to a new experience. Listen contemporary classical music, also retreating instruments interrupted by explosions from the at 3pm on 17 November. into simple textures and direct musical ideas. large orchestra. His later works are outwardly None of the composers discussed here has bought into the label ‘spiritual minimalism’.

They are all composers with a unique voice and a recognisable musical approach that just happens to fall into this marketing category cum musical genre. There are other composers who have been taken into this genre with varying degrees of success.

Among these is the Tartar/Russian composer Sofia Gubaidulina, who was encouraged by Shostakovich to follow her musical instinct, despite others in the Composers Union calling it ‘mistaken’. Gubaidulina has embodied in her works her search for the spiritual and her 4

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smooth in texture but full of emotion and meaning.

An example is Amao omi, for choir with saxophone quartet, in which the text is a series of Georgian words that relate to the nature and landscape, culture and traditions of Georgia. The title translates as ‘senseless war’ and the melancholy in this work reflects the People’s artist of Georgia: composer Giya Kancheli Image: subjects of war and

‘THE EXCELLENT MOZART’ ANNE-LOUISE LUCCARINI ON THE LIFE OF LEOPOLD The Intercity Express from Munich speeding westward across Swabia at 200kph reaches Augsburg, halfway to Ulm, in just under 30 minutes. When Leopold Mozart made that journey it took about eight hours. Augsburg is invisible from the railway but when one enters the proud Imperial Free City, it opens like a sunburst, looking much as it did when the 12-year-old Leopold walked all the way from school to St Ulrich-und-Afra, to sing descant and later play the organ for the Benedictines who were to shape his destiny. There is a plaque on the wall of the tiny ochre building which was once the workshop and dwelling of the bookbinder Johann Georg Mozart and his second wife Anna Maria and here, at one in the morning, 14 November 1719, the first of nine children was born, baptised in the church of St Georg (priory designed by one of the Mozart forebears, all builders), and named Johann Georg Leopold.

dilatory printer to return the proofs for correction. The birth of Wolfgang, in January 1756, nearly cost Maria Anna’s life. The Violinschule, finally published, was reviewed ecstatically in Berlin: “A work of this kind has long been desired, but one hardly dared to expect it.” The name of ‘the excellent Mozart’ became famous all over Germany.

Leopold began teaching his children.

In June 1762, the Kapellmeister died with no replacement named. Leopold made a speculative trip to Vienna where relatives of Salzburg nobility introduced the family to the highest society. Leopold returned with new music, a nest-egg of ducats and an invitation to Paris. He was named Vice-Kapellmeister, but requested study leave and off they went, with finances sustained along the way by three prince-electors and some public concerts.

Paris came to little more than the friendship of the well-connected Melchior Grimm, who introduced them The bookbinder moved his growing Leopold Mozart, painting, probably by Pietro Antonio Lorenzoni at Versailles. They crossed to London family to premises belonging to the (1721-1782) Image: Alamy to replenish the coffers and stayed a college of St Salvator. It was low pay, year, performing for royalty and the but assured work. Leopold’s upbringing was in eight Latin plays, as orator or musician, or aristocracy. They frequented Johann Christian of spartan simplicity, with strict adherence to both. Coaching helped him make up for the Bach and Carl Friedrich Abel, went to the the Catholic religion. He was four when he first lost year of schooling and qualify for admission opera, and bought things to sell in Salzburg. appeared in a Jesuit school play, and it was to Salzburg University, sponsored by the abbot Back home, Leopold concentrated on his son’s probably soon afterwards that he joined the of St Ulrich-und-Afra, and on 7 December training; Wolfgang was now an outstanding choir of the Augustine convent of Heilig Kreuz 1737 he enrolled in Philosophy. harpsichordist and violinist but immature as (Holy Cross). The choirmaster and organist a composer. After their trips to Italy, Leopold was a published composer, a humanist Leopold passed the first year, but was expelled realised that his son had surged ahead, while scholar and Augustinian brother to Leopold’s at the end of the second, for unexplained failure his own music was now old-fashioned. He godfather, possibly the greatest formative to attend natural history lectures. Leopold then understood the galant style but, for him, it was became valet-musician to the President of the influences on his inner life. too late. Wolfgang left to follow his destiny.

Consistory, a youthful Swabian count to whom St Salvator offered free education to burghers’ he gratefully dedicated six trio sonatas which The widowed Leopold took in boarding sons. Leopold’s eligibility ceased on his he engraved himself. students until Nannerl’s marriage. Archbishop father’s death in February 1736, but he was Colloredo took care not to overtax his ageing allowed to complete the school year, receiving From the noble canons, Leopold learned Vice-Kapellmeister’s failing strength, and a leaving certificate, magna cum laude. He etiquette and politics. He read the teaching granted him leave to visit Munich each had been taught violin and clavier, studied books by Quantz and C.P.E. Bach; studied January for the opera. Nannerl nursed him theory, Fux, Mattheson; fell in love, but could near the end, and after his death on 28 May not marry without income. In 1743 he joined 1787, she packed up all his scores and sent the orchestra, but not until 1747 could he them to Heilig Kreuz in Augsburg. afford to marry Maria Anna Pertl. Little Leopold was born, and died, as did another two babies. As a composer, Leopold was more than In 1751 Anna Maria, called Nannerl, was born. abreast of the times. His music is often easy to Another two children died. Leopold composed mistake for the early work of Haydn, 13 years Masses and cantatas, and taught violin to the his junior. He transmitted to Wolfgang his love choirboys. He wrote minuets, and sinfonie, of theatre and his vast musical knowledge, or overtures, for the Augsburg Collegium and herein lies his lasting legacy.

Commemorative euro Image: A-L. Luccarini Musicum, fun pieces prescribing effects such To celebrate Leopold Mozart’s 300th Cicero, Ovid and Catullus in Latin, Socrates as gunshots and barking dogs. Two girls anniversary we have programs in November and Plato in Greek, then Aristotle, Pythagoras, were born and died. In 1755 Leopold wrote on Thursday 14 at 2pm and Sunday 24 at Euclid, rhetoric and logic. He had appeared a violin tutor, then spent months coaxing the 3pm in Sunday Special.

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OLD TESTAMENT STORIES IN OPERA NICKY GLUCH REVEALS THE UNDERLYING HUMANITY both on love and, to quote David Fanning, a ‘meeting of minds’, Anne Marie was a fiercely independent woman who spent many months away from home furthering her own career. Nielsen, frustrated with this arrangement, developed an interest in understanding human motivation.

According to Fanning, this interest crystallised in his opera Saul and David, his Second Symphony and other works from the period.

Perhaps Nielsen empathised with David, who succeeds in slaying Goliath but is then slighted by a jealous Saul. Did he believe that Anne Marie was similarly restraining him? Or was it merely cathartic to write grand choruses expounding another’s plight?

In David and Jonathan Charpentier focused on a different aspect of The Giant Goliath Topples To The Ground. Painting By the same tale. Although Saul’s Henry Coller Image: Alamy banishment of David drives the action Whenever I think about the Old Testament, forward, it is David’s friendship with Saul’s son, Tevye’s words from Fiddler on the Roof come Jonathan that is given centre stage. Love, that to mind, ‘As the Good Book says …’. However, mainstay of drama, is still the theme but in a like Tevye, we know that which is written in platonic guise. Thus, with a libretto written by a the ‘Good Book’ and his recollections are not priest, Charpentier managed to take a Biblical quite the same and that much of the detail of story and combine it with a secular art form in Biblical narratives was, in fact, embellishment a manner tantalising to both religious and lay over the course of history. While a religious audiences. scholar might be called to return to the words The Queen of Sheba might suggest an opera themselves, for an artist the enduring allure featuring David’s son Solomon but he is sideof the Bible is not its truth but the tales of lined in Goldmark’s work of fancy. To the story humanity that lie at its core. The themes of the Queen’s visit to King Solomon, the of love, power and jealousy, so essential librettist, Hermann Salomon Mosenthal, added to mythology and to Shakespeare’s plays, a love triangle. Sulamith, the daughter of the continue to inspire, whether in a painting High Priest is to marry Assad upon his return to or in the audient arts. Therefore, the more court. During his travels, however, Assad has interesting question becomes not which story fallen in love with a mysterious woman. Back has been adapted but the manner in which it at court, and with has been refashioned, and why? the Queen having

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narrative invention as his musical achievement. Both Goldmark and Mosenthal were Jewish and this may have motivated Goldmark’s aim to create an oriental Jewish sound. Within the context of Vienna, he would have been following in the path of cantor Salomon Sulzer who wished to restore the oriental origins of Jewish music but, on a more personal note, Goldmark also needed to find a way to establish an individual sound in an age where Wagner’s music prevailed. Because of Wagner’s anti-Semitism, Goldmark was excluded from the Wagner-set and had to find his own voice.

This brings us to Verdi’s Nabucco, in essence a story about the persecution and expulsion of the Jews from Israel. In true operatic form, this history becomes the background to a riveting romantic plot. The story of how the opera came to be written is itself legendary.

Verdi was grief-stricken after the death of his wife and two children and had sworn never to compose again. It was the libretto to Nabucco, forced upon him by Bartolomeo Merelli that caused Verdi to change his mind. Whether it was the line ‘Va pensiero, sull’ ali dorate’, as one story goes, or the death of Abigaille, that so stirred Verdi’s passions, it is evident that this tale of familial love and sacrifice touched the composer. The opera was an instant success and Va, pensiero remains one of the best known of all opera choruses.

Tevye was right to seek wisdom in ‘the Good Book’ and he was also right to realise that accuracy was only part of it. The Old Testament is sturdy enough to cope with our misappropriation but our art would certainly be the lesser without its stories and their embellishments.

You can hear these operas on each Wednesday of November at 8pm.

In November, At the Opera presents four operas with Old Testament characters. In Biblical chronology, the stories are Carl Nielsen’s Saul and David (1901), MarcAntoine Charpentier’s David and Jonathan (1688), Karl Goldmark’s The Queen of Sheba (1875) and Giuseppe Verdi’s Nabucco (1841).

With the operas written over more than a 200year period, it is fascinating to investigate why these men might have written them at their own particular time.

now arrived, Assad recognises the Queen as the mysterious woman. That night they embrace but as day breaks, the Israelites are called to prayer and all begins to unravel.

For Nielsen, the motivation seems to be deeply personal. In 1891, he had met and married the Danish sculptor Anne Marie Brodersen. Although the marriage was forged

The fascinating aspect of this work is not so much Goldmark’s King Solomon receiving the Queen of Sheba

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Image: Alamy

THE WANDERING ISRAELITES TOM FORRESTER-PATON MARKS 250 YEARS Carl Philipp Emanuel Bach may not have been as illustrious as his father, but he excelled as a kind of musical broker. He kept his professional ear to the ground as the baroque style of his father was challenged by a steady stream of stylistic ideas from all over Europe.

He evaluated each innovation and, where appropriate, linked it to others that were doing the rounds, or discarded it as unworthy. It was a process that was to lead to classicism, and Emanuel Bach’s role in it is hard to overstate.

by appalling foreigners, only to triumph in the end. That Messiah, the oratorio which least conformed to this bombastic model, should be the one which has come to typify the ‘English Oratorio’ is an odd turn of events but one which, in Bach’s day, lay in the future.

These stories, of course, included ‘Israel in Egypt’. Musically, the oratorios are characterised by simplicity, directness and an abundance of word-painting; that is, matching music to text, word by word. Mozart is credited

Israelites gathering manna in the wilderness (Exodus xvi 1-21). Steel engraving, 19th century after the painting by Nicolas Poussin (1594-1665). Image: Alamy

Oratorio had originated in Italy, as a hybrid form of dramatic entertainment permissible in Lent (unlike the ‘naughty’ opera). However, it was really brought to maturity in Georgian Britain

by George Handel, a German immigrant in the service of a German monarch.

Handel was pretty astute when it came to marketing. He had campaigned with the King in the ‘Opera War’ King George had waged against his son, and had seen that, win or lose, it brought nothing but financial grief.

Opera could only be afforded by ‘toffs’, and there simply weren’t enough ‘toffs’ around to pay for all those imported Italian castrati. So, Handel took the idea of an unstaged drama comprising a Biblical or classical narrative set to music and bent it to the service of the growing middle class of wealthy citizens.

Their increasing numbers and wealth made the arithmetic work at the box office. They loved Old Testament stories, which they knew well, and in which they could identify with the Israelites who were always being enslaved

with the remark: “Handel understands effect better than any of us. When he chooses, he strikes like a thunderbolt.”

Johann Sebastian Bach never met Handel, although it wasn’t for want of trying. However, his great friend Georg Philipp Telemann, godfather to Emanuel Bach (and the reason for the ‘Philipp’ in his name) had known Handel well as a young man, and had seen his emerging genius at close hand. He would undoubtedly have bequeathed both his enthusiasm and his insights to his godson, for whom Handel’s oratorios would therefore have come to epitomise the form. Indeed, Emanuel Bach’s oratorio, The Israelites in Egypt, includes direct quotes from Handel.

Of course, Emmanuel Bach was not a mere vehicle for the innovations of others.

As an artist, he became committed to the Empfindsamer Stil (the ‘sensitive’ style); a subset of the Galant which placed particular emphasis on stitching music and emotion closely together, something of which Handel,

the master word-painter, would surely have approved. Its practitioners marked their appoggiatura, not in order to festoon their music with ornament, but to discourage overornamentation by performers accustomed to seeing no such markings, and to supplying their own ornamentation. Bach thought that it was time to assert the sovereignty of composer over performer; a shift that was to mark Western music until the arrival of jazz.

In 1768, Emanuel Bach moved from Berlin to Hamburg, to take up the post of Kapellmeister, vacant after the death of his godfather, Telemann. The new post allowed him far greater scope for creativity than had been the case in Berlin. It also called for far more sacred music than his previous duties had required of him. Extricating himself from the service of the Prussian Court had been tricky but it was evidently accomplished without rancour as he was given the honorary post of court composer to Princess Anna Amalia, Frederick the Great’s sister. The princess happened to be keen on oratorio, so it’s perhaps not surprising that one of the first major works Bach undertook in Hamburg was the composition of this oratorio.

Of the two that he wrote, Die Israeliten in der Wüste (The Israelites in the desert) is by far the best-remembered.

Its libretto by German librettist Daniel Schiebeler was compiled from poetry based on Scripture rather than being direct quotations from Scripture. Bach wrote it for the consecration of the Lazarettkirche, then nearing completion.

Notwithstanding this purpose, he intended that Die Israeliten be performed ‘not only on a solemn occasion, but at any time, inside or outside the Church’. Like its Handelian predecessor, its movements are either recitative, aria or chorus, and the chorus does a lot of the work. In true Empfindsamer style, each movement has its own mood, closely matched to the text. For anyone familiar with the Handel oratorios, and interested in the path trodden by music in the 18th century, Die Israeliten is a fascinating roadmap.

For all his seminal importance to the classical transition, we don’t readily associate Emanuel Bach with choral music. The opportunity to hear an oratorio written to a Biblical theme covered a generation earlier by the man he saw as the foremost exponent of that form is very welcome.

The Israelites in the desert premiered on 1 November 1769 and we celebrate the 250th anniversary of this event in Saturday Matinee on 2 November at 2.30pm.

NOVEMBER 2019

7

REBECCA FERGUSON EWAN MCGREGOR JACOB TREMBLAY

DOCTOR SLEEP FROM NOV 7

EMILIA CLARKE EMMA THOMPSON HENRY GOLDING

ANTONIO BANDERAS ASIER ETXEANDIA LEONARDO SBARAGLIA

LAST CHRISTMAS

PAIN & GLORY

FROM NOV 7

FROM NOV 7

MATT DAMON CHRISTIAN BALE

FORD V FERRARI FROM NOV 14

Friday 1 November 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 Gershwin, G. Porgy and Bess transcriptions (1934; arr. Heifetz). Gil Shaham, vn; Akira Eguchi, pf.

DG 447 640-2 16 Pierné, G. Violin sonata, op 36 (1900; transcr.

Langevin). Robert Langevin, fl; Jonathan Feldman, pf.

Avie AV2213 22 Milhaud, D. Saudades do Brasil: dance suite, op 67 (1921; transcr. Kuisma). Markus Leoson, mar; Niklas Sivelöv, pf.

Caprice CAP 21743 12 Beethoven, L. Allegro con brio, from Piano concerto no 3 in C minor, op 37 (1804; transcr. Alkan). Marc-André Hamelin, pf.

Hyperion A66765 19 Platti, G. Sonata in G (transcr. Rousseau).

Peter Clinch, sax; Margaret Schofield, pf.

LP Move MS 3041 10 10:30 CONCERT HALL Prepared by Dan Bickel Ravel, M. Ballet: Ma mère l’oye (1911). Royal Concertgebouw O/Bernard Haitink.

Radio Nederland RCO11004 26 Haydn, J. Piano concerto no 11 in D, Hob. XVIII:11 (bef. 1784). Arturo Benedetti Michelangeli, pf; Zurich CO/Edmond de Stoutz.

EMI 5 62823 2 21 Nielsen, C. Symphony no 3, op 27, Sinfonia espansiva (1910-11). Inger Damm-Jensen, sop; Poul Elming, ten; Danish National SO/ Michael Schønwandt.

Dacapo 8.206002 37 12:00 A JAZZ HOUR with Barry O’Sullivan 13:00 MUSIC OF THE BARD Prepared by Albert Gormley Balakirev, M. Overture to King Lear (1859).

BBC PO/Vassily Sinaisky.

Chandos CHAN 9667 11 Schickele, P. Songs from Shakespeare, with introduction (c2007). Michèle Eaton, sop; David Düsing, ten; Peter Schickele, narr, ten, pf.

Telarc 80666 5 Locke, M. Saraband, from Incidental music to Shakespeare’s The tempest (1674). La Rêveuse.

Theatre of Musick K617194 2

Stravinsky, I. Three songs from William Shakespeare (1953). Catherine Ciesinski, mezz; Elizabeth Mann, fl; William Blount, cl; Louise Schulman, va; Robert Craft, cond.

Music Masters 67158-2 6 Keane, R. Music for John Bell: Five Shakespearean miniatures (c2015). New Sydney Wind Quintet.

Fine Music concert recording 16 Gormley, A. Three love songs from Shakespeare (2019). Andrea Catzel, sop; Paul Khodor, pf.

Private recording 11 14:00 THE ROYAL COURT Prepared by Jacky Ternisien Frederick II. Flute sonata in C. Collegium Musicum 90/Simon Standage.

Chandos CHAN 0541 8 Archduke Rudolph of Austria. Trio in E flat (1814). Ricardo Morales, cl; Gerald Kagan, vc; Susan Kagan, pf.

Koch 3-7339-2-H1 25 Henry VIII. Puzzle-Canon II. Jordi Savall, va da gamba; Sergi Casademunt, va da gamba; Fahmi Alqhai, va da gamba; Philippe Pierlot, va da gamba.

Alia Vox AVSA 9895 A/F 2 Leopold I of Austria. Regina coeli. Henri Ledroit, ct; Ricercar Consort.

Ricercar RIC 034008 7 Marie Antoinette. C’est mon ami. Isabelle Poulenard, sop; Sandrine Chatron, hp.

Ambroisie AM 179 3 Archduke Rudolph of Austria. Septet in E minor (1830). Consortium Classicum/Dieter Klöcker.

Orfeo C 182 891 A 33 Frederick II. Flute concerto in G. Manfred Friedrich, fl; Carl Philipp Emanuel Bach CO/ Hartmut Haenchen.

Capriccio 10 064 25 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 Walton, W. Viola concerto in A minor (192829/36/61). Nigel Kennedy, va; Royal PO/ André Previn.

EMI 5 62813 2 26 Nielsen, C. Symphony no 5, op 50 (1921-22).

Royal Danish O/Paavo Berglund.

RCA 74321 20293 2 37

Vaughan Williams, R. Norfolk rhapsody no 1 in E minor (1905-06). Melbourne SO/Bernard Heinze.

ABC 434 896-2 11 Piazzolla, A. Concerto for bandoneon, string orchestra and percussion, Aconcagua (1979).

Daniel Binelli, ban; Nashville SO/Giancarlo Guerrero.

Naxos 8.572271 24 Bach, C.P.E. Symphony in A, Wq 182 no 4. O of the Age of Enlightenment/Rebecca Miller.

Signum SIGCD395 12 22:00 BAROQUE AND BEFORE Salzburg before Amadeus Prepared by Susan Foulcher Massaino, T. Here begins the lamentation of the Prophet Jeremiah, mvt 1 (1599). Huelgas Ensemble/Paul van Nevel.

Harmonia Mundi HMG 501682 5 Megerle, A. Offertory, from Peccator et consolator à 2. Gabrieli Consort and Players/ Paul McCreesh.

Archiv 479 1957 4 Biber, H. Missa salisburgensis (1682).

Musica Antiqua Cologne; Gabrieli Consort and Players.

Archiv 479 1957 47 Muffat, G. Toccata no 4, from Apparatus musico-organisticus (1690). Martin Haselböck, org.

Naxos 8.553917 7 Sonata no 3 in A (pub.1682). Parley of Instruments.

Helios CDH55191 9 Biber, C. Trumpet sonata in C. Paul Plunkett, tpt; Julie Hewison, vn; Lucinda Moon, vn; Jenny Ingram, va; Miriam Morris, vc; Linda Kent, org.

Move MD 3127 5 Caldara, A. Excerpts from Don Chisciotte in corte della duchessa (c1727). Maria Espada, sop; Emiliano González Toro, ten; João Fernandes, bass; La Ritirata/Josetxu Obregón.

Glossa GCD 923104 13 Mozart, L. Trombone concerto in G (c1756).

Northern Sinfonia/Alain Trudel, tb & dir.

Naxos 8.553831 13 Biber’s Missa salisburgensis is a polychoral work in 53 parts, perhaps the largest-scale piece of extant sacred Baroque music, written for the 1100th anniversary of the Archbishopric of Salzburg. Biber took advantage of the multiple organs and various locations in Salzburg Cathedral to place the many groups of singers and musicians performing the work.

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Saturday 2 November 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SATURDAY MORNING MUSIC with David Garrett 9:00 WHAT’S ON IN MUSIC Our weekly guide to musical events in and around Sydney 9:05 THE PIANO ALONE Prepared by Mariko Yata

12:00 URBAN JAZZ LOUNGE with Leita Hutchings 13:00 MUSICA VIVA PRESENTS Natalie Clein and Katya Apekisheva Recorded by Roger Doyle for FINE MUSIC

Saint-Saëns, C. Danse macabre, op 40 (1874; arr. Liszt). Tamara-Anna Cislowska, pf.

ABC 476 6301 8

Kodály, Z. Sonatina for cello and piano (1922). 8

Beethoven, L. Piano sonata no 27 in E minor, op 90 (1814). Andreas Haefliger, pf.

Avie AV 2082 13

Beethoven, L. Cello sonata no 5 in D, op 102 no 2 (1815). 19

Dohnányi, E. Humoresques, op 17 (1907).

Jenö Jandó, pf.

Koch Schwann 3-1219-2 27 10:00 MUSIC OF THE DANCE Prepared by Chris Blower Bridge, F. Vignettes de danse (1938). Lowri Blake, vc; Chelsea Opera Group O/Howard Williams.

Pearl SHE 9600 11 Alwyn, W. Elizabethan dances (1956-57).

Royal Liverpool PO/David Lloyd-Jones.

Naxos 8.570144 18 Glinka, M. Oriental dances in Chernomor’s castle, from Ruslan and Ludmila (1842).

USSR SO/Yevgeny Svetlanov.

Melodiya SUCD 10-00166 7 Sor, F. À la bonne heure, six waltzes, op 51 (c1832). Jeffrey McFadden, gui.

Naxos 8.553985 10 Strauss, J. II Waltz: The young Viennese, op 7 (1845). CSSR State PO/Alfred Walter.

Marco Polo 8.223202 9 Verdi, G. Ballet music from Jerusalem (1847).

Monte Carlo National Opera O/Antonio de Almeida.

Philips 422 846-2 24 11:30 ON PARADE Music that’s band Prepared by Owen Fisher Newsome, R. Concorde. Fairey Band/ Kenneth Denison.

LP Astor GH 641 5 Anon. Praise my soul (arr. Philip Wilby).

Black Dyke Band/James Watson.

Doyen DOY 060 3 Suppé, F. Overture to Light Cavalry (1866).

Munn and Felton’s (Footwear) Band/Harry Mortimer.

LP Columbia 330 SX 1118 6 Sousa, J.P. Comrades of the legion march.

Allentown Band/Ronald Demkee.

AMP 94141 3 10

Holst, G. Mars, from The planets. Brighouse and Rastrick Band/James Scott.

LP Transatlantic GGS 1477 8

NOVEMBER 2019

Williams, N. The dreaming land (2019). 13

Rachmaninov, S. Cello sonata in G minor, op 19 (1901). 33 Bloch, E. Jewish song, from Jewish life. 3 Natalie Clein, vc; Katya Apekisheva, pf (all above) 14:30 SATURDAY MATINEE The Israelites in the desert Prepared by Chris Blower Bach, C.P.E. Oratorio: 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 1:19 Zelenka, J. Psalm 114: In exitu Israel de Aegypto (1725). Bernadette Degelin, sop; David James, alto; Jan Caals, ten; Kurt Widmer, bass; Westvlaams Vocal Ensemble; Paul Dombrecht, ob; Paul Beelaerts, ob; Musica Polyphonica/Louis Devos.

Artistique STU 71462 11 Cavalli, F. Psalm 114: In exitu Israel de Aegypto (pub. 1675). Claudio Monteverdi Choir; La Pifarescha/Bruno Gini.

Dynamic CDS 7714 7 Mendelssohn, F. Psalm 114: When Israel came out of Egypt, op 51 (1839). Gulbenkian Ch & O/Michel Corboz.

Erato 4509-94359-2 13

Bloch, E. Israel symphony (1912-16).

Blanche Christensen, sop; Jean Basinger Fraenkel, sop; Christina Politis, cont; Diane Heder, cont; Don Watts, bass; Utah SO/ Maurice Abravanel.

Vanguard OVC 4047 29 17:00 SOCIETY SPOT Folk Federation of NSW 18:00 THE MAGIC OF STAGE AND SCREEN Prepared by Adam Bowen Williams, C. The apartment (1949). O/ Mantovani.

Naxos 8.120856 3 Grusin, D. The firm (1993). Dave Grusin, pf.

MCA GRM 20072 8 Mancini, H. The Molly Maguires (1970). O/ Henry Mancini.

Bay Cities BCD 3029 11 Marks, B. A month of Sundays (2016). O/ Bryony Marks.

Private recording 9 Greenwood, J. Phantom thread (2017). O/ Robert Ziegler.

Nonesuch 564777-2 15 Simon, C. Working girl (1989). Saint Thomas Choir of men and boys.

Arista AR-8593 3 19:00 THE ITALIAN SYMPHONY Prepared by Chris Blower Cherubini, L. Overture to Medea (1797).

Dresden PO/Kurt Masur.

Berlin Classics 0300249BC 8 Overture to The crescendo (1810). Tuscan O/ Donato Renzetti.

Europa 350-221 12 Symphony in D (1815). Zurich CO/Howard Griffiths. cpo 999 5212 34

CONTINUING PROGRAM SERIES Musical Families prepared by Jennifer Foong: Tuesdays 5, 19 at 2pm A New Life on These Shores prepared by Frank Morrison: Tuesdays 12, 26 at 2pm A Musical Caravan prepared by Frank Morrison: Fridays 8, 22 at 2pm Evenings with the Orchestra, Music from the New World prepared by David Brett: Friday 15 at 8pm Come to the Opera prepared by Derek Parker: Saturday 16 at 1pm Sunday Special, The Baroque Secular Cantata prepared by Rex Burgess: Sunday 10 at 3pm Saturday Matinee, Operetta in the afternoon, 2.30pm: 9th, Lehár’s Paganini and Sullivan’s Ruddigore; 23rd, Strauss II’s The goddess of reason New: Rossini Explored prepared by Michael Morton-Evans: Wednesday 6, 13, 20, 27 at 3pm

Saturday 2 November 20:00 LIFE OF A COMPOSER Johann Nepomuk Hummel Prepared by James Nightingale Hummel, J. Trumpet concerto in E (1803).

Håkan Hardenberger, tpt; Academy of St Martin in the Fields/Neville Marriner.

Philips 420 203-2 18 Mozart, W. Six German dances, K509 (1787).

Murray Perahia, pf.

Sony SX4K 63380 10 Beethoven, L. Piano trio no 8 in B flat, WoO39 (1792-95). Beaux Arts Trio.

Philips 438 948-2 7 Hummel, J. Tyrolean air with variations (c1829). Cecilia Bartoli, mezz; Maria Goldschmidt, fl; Robert Pickup, cl; O La Scintilla/Ádám Fischer.

Decca 475 9077 7 Grande serenade no 1, op 63 (c1814).

Consortium Classicum.

LP Schwann VMS 1051 17 Fantasy in G minor, op 123 (1833). Madoka Inui, pf.

Naxos 8.557836 12 Piano concerto in B minor, op 89 (1819).

Stephen Hough, pf; English CO/Bryden Thomson.

Chandos CHAN 8507 36 22:00 SATURDAY NIGHT AT HOME Prepared by Krystal Li Tailleferre, G. Concertino (1927). Gillian Benet, hp; Women’s PO/JoAnn Falletta.

Koch 3 7169 2H1 16 Pleyel, I. Wind sextet in E flat. Consortium Classicum.

Musikproduktion MD+G L 3460 20 Debussy, C. Jeux: Poème dansé (1913).

Lyon NO/Jun Märkl.

Naxos 8.570759 19 Rameau, J-P. Suite from Platée (1745).

European Union Baroque O/Roy Goodman.

Naxos 8.557490 22 Saint-Saens, C. Messe de Requiem, op 54 (1878). Jinjee Uhm, sop; Ji-Hye Kim, mezz; Joshua Cohen, ten; Timothy Collins, bass; George Faunce Allman Chorale; Sydney University Graduate Chamber Ch & O/ Christopher Bowen.

SUGC recording 34 An ugly water nymph, who believes that Jupiter is in love with her, forms the basis of the plot of Rameau’s operaballet, Platée. Written for the wedding celebrations of Louis, Dauphin of France, and the Infanta Maria Theresa of Spain, it was the composer’s first attempt at comic opera.

Sunday 3 November 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SUNDAY MORNING MUSIC with Terry McMullen 9:00 MUSICA SACRA Prepared by Stephen Matthews Jommelli, N. Mass in G. Prague Chamber Choir/Hilary Griffiths.

Orfeo C 453 001 A 40 Telemann, G. Communion cantata for baritone, alto recorder and strings. Klaus Mertens, bar; L’Arpa Festant/Rien Voskuilen.

Harmonia Mundi 19075832892 13 10:00 THE CLASSICAL ERA Prepared by Rex Burgess Mozart, W. Eight variations on a theme from Il seraglio (1782; arr. Wendt). Sydney Wind Octet.

Fine Music concert rcording 20 Donizetti, G. Larghetto, theme and variations (1819). Massimo Belli, vn; Victoria Terekiev, pf.

Nuova Era 7100/01 16 Hummel, J. Tyrolean air with variations (c1829). Cecilia Bartoli, mezz; Maria Goldschmidt, fl; Robert Pickup, cl; O La Scintilla/Ádám Fischer.

Decca 475 9077 7 Giuliani, M. Variations on a theme by Handel, op 107, The harmonious blacksmith. Slava Grigoryan, gui.

ABC 472 224-2 8 Rode, P. Variations on Nel cor più non mi sento (c1798). Friedemann Eichhorn, vn; Jena PO/Nicolás Pasquet.

Naxos 8.573054 15 Schubert, F. Introduction and variations on Trock’ne Blumen, D802 (1824). Alain Marion, fl; Pascal Rogé, pf.

Denon 33CO-2046 20 Beethoven, L. Fantasia in C minor, op 80, Choral (1807). German State Opera Choir; Berlin PO/Daniel Barenboim.

EMI 5 55516 2 20 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 Showcases diverse music from cultures around the world, both traditional and modern, featuring musicians from all corners of the globe, including Australia 14:00 AUSTRALIAN GUITAR Prepared by Chris Blower Vivaldi, A. Guitar concerto in D (arr. Koch).

Guillermo Büchler, vn; Willem de Swardt, vn; Herwig Tachezi, vc; Gareth Koch, gui; Timothy Walker Brown, hpd.

Gracia 0010692 12 Granados, E. Spanish dance, op 37 no 6, Rondalia aragonesa (1892-1900). Saffire.

ABC 476 701-2 5 Orff, C. Carmina burana (1936; transcr.

Koch). Gareth Koch, gui.

Artworks AW009 37 15:00 SUNDAY SPECIAL Father Leopold: born 14 November 1719 Mozart, L. Trumpet concerto in D (1762).

Friedemann Immer, tpt; Concentus Musicus Vienna/Nikolaus Harnoncourt.

Teldec 8.43673 12 Die grossmütige Gelassenheit, K149; Geheime Liebe, K150; Die Zufriedenheit im niedrigen Stande, K151 (c1772). Elly Ameling, sop; Dalton Baldwin, pf.

Philips 422 524-2 3 Trio sonata in E (1740). Paul Angere, vn; Christoph Angere, vn; Michael Brüssing, vc.

Koch-Schwann 310 085 9 Eberlin, J. Kyrie, from Mass no 34 in C. Daniel Rettenmaier, treb; Camerata Vocale Günzburg; La Banda/Jürgen Rettenmaier.

Carus 27 041/99 6 Mozart, L. Cassation in G, Toy symphony.

Hanover Band/Roy Goodman.

Nimbus NI 5126 19 Mozart, W. Divertimento no 5 in C, K187 (c1770). Australian Baroque Brass.

Tubicium TR761901 9 Mozart, L. Keyboard trio no 3 in A (c1750).

Rüdiger Lotter, vn; Sebastian Hass, vc; Christine Schornsheim, fp.

Oehms OC 860 13 Trombone concerto in D. Jörgen van Rijen, tb; Combattimento Consort Amsterdam/Jan

The wheel of fortune turns: joy turning to bitterness, and hope turning to grief. The drawing of the wheel found on the first page of the medieval Burana Codex, illustrates the fickleness of fortune. Its topics of the ephemeral nature of life, the joy of the return of Spring and the pleasures and perils of drinking, gluttony, gambling and lust are just as relevant in this age as they were centuries ago. Carl Orff’s cantata Carmina burana, based on the Codex, is sung in Latin verse with some Middle High German and Old French. It has been transcribed brilliantly by Gareth Koch as a solo guitar work. Within each scene of the work, the wheel of fortune turns.

NOVEMBER 2019

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Sunday 3 November Willem de Vriend.

Channel Classics CCS SA 26708 11 Haydn, M. In monte Oliveti oravit ad patrem; Tristis est anima mea usque ad mortem (1778). Purcell Choir; Bálint Maróth, vc; György Janzsö, db; Levente Gyöngyösi, org; György Vashegyi, cond.

Hungaroton HCD 32596 4 Mozart, L. Sinfonia in D, Peasant wedding (1755). Capella Savaria/Pál Németh.

Hungaroton HCD 12874 16 17:00 HOSANNA Prepared by Stephen Matthews Bullock, E. Give us the wings of faith. 3 Bainton, E. And I saw a new Heaven. 5 Stanford, C. Villiers Justorum animae, op 38. 3 Byrd, W. Justorum animae. 3 Choir of Clare College, Cambridge/Graham Ross (4 above) Harmonia Mundi HMU907617 Bach, J.S. Jesu, der du meine Seele BWV78/1.

BIS CD-1951 5 Zelenka, J. Magnificat in C, ZWV107.

BIS CD-1011 11 Bach Collegium Japan/Masaaki Suzuki (2 above) Britten, B. Hymn to St Cecilia, op 27. RIAS Chamber Choir/Justin Doyle.

Harmonia Mundi HMM 902285 11 Dubois, T. Toccata. Joseph Nolan, org.

Signum SIGCD302 13 18:00 SMALL FORCES Prepared by Rex Burgess Pachelbel, J. Suite in G. Musica Antiqua Cologne/Reinhard Goebel.

Archiv 427 118-2 10 Beethoven, L. Grosse fugue in B flat, op 133 (1825-26). Lindsay String Quartet.

ASV DCS 403 16

Alkan, C-V. Rondo brillant, op 4 (1833).

Christine Stevenson, pf; Morhange Ensemble String Quartet.

Symposium 1062 13 Roussel, A. Trio for flute, viola and cello, op 40 (1929). Members of Czech Nonet.

Praga Da Camera PRD 350 018 15 19:00 SUNDAY NIGHT CONCERT Prepared by Paul Cooke Coles, C. Overture: The comedy of errors (1911). BBC Scottish SO/Martyn Brabbins.

Hyperion CDA67293 11 Hummel, J. Piano concerto no 2 in A minor, op 85 (1816). Chang Hae-won, pf; Budapest Symphony CO/Tamás Pál.

Marco Polo 8.223107 34 Alfvén, H. Symphony no 1 in F minor, op 7 (1897). Royal Scottish NO/Niklas Willén.

Naxos 8.553962 38 20:30 NEW HORIZONS Prepared by Calogero Panvino Xenakis, I. Psappha (1975). Gert Mortensen, perc.

BIS CD-256 11 Ferneyhough, B. Lemma-icon-epigram (1981). Ian Pace, pf.

NMC D066 14 Dillon, J. East 11th St. NY 10003 (1982).

Members of Music Projects London.

NMC D004 20 Dench, C. Topologies. Ian Pace, pf.

NMC D066 12 Xenakis, I. Keqrops (1986). Roger Woodward, pf; Gustav Mahler Youth O/ Claudio Abbado.

DG 447 115-2 17 Moore, K. House of shards and shadows (2018). Lamorna Nightingale, fl.

Private recording 11 22:00 AFTER HOURS JAZZ

FOR SAINT CECILIA The historical Saint Cecilia was an early Christian martyr who was executed between 176 and 180, during the reign of Emperor Marcus Aurelius. Many of the stories of her life are probably fictional but it was written that, as the musicians played at her wedding, she ‘sang in her heart to the Lord’. Her feast day has been celebrated on 11 November since the fourth century and has become an occasion for musical concerts and festivals. The first record of a music festival honouring her as the Patron Saint of Music, was held in 1570 in Évreux in Normandy.

Several composers have written music in her honour including Purcell, Marc-Antoine Charpentier, Handel, Gounod, Finzi, Howells and Britten, whose birth occurred on the feast day. Britten’s Hymn to Saint Cecilia can be heard today in Hosanna and on 25 November in Diversions in Fine Music at 9am. Listen also to Purcell’s Ode to Saint Cecilia, Hail! Bright Cecilia in Hosanna on 10 November.

12

NOVEMBER 2019

Monday 4 November 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: 1842 Prepared by Madilina Tresca Liszt, F. Fantasy on themes from Mozart’s The marriage of Figaro (1842; arr. Busoni).

Vladimir Horowitz, pf.

Larrikin DDC 931 14 Verdi, G. Gli arredi festivi, from Nabucco (1842). Welsh National Opera Ch & O/ Richard Armstrong.

EMI 5 66115 2 6 Wagner, R. Overture to Rienzi (1842).

Britannic Organ.

OEHMS Classics OC 844 12 Schumann, R. Piano quartet in E flat, op 47 (1842). Dimity Hall, vn; Hartmut Lindemann, va; Susan Blake, vc; Kathryn Selby, pf.

Fine Music concert recording 25 Glinka, M. Dances in Naina’s castle, from Ruslan and Ludmila (1842). USSR SO/ Yevgeny Svetlanov.

Melodiya SUCD 10-00166 15 Liszt, F. O when I sleep (1842). Siobhan Stagg, sop; Amir Farid, pf.

Move MD 3360 5 10:30 CONCERT HALL Prepared by Paul Hopwood Borodin, A. Overture to Prince Igor (1887; reconstr. Glazunov). Royal Liverpool PO/ Charles Mackerras.

Virgin VC 7 91174-2 11 Beethoven, L. Piano concerto no 5 in E flat, op 73, Emperor (1809). John Lill, pf; City of Birmingham SO/Walter Weller.

Chandos CHAN 7028 39 Martinu, B. Symphony no 5 (1946). Bamberg SO/Neeme Järvi.

BIS CD-402 31 12:00 SWING SESSIONS with John Buchanan Featuring bands of the 1930s swing era and the dance bands of the 1920s taken from radio broadcasts, transcriptions and recording sessions 13:00 HELVETIA Music from Swiss composers Prepared by Jacky Ternisien Dubugnon, R. Excerpts from Arcanes symphoniques, op 30 (2001-02). French NO/ Laurent Petitgirad.

Naxos 8.573687 13

Monday 4 November Bagdasarjanz, U. Berceuse in C minor; Caprice; Joie de vivre in G; Introduction et petite valse des Alpes in G. Melanie Di Cristino, vn; Raluca Stirbat, pf.

Gallo 1251 16 Martin, F. Agnus Dei. Cantillation/Antony Walker.

ABC 476 5054 5 Liebermann, L. Gargoyles, op 29. Stephen Hough, pf.

Virgin 7 59304 2 9 Bloch, E. Suite modale (1948). Noam Buchman, fl; Atlas Camerata O/Dalia Atlas.

Naxos 8.570259 14 Martin, F. Polyptique (1973). Charmian Gadd, vn; Australian CO; Canberra School of Music CO/Carl Pini.

Fine Music Tape Archive 26 Rogg, L. Partita on the chorale Nun freut euch (1975). Lionel Rogg, org.

BIS CD-346 13 Schoeck, O. Der Postillon, op 18. Ernst Haefliger, ten; Wettinger Chamber, Seminary Ch & CO/Karl Grenacher.

Jecklin JD 504-2 9 15:00 RARITIES FROM PORTUGAL Prepared by Frank Morrison Carvalho, J. de Sousa Overture to L’amore industrioso (1769). Algarve O/Alvaro Cassuto.

Naxos 8.557207 9 Costa, L. Piano trio, op 15 (1937). Trio Pangea.

Naxos 8.573402 18 Vianna da Motta, J. Piano concerto in A (1887). Artur Pizarro, pf; Gulbenkian O/ Martyn Brabbins.

Hyperion A67163 26 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 commission from Yehudi Menuhin for the 25th Jubilee of the International Musikrat in 1973 resulted in Frank Martin writing Polyptyque. Regarded as a 20th century masterpiece, it is performed regularly worldwide.

Menuhin who premiered the work said: “When I play Martin’s Polyptyque, I feel the same elevation of soul as with Bach’s Chaconne.”

Tuesday 5 November 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 Satie, E. La belle excentrique (1920).

Alexandre Tharaud, Éric Le Sage, pf.

Harmonia Mundi HMC 902017.18 8 Schobert, J. Violin sonata in F, op 5 no 2.

Members of Four Nations Ensemble.

ASV GAU 172 17 Haydn, J. Variations on Gott erhalte Franz den Kaiser, after Hob.III:77. Jenö Jandó, pf.

Naxos 8.553972 8 Ben-Haim, P. Three songs without words (1952). Alexei Ogrintchouk, ob; Leonid Ogrintchouk, pf.

BIS 2023 9 Schubert, F. Sonata in A minor, D821, Arpeggione (1824). Antoine Tamestit, va; Markus Hadulla, pf. naïve V 5219 25 Liszt, F. Hungarian rhapsody no 9 in E flat (pub. 1853). Jeno Jandó, pf.

Naxos 8.554480 11 10:30 CONCERT HALL Prepared by Anne Irish Beethoven, L. Overture to Coriolan, op 62 (1807). Vienna PO/Karl Böhm.

DG 479 1949 9 Dvorák, A. Violin concerto in A minor, op 53 (1879). Richard Tognetti, vn; Nordic CO/ Christian Lindberg.

BIS CD-1708 31 Sibelius, J. Symphony no 2 in D, op 43 (1901). Royal PO/Charles Mackerras.

Tring TRP013 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 A PERSIAN HOUR Prepared by Krystal Li Fauré, G. Les roses d’ Ispahan, op 39 no 4 (1891). Olga Peretyatko, sop, Basle SO/Ivor Bolton.

Sony 19075818582 4 Vali, R. Persian suite (2002). Laura Chislett, fl; Stephanie McCallum, pf. www.onepointfm.com/laurachislettjones 7

Danielpour, R. Persepolis, from Preludes, bk II (1992). Xiayin Wang, pf.

Naxos 8.559669 3 Szymanowski, K. Love songs of Hafiz (1914). Ryszard Minkiewicz, ten; Polish State PO/Karol Stryja.

Marco Polo 8.223294 22 Koechlin, C. Excerpts from The Persian hours, op 65 (1913-19). Tamara-Anna Cislowska, pf.

Artworks AW010 14 14:00 MUSICAL FAMILIES Fathers and sons Prepared by Jennifer Foong Baermann, H. Clarinet quintet no 3 in E flat, op 23. Wolfgang Meyer, cl; members of Academy of St Martin in the Fields.

EMI 5 57359 2 15 Baermann, C. Fantasie brillante, op 7. Dario Zingales, cl; Florian Podgoreanu, pf.

Brilliant Classics 95785 14 Langgaard, R. Album leaf (1904). Berit Johansen Tange, pf.

Dacapo 6.220565 2 String quartet in A flat (1918). Nightingale String Quartet.

Dacapo 6.220576 22 Langgaard, S. Piano concerto in E flat (c1885). Oleg Marshev, pf; Danish PO/ Matthias Aseschbacher.

Danacord DACO 535 34 Langgaard, R. Symphony no 6, Heavens asunder (1919-20). Danish National RSO/ Neeme Järvi.

Chandos CHAN 9064 20 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. Piano quartet no 2 in A, op 26 (1861-62). Mikhail Kopelman, vn; Dmitry Shebalin, va; Valentin Berlinsky, vc; Sviatoslav Richter, pf.

Philips 420 158-2 47 Chopin, F. Cello sonata in G minor, op 65 (1845-46). Maria Kliegel, vc; Bernd Glemser, pf.

Naxos 8.553159 24 Beethoven, L. String trio in E flat, op 3 (1797-98). Leopold Trio.

Hyperion A67253 42 NOVEMBER 2019

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Wednesday 6 November 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 Prokofiev, S. The ghost of Hamlet’s father, from Incidental music to Hamlet, op 77 (193738; transcr. Babayan). Martha Agerich, pf; Sergei Babayan, pf.

DG 479 9854 9 6 Walton, W. Hamlet, a Shakespeare scenario (1947). John Gielgud, narr; Academy of St Martin in the Fields/Neville Marriner.

Chandos CHAN 7041 18 Shostakovich, D. Suite from film music for Hamlet, op 32 (1932; arr. Solin, 1977).

Rustem Hayroudinoff, pf.

Chandos CHAN 9907 15 Hamlet’s dialogue with conscience, op 143a (1973). Ortrun Wenkel, cont; Concertgebouw O/Bernard Haitink.

Decca 417 514-2 3

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

13:00 MUSICA DA CAMERA Haydn, J. Trio in G, Hob.XV:25, Gypsy (1795). Jacques Thibaud, vn; Pablo Casals, vc; Alfred Cortot, pf.

Naxos 8.110188 13

19:00 JAZZ STARS AND STRIPES with Peter Mitchell

Danzi, F. Wind quintet in F, op 68 no 2 (pub.

1824). Vienna-Berlin Ensemble.

DG 423 591-2 19 Paganini, N. Guitar quartet no 1 in A minor, op 4 (1806-16). Anthea Gifford, gui; Mozart String Trio.

Denon CO 77069 22 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 ROSSINI EXPLORED Part 1 Prepared by Michael Morton-Evans

Prokofiev, S. Incidental music to Hamlet, op 77 (1937-38). Elena Def-Donskaya, sop; Sergei Balkov, bar; USSR Ministry of Culture SO/Amin Khachaturian.

Consonance 81-5005 23

Rossini, G. Sonata à quattro no 1 in G (1804). Herrmann Klemeyer, fl; Hans Schöneberger, cl; Josef Peters, bn; Olaf Klamand, hn.

Calig CAL 50850 12

Berlioz, H. Funeral march for the final scene of Hamlet, op 18 no 3 (1848). NSW Conservatorium School of Opera; Sydney SO/Robert Pikler.

Chandos CHAN 6587 9

Overture to Demetrio e Polibio (1812).

Academy of St Martin in the Fields/Neville Marriner.

Philips 473 967-2 7

Thomas, A. A vos yeux, mes amis, from Hamlet (1869). Joan Sutherland, sop; Royal Opera House O/Francesco Molinari-Pradelli.

Decca 414 450-2 9 10:30 CONCERT HALL Prepared by Elaine Siversen Weber, C.M. Overture to Der Freischütz (1821). New Zealand SO/Antoni Witt.

Naxos 8.570296 10 Tchaikovsky, P. Piano concerto no 2 in G, op 44 (1880). Daniel Dodds, vn; Catherine Hewgill, vc; Garrick Ohlsson, pf; Sydney SO/ Vladimir Ashkenazy.

Sydney Symphony SSO201301 47 Enescu, G. Orchestral suite no 2, op 20 (1915). Rumanian National RO/Horia Andreescu.

Olympia OCD 495 25 12:00 JAZZ SKETCHES with Robert Vale World-wide contemporary jazz including 14

contributions from Australian artists and those from culturally emerging nations

NOVEMBER 2019

Porterò così il cappello, from La cambiale di matrimonio (1810). Vito Priante, bass; Guilio Mastrototaro, bass; Massimiliano Tanzini, hpd; Württemberg PO/Christopher Franklin.

Naxos 8.660302 6 Se per te lieta ritorno, from L’equivoco stravagante (1811). Ann Hallenberg, mezz; Stavanger Chamber Choir & SO/Fabio Biondi. naïve V 5309 7 Overture to Il Signor Bruschino (1813).

National PO/Riccardo Chailly.

Decca 400 049-2 5 Di tanti palpiti, from Tancredi (1813). Marilyn Horne, mezz; Suisse Romande O/Henry Lewis.

ABC 480 5629 3 Overture to The Italian girl in Algiers (1816).

Philharmonia O/Carlo Maria Giulini.

EMI 5 62802 2 8 Con tutta la sua boria, from The Italian girl in Algiers. Cesare Siepi, bass; RAI National SO/ Alfredo Simonetto.

Cetra ON 107 3

The stars of American jazz from bebop on, mainly small group low temperature jazz 20:00 AT THE OPERA Prepared by Elaine Siversen Goldmark, K. The Queen of Sheba. Opera in four acts. Libretto by Hermann Mosenthal.

First performed Vienna, 1875.

ASSAD: Siegfried Jerusalem, ten SULAMITH: Veronika Kincses, sop SOLOMON: Sándor Sólyom-Nagy, bar QUEEN OF SHEBA: Klára Takács, mezz Hungarian People’s Army Male Ch; Juenesses Musicales Ch; Hungarian State Opera Ch & O/Ádám Fischer.

Hungaroton HCD 12179-81-2 3:13 The Queen of Sheba visits King Solomon.

Assad recognises her as the mystrious woman whose lover he had become while in Lebanon. She does not acknowledge him.

That night the Queen and Assad meet alone and embrace passionately but next day she treats him as a stranger. Assad refers to the Queen as his god and is banished to the desert for blasphemy. He now desires death so that he might redeem his offence against God. After being engulfed by a violent sandstorm Assad is found barely alive by his fiancee Sulamith. He begs for forgiveness which she gives as he dies in her arms.

23:30 RENAISSANCE GEMS Prepared by Rita Felton Decius, N. O Lamb Gottes unschuldig (arr.).

Dietmar Berger, va da gamba.

Naxos 8.573392-93 5 Dowland, J. Pavana. Paul O’Dette, lute.

Harmonia Mundi 907163 7 Byrd, W. Infelix ego. Cardinall’s Musick.

Hyperion A67779 13 Shakespeare’s ability to portray all of the emotions and the many varied situations encountered in life, be they comic or tragic, has inspired many composers to translate these emotions and events into musical terms. Hamlet is among the most powerful and influential works of world literature. Hamlet’s emotions overflow: betrayal by his mother in remarrying too soon and suspicions of foul play by his uncle Claudius are confirmed by the appearance of Hamlet’s father’s ghost.

Tragedy unfolds until almost everyone dies, as portrayed in the Funeral march for the final scene of Hamlet by Berlioz.

Thursday 7 November 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Simon Moore 9:00 DIVERSIONS IN FINE MUSIC The instruments: Woodwinds Prepared by Paul Cooke Sammartini, G. Flute sonata in C (1745).

Mario Carbotta, fl; Roberto Cognazzo, hpd.

Nuova Era 7022 11 Fauré, G. Pavane, op 50 (1887). Amy Dickson, sax; London Session O/Chris Walden.

Sony 88725479572 7 Koechlin, C. Sonata for two flutes, op 75 (1920). Leone Buyse, fl; Fenwick Smith, fl.

Hyperion A66414 8 Holland, D. Sonata (1954). Margery Smith, sax; Daniel Herscovich, pf.

Tall Poppies TP132 13 Chaminade, C. Flute concertino, op 107 (1902). Susan Milan, fl; City of London Sinfonia/Richard Hickox.

Chandos CHAN 8840 8 Bach, C.P.E. Sonata in A minor for oboe solo (1747). József Kiss, ob.

Naxos 8.550556 15 McGuire, E. Euphoria (1980). Red Note Ensemble.

Delphian DCD34157 16 10:30 CONCERT HALL Prepared by Chris Blower Falla, M.de El Amor brujo (1915/16). New York PO/Leonard Bernstein.

CBS MYK 44721 26 Saint-Saëns, C. Piano concerto no 5 in F, op 103, Egyptian (1896). Stephen Hough, pf; City of Birmingham SO/Sakari Oramo.

Hyperion CDA67331/2 27 Mozart, W. Symphony no 39 in E flat, K543 (1788). Australian CO/Richard Tognetti.

ABC 481 2880 29 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 CASANOVA’S MUSICAL EUROPE Prepared by Derek Parker Vivaldi, A. Violin concerto in D, RV234, Restlessness (c1720). Giuliano Carmignola, vn; Sonatori de la Goiosa Marca.

Divox X 79406 7

Mondonville, J-J. de Sonata no 6, from Sonates en symphonies, op 3. Les Musiciens du Louvre/Marc Minkowski.

MBF 1108 14 Hertel, J. Concerto in C for eight kettledrums and strings. Werner Thärichen, drums; Berlin RSO/Vernon Handley.

Schwann VMS 2066 E 19 Gluck, C. Se mai senti spirarti sul volto, from La clemenza di Tito (1752). Joyce DiDonato, sop; Lyon National Opera Ch & O/Kazushi Ono. Virgin 641986 0 6 9 Richter, F. Trumpet concerto in D (c1760).

Håkan Hardenberger, tpt; London PO/Elgar Howarth.

Philips 426 311-2 14 Boyce, W. Symphony no 1 in B flat (1760).

Bournemouth Sinfonietta/Ronald Thomas.

CRD 3356 7 Tchaikovsky, P. Seven Russian folk songs, op 13 (1868-69). Joan Yarbrough, Robert Cowan, pf.

Pantheon D 07183 6 14:30 18TH CENTURY CHAMBER Prepared by Albert Gormley Haydn, J. String quartet in D, Hob.III:3 (by 1764). Kodály Quartet.

Naxos 8.550398 16 Mozart, W. Piano trio no 1 in B flat, K254, Divertimento (1776). Florestan Trio.

Hyperion A67609 18 Beethoven, L. Quintet in E flat for piano and winds, op 16 (1796). Kathryn Selby, pf; Australian Wind Virtuosi.

Fine Music concert recording 22 Mozart, W. Divertimento in B flat, K439b no 3 (c 1783). Members of Netherlands Wind Ensemble/Edo de Waart.

Philips 422 505-2 25

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 Mahler, G. Das himmlische Leben, from Youth’s magic horn (1888-89). Anne Schwanewilms, sop; Charles Spencer, pf.

Onyx 4103 10 Wagner, R. Excerpts from Lohengrin (1850).

Britannic Organ.

OEHMS Classics OC 840 12 Brahms, J. Violin sonata no 1 in G, op 78 (1878-79). Leonidas Kavakos, vn; Yuja Wang, pf.

Decca 478 6442 28 Wagner, R. Am stillen Herd, from Die Meistersinger (1866-67). Max Lorenz, ten; Berlin State Opera O/Clemens Schmalstich.

Nimbus NI 7848 4 Elgar, E. Love, op 18 no 2 (1907). King’s Singers.

Signum SIGCD147 3 Symphony no 2 in E flat, op 63 (1911). BBC SO/Malcolm Sargent.

BBC Music MM280 55 22:00 ¡HOLA! MADRID Prepared by Jacky Ternisien Puget, P. Madrid. John Mark Ainsley, ten; Graham Johnson, pf.

Hyperion CDA67523 3 Boccherini, L. Guitar quintet no 9 in C, La ritirata di Madrid (1798). Alexander Schneider, vn; Felix Galimir, vn; Michael Tree, va; David Soyer, vc; Alirio Diaz, gui.

Vanguard OVC 8006 23 22:30 ULTIMA THULE

ELGAR’S TRIBUTE TO HIS KING After the success of Elgar’s First Symphony critics likened him to Beethoven and Brahms.

In 1911, he followed this success with the Second Symphony, dedicated to the memory of King Edward VII who had died the year before. The symphony, which Elgar called ‘the passionate pilgrimage of the soul’, has a Larghetto second movement. Elgar, when rehearsing his orchestra, said: “I want you to imagine a great crowd of silent people, watching the passing of a beloved sovereign. Strings, you must play those semiquaver figures of yours like the sigh of an immense crowd ... Oboe, I want you to play your lament entirely free with all the expression you can get into it.”

The mediocre reception of the Second Symphony was quite unexpected. The audience at the premiere reacted with ‘rather less enthusiasm than usual’. This is thought to have been an emotional disconnect between an audience eager for the coronation of a new monarch and a brooding symphony in mournful commemoration of the late king. However, reviews were positive, one stating that the second and fourth movements in particular ‘touch the composer’s highest mark’.

NOVEMBER 2019

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Friday 8 November 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 By arrangement Prepared by Chris Blower Bach, J.S. Passacaglia and fugue in C minor, BWV582 (c1708-12; orch. Respighi 1930).

BBC PO/Leonard Slatkin.

Chandos CHAN 9835 14 Fauré, G. Pavane, op 50 (1887; arr. Busser).

Ina-Esther Joost Ben-Sasson, vc; Allan Sternfield, pf.

Naxos 8.570545 6 Brotons, S. The emigrant’s ballad, variations on a Catalan folksong (2008). Barcelona Symphonic Band/Salvador Brotons.

Naxos 8.573361 8 Satie, E. Gnossiennes (1889-97; arr.

Groningen Guitar Duo). Groningen Guitar Duo. Ottavo OTR C49135 19 Falla, M. de Suite populaire espagnole (1914-15; arr. Kochanski, Maréchal). Mischa Maisky, vc; Lily Maisky, pf.

DG 477 8100 15 Mozart, W. Sonata in B flat, K570 K378 (1779; arr. Mozart 1789 from Piano sonata, K570). Donald Hazelwood, vn; Michael Brimer; pf.

Fine Music concert recording 18 10:30 CONCERT HALL Prepared by Giovanna Grech Handel, G. Overture to Faramondo, HWV39 (1738). English CO/Richard Bonynge.

ABC 482 1059 8 Dohnányi, E. Concert piece in D, op 12 (1903-04). Raphael Wallfisch, vc; London SO/ Charles Mackerras.

Chandos CHAN 8662 24 Roussel, A. Suite no 2 from Bacchus et Ariadne, op 43 (1931). Conservatoire Concerts Society O/André Cluytens.

EMI 5 68220 2 20 Schubert, F. Symphony no 3 in D, D200 (1815). Royal Concertgebouw O/Nikolaus Harnoncourt.

Teldec 4509-91184-2 24 12:00 A JAZZ HOUR with Barry O’Sullivan 13:00 THE WALTZ Prepared by Stephen Wilson Liszt, F. Mephisto waltz no 2 (1881). Berlin PO/Herbert von Karajan.

DG 474 617-2 11 16

NOVEMBER 2019

Chabrier, E. Three romantic waltzes (188083). Kathryn Stott, Elizabeth Burley, pf.

Unicorn-Kanchana DKP 9158 14

20:00 EVENINGS WITH THE ORCHESTRA Bavarian Radio Symphony Orchestra Prepared by Frank Morrison

Prokofiev, S. Waltzes, suite for orchestra, op 110 (1947). Ukranian State SO/Theodore Kuchar.

Naxos 8.553069 29

Dvorák, A. Symphonic poem: The wood dove, op 110 (1896). Rafael Kubelik, cond.

DG 469 550-2 19

14:00 A MUSICAL CARAVAN Prepared by Frank Morrison Wikmanson, J. String quartet in E minor, op 1 no 2 (c1790). Chilingirian Quartet.

CRD 3361 21 Roman, J. Flute sonata no 4 in G. Members of Drottningholm Baroque Ensemble.

BIS CD-1975 13 Söderman, A. Swedish festival music (1858).

Helsingborg SO/Okko Kamu.

Naxos 8.553115 6 Stenhammar, W. Five songs, op 8 (1895-96).

Peter Mattei, bar; Bengt-Ake Lundin, pf.

BIS CD-654 8 Peterson-Berger, W. Romance in D minor (1910). Ulf Wallin, vn; Norrköping SO/Michael Jurowski. cpo 999 564-2 12 Larsson, L-E. Horn concertino, op 45 no 5.

Sören Hermansson, hn; Umeå Sinfonietta/ Edvard Tjivzjel.

BIS CD-376 13 Alfvén, H. Festive overture (1909).

Gothenburg Music/Jerker Johansson.

Naxos 8.555851 8 Berwald, F. Quartet in E flat for winds and piano (1819). Joakim Kallhed, pf; members of Arion Wind Quintet.

Naxos 8.553714 23 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm 19:00 FRIDAY JAZZ SESSION with Christopher Waterhouse

Schumann, R. Cello concerto in A minor, op 129 (1850). Yo-Yo Ma, vc; Colin Davis, cond.

CBS M2K 44562 25 Mozart, W. Nehmt meinen Dank, ihr holden Gönner!, K383 (1782). Rita Streich, sop; Charles Mackerras, cond.

DG 431 875-2 4 Lutoslawski, W. Concerto for orchestra (1954). Mariss Jansons, cond.

BR Klassik 900107 30 Spohr, L. Symphony no 9 in B minor, op 143, The seasons (1850). Karl Anton Rickenbacher, cond.

Orfeo C 094-841 A 31 Bavarian RSO (all above) 22:00 BAROQUE AND BEFORE Prepared by Andrew Dziedzic Rognoni - Palestrina. lo son ferito. Le Concert Brisé/William Dongois.

Accent ACC 24261 6 Palestrina, G. da Lamentationes Hieremiæ (arr.). Amsterdam Loeki Stardust Quartet.

L’Oiseau-Lyre 430 246-2 5 Canticum canticorum, from Fourth book of motets for five voices. Ensemble William Byrd.

Harmonia Mundi 28337-2 1:20 Vestiva i colli (arr. Crabb, Lacey). Genevieve Lacey, rec; James Crabb, accordion.

ABC 481 1874 4 Stabat Mater. Gabrieli Consort/Paul McCreesh.

DG 477 7635 11 Palestrina - Bassano. Tota pulchra es (pub.

1591). Voces Suaves/Jörg-Andreas Bötticher.

DHM 19075849752 5

AN AFFINITY WITH THE CELLO Ernö Dohnányi’s career as a virtuoso pianist was launched when he was 22 by his performance of Beethoven’s Fourth Piano Concerto. It was Beethoven who, three years earlier, had praised the young man’s Opus 1 Piano Quintet. From this time onwards, Dohnányi juggled a busy performance, teaching and composing career. He was an influence on a number of composers, but his lasting legacy for future generations was his philosophy of piano teaching where he proposed a series of finger exercises that led to a new direction in this field.

Dohnányi’s compositions are akin to the Brahmsian style, apparent in his Konzertstück, op 12. He grew up with the sound of the cello with his father being an excellent amateur cellist. His writing for the instrument is assured and there is a hint of the symphonic form in the single movement Konzertstück and, in part, an emotional suggestion of sympathy with Mahler’s music.

Saturday 9 November 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SATURDAY MORNING MUSIC with Stephen Wilson 9:00 WHAT’S ON IN MUSIC Our weekly guide to musical events in and around Sydney 9:05 THE PIANO ALONE Prepared by Katy Rogers-Davies Debussy, C. Images I (1905). Roger Woodward, pf.

ABC 481 1742 15 Rameau, J-P. Les niais de Sologne, from Pièces de clavecin (arr.). Robert Casadesus, pf.

Philips 456 739-2 5 Ravel, M. Miroirs (1905). Jean-Yves Thibaudet, pf.

Decca 433 515-2 30 10:00 MUSIC OF THE DANCE Prepared by Katy Rogers-Davies Klemperer, O. Merry waltz. New Philharmonia O/Leopold Stokowski.

BBC BBCRD 9107 3 Adams, J. The Chairman dances (1986). City of Birmingham SO/Simon Rattle.

EMI 5 55051 2 13 Gould, M. Suite from Fall River legend (1947). Eastman-Rochester O/Howard Hanson.

Mercury 475 6274 21 Barber, S. Medea’s meditation and dance of vengeance, op 29a (1955). Royal Scottish NO/Marin Alsop.

Naxos 8.559133 13 Rachmaninov, S. Symphonic dances, op 45 (1940). Sydney SO/Vladimir Ashkenazy.

Exton EXCL-00018 34 11:30 ON PARADE Prepared by Robert Small Trad. Heart of oak medley; Rule Britannia (arr. Lewis). Regency Noble Footwear Band.

Soho 051-2 4 The minstrel boy; Men of Harlech (arr.

Langford). John Foster Black Dyke Mills Band/Geoffrey Brand, Roy Newsome.

Chandos CHAN 6515 7 Elgar, E. Nimrod, from Variations on an original theme, op 36, Enigma (1898-99).

Band of the Coldstream Guards/Graham Jones.

Decca 2765916 4 Purcell, H. Dido’s lament, from Dido and Aeneas (1689). Fine Arts Brass Ensemble.

Nimbus NI 5546 4 Hopkins, E. O valiant hearts (1869). Bryony Dwyer, sop; Royal Australian Navy Band.

Royal Australian Navy RAN-009 3

Anon. The last post. Marcus Salone, bugle.

ABC 476 4862 1 12:00 URBAN JAZZ LOUNGE with Leita Hutchings 13:00 IN A SENTIMENTAL MOOD with Maureen Meers Nostalgic music and artists from the 30s, 40s and 50s and occasionally beyond, in a trip down many memory lanes 14:00 STAGING MUSIC Prepared by Angela Cockburn Dancers 14:30 SATURDAY MATINEE Operetta in the afternoon Prepared by Elaine Siversen Lehár, F. Paganini. Operetta in three acts.

Libretto by Paul Knepler and Béla Jenbach.

First performed Vienna, 1925.

ANNA ELISA: Deborah Riedel, sop PAGANINI: Jerry Hadley, ten BELLA: Naomi Itami, sop PIMPINELLI: Lynton Atkinson, ten Paul Barritt, vn; English CO/Richard Bonynge.

Telarc CD-80435 1:09 The Prince has banned Paganini from playing in Lucca. Anna Elisa, Napoleon’s sister and Paganini’s lover, threatens to announce the affair between the Prince and the prima donna Bella unless the Prince lifts the ban, which he does. In the following months in Lucca, Paganini gambles away his Stradavarius. The winner, Pimpinelli, promises to return the violin if Paganini will confide his secret on conquering women.

Paganini and Bella begin an affair so Anna Elisa orders his arrest. She forgives him after hearing his passionate violin playing. He is smuggled over the border followed by Anna Elisa but he prefers to go on alone with his violin.

Sullivan, A. Ruddigore or The witch’s curse.

Operetta in two acts. Libretto by W.S. Gilbert.

First performed London, 1887.

DAME HANNAH: Monica Sinclair, sop ROBIN/RUTHVEN MURGATROYD: George Baker, bar ROSE MAYBUD: Elsie Morison, sop RICHARD DAUNTLESS: Richard Lewis, ten MAD MARGARET: Pamela Bowden, cont SIR DESPARD MURGATROYD: Owen Brannigan, bass SIR RODERIC MURGATROYD: Joseph Rouleau, bass OLD ADAM: Harold Blackburn, bass Glyndebourne Festival Ch; Pro Arte O/ Malcolm Sargent.

LP EMI/WRC T/4078 49 Centuries before, a witch being burned at

the stake cursed all of the future baronets of Ruddigore. They were to commit a crime a day or perish in agony. Robin Oakapple, actually Sir Ruthven Ruddigore, sought anonymity to avoid inheriting the baronetcy and the curse. The current baronet Sir Despard Murgatroyd learns that his elder brother is alive and transfers the title to Robin (Ruthven). He tries to be a bad baronet but his weak crimes (forging his own will and avoiding paying tax) stir his ancestral ghosts in the castle’s portrait gallery. They demand that he ‘carry off a lady’ but he chooses the formidable Dame Hannah. Robin calls for help and his unce Sir Roderic appears recognising the lady as his own lost love.

Ruthven’s solution is that, if he refuses to commit a crime, he would be comitting suicide by inviting death and that is a crime.

So all of his cursed ancestors should not have died. The curse is now lifted.

17:00 SOCIETY SPOT Organ Music Society of Sydney 18:00 THE MAGIC OF STAGE AND SCREEN Prepared by Maureen Meers Styne, J. Excerpts from Darling of the day (1968). Patricia Routledge, Vincent Prive, voices.

RCA 09026-63334-2 18 Loesser, F. Excerpts from Guys and dolls (1950). Marlon Brando, Jean Simmons, Frank Sinatra, Viviane Blaine, voices.

Blue Moon BMCD 3507 11 Styne, J. Excerpts from Gypsy (1973).

Angela Lansbury, Barrie Ingham, Zan Charisse, voices.

RCA 60571-2-RG 19:00 THE ITALIAN SYMPHONY Prepared by Chris Blower Casella, A. Barcarolle and scherzo, op 4 (1903). Daniele Ruggieri, fl; Aldo Orvieto, pf.

ASV DCA 1085 9 Symphony no 1 in B minor, op 5 (1906).

Rome SO/Francesco La Vecchia.

Naxos 8.572413 45 20:00 THE LIFE OF A COMPOSER Antonio Salieri Prepared by Brian Drummond Salieri, A. Overture to Don Quixote (1770).

Slovak RSO/Michael Dittrich.

Naxos 8.554838 7 Concerto in C for flute, oboe and chamber ensemble (1774). Geoffrey Collins, fl; David Nuttall, ob; Dene Olding, vn; Dimity Hall, vn; Irena Morozova, va; David Pereira, vc; Dorith Herskovits, db; Paul Dyer, hpd.

Fine Music concert recording 19 NOVEMBER 2019

17

Saturday 9 November Mass in D, Emperor (1788). St Florian Boys’ Choir; Anton Gansberger, org; Leonding SO/ Uwe Christian Harrer.

Koch 3-1288-2 H1 28 Hummel, J. Sonata no 1 in C, op 2 no 3 (1792). Ian Hobson, pf.

Arabesque Z 6564 17 Schubert, F. Der Liedler, D209 (1815). Philip Langridge, ten; Graham Johnson, pf.

Hyperion J 33004 15 Salieri, A. 26 Variations on La follia di Spagna (1815). Philharmonia O/Pietro Spada.

ASV DCA 955 23 22:00 SATURDAY NIGHT AT HOME Prepared by Gerald Holder Debussy, C. String quartet in G minor, op 10 (1893). Acacia Quartet.

Fine Music concert recording 27 Bach, J.S. Goldberg variations, BWV988 (1741). Gustav Leonhardt, hpd.

Vanguard OVC 2004 54 Telemann, G. Oboe concerto in E minor.

Heinz Holliger, ob; Academy of St Martin in the Fields/Iona Brown.

Brilliant Classics 94104 12 Strauss, R. Tone poem: Don Juan, op 20 (1888). Melbourne SO/Andrew Davis.

ABC 481 1122 17 Antonio Salieri was a pivotal figure in the development of late 18th century opera writing operas in three languages.

He dominated the Italian-language opera in Vienna and his music was a powerful influence on contemporary composers. He was one of the most influential teachers of his time with Franz Liszt, Franz Schubert, Ludwig van Beethoven, Johann Nepomuk Hummel and Franz Xaver Wolfgang Mozart among the most famous of his pupils.

Living from 1750 to 1825, he composed in the transitional period from the Baroque to the Classical and, while his music was initially very successful, from around 1800 it declined in popularity as new styles began to take root. It faded from the repertoire in the latter half of the 19th century until its revival in the 20th century stimulated by the interest created by the 1979 play Amadeus and the subsequent 1984 film version. Although highly fictional, portraying the two as bitter rivals and Salieri causing the death of Mozart, it created great interest in this almost-forgotten composer. The truth is that the two were mutually respectful.

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NOVEMBER 2019

Sunday 10 November 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SUNDAY MORNING MUSIC with Robert Small 9:00 MUSICA SACRA Prepared by Rex Burgess Bach, J.S. Only to God on high give praise, BWV662 (1708-17). Anton Heiller, org.

Vanguard 08 9078 72 8 Meder, J.V. Sufficit nunc Domine. Katarina Pilotti, sop; Hortus Musicas.

Musica Sveciae MS 302 13 Fauré, G. Requiem, op 48 (1888/93/1900).

Jennifer Bell, sop; Rohan Thatcher, bar; Sydney University Graduate Ch & O/ Christopher Bowen.

SUGC recording 33 10:00 THE CLASSICAL ERA Prepared by Chris Blower Beck, F. Symphony in G minor, op 3 no 3 (c1762). Toronto CO/Kevin Mallon.

Naxos 8.570799 18 Hummel, J. Trumpet concerto in E (1803).

Håkan Hardenberger, tpt; Academy of St Martin in the Fields/Neville Marriner.

Philips 420 203-2 18 Baermann, H. Clarinet quintet no 3 in E flat, op 23.

Dieter Klöcker, cl; Berlin Philharmonia Quartet.

Orfeo C 213 901 A 20 Schubert, F. Der Lindenbaum; Auf dem Flusse; Im Dorfe, from Winterreise, D911 (1827). Jonas Kaufmann, ten; Helmut Deutsch, pf.

Sony 88883795652 11 Viotti, G. Violin concerto no 5 in C (pub. 178283). Symphonia Perusina/Franco Mezzena.

Dynamic CDS 680 (238) 19 Haydn, J. Symphony in B flat, Hob.I:85, Queen (c1785). Academy of St Martin in the Fields/Neville Marriner.

Philips 438 727-2 22 12:00 CLASSIC JAZZ AND RAGTIME with John Buchanan 13:00 WORLD MUSIC: Whirled Wide 14:00 AUSTRALIAN GUITAR Prepared by Chris Blower Haydn, J. Quartet in D for concertante guitar, violin, viola and cello (bef. 1765; arr. from String quartet op 2 no 2). Members of Flinders Quartet.

ABC 476 4435 23 Tarrega, F. Recuerdos de la Alhambra.

Warner 8573833112 5 Chopin, F. Variations on Non più mesta, from Rossini’s Cinderella (arr. Adams, Giacomantonio). Genevieve Lacey, rec.

ABC 476 524-9 7

Edwards, R. Concerto for guitar and strings (1995). Tasmanian SO/Richard Mills.

ABC 480 6461 19 Karin Schaupp, gui (all above) 15:00 SUNDAY SPECIAL The Baroque secular cantata Prepared by Rex Burgess Purcell, H. If ever I more riches did desire (c1695).

Meredith Hall, sop; Gillian Keith, sop; Rosemary van der Hooft, mezz; Nils Brown, ten; Michael Colvin, ten; Brett Poligato, bar; Paul Grindlay, bar; Aradia Baroque Ensemble/Kevin Mallon.

Naxos 8.554262 12 Pepusch, J. Cantata: Love frowns in beauteous Myra’s eyes (1720). Bergen Barokk.

BIS CD-965 10 Trio sonata. Belinda Webster, fl; Ted Granlund, va da gamba; Helen Scott, vc; Günther Holler, org.

Fine Music concert recording 7 Bach, J.S. Cantata, BWV209: Non sa che sia dolore. Edith Mathis, sop; Berlin CO/Peter Schreier.

Brilliant Classics 93102/115 22 Hasse, J. Cantata: Sweet Phyllis, my beloved.

Julianne Baird, sop; Nancy Hadden, fl; Erin Headley, bass viol; Malcolm Proud, hpd.

CRD 3488 14 Telemann, G. Trio sonata in C minor. Peter Bree, ob; Hans Dusowa, va; Dries Munnik, vc; Christian Lambour, hpd.

Etcetera KTC 1083 10 Dramatic cantata: Ino (c1765). Barbara Schlick, sop; Musica Antiqua Köln/Reinhard Goebel.

Brilliant Classics 94104 32 17:00 HOSANNA Prepared by Meg Matthews Hymns: All creatures of our God and King: When in our music God is glorified (arr. Forster). Combined Choirs of Christ Church, Cambridge and Church of the Redeemer, Chestnut Hill, Massachusetts.

Affeto AF 1901 8 Haydn, J. Benedictus; Agnus Dei, from Missa brevis in F, Jugendmesse (1749). Michael Lechner, treb; Thomas Haala, treb; Augsberg Cathedral boys; Residenz CO of Munich/ Reinhard Kammler. 5 Purcell, H. Hail! Bright Cecilia, from Ode for St Cecilia (1692).

Veritas 5 61582-2 4 Tallis, T. If ye love me. Cambridge Singers/ John Rutter.

Collegium COLCD 107 2 Lully, J-B. Te Deum laudamus. Jennifer Smith, sop; Francine Bessac, sop; Zeger Vandersteene, high ten; Louis Devos, ten; Philippe Huttenlocher, bass; Ensemble Vocal À Coeur Joie de Valance; Jean-François

Sunday 10 November Paillard CO/Jean-François Paillard.

Erato ECD 88122 11 Handel, G. Let the bright seraphim, from Samson (1741). Joan Sutherland, sop; Royal Opera House O/Francesco Molinari-Pradelli.

Decca 425 494-2 6 Weber, C.M. Kyrie, from Missa solemnis no 1 in E flat, Freischütz Messe (1818). Krisztina Laki, sop; Bamberg Symphony Ch & O/Horst Stein.

EMI CDC 7 47679-2 7 Britten, B. The death of Nicholas, from Cantata, St Nicholas, op 42 (1948). Canticum Chamber Choir & O/Emily Cox. www.canticum.org.au 7 18:00 SMALL FORCES Prepared by Paul Hopwood Brahms, J. Clarinet quintet in B minor, op 115 (1891). Members of Vienna Octet.

Decca 417 643-2 34 Beethoven, L. Cello sonata no 5 in D, op 102 no 2 (1815). Jacqueline du Pré, vc; Stephen Kovacevich, pf.

EMI CZS 5 68132 2 21 19:00 SUNDAY NIGHT CONCERT Prepared by Dan Bickel Albéniz, I. Iberia (1906-08; orch. Arbós).

Mexico State SO/Enrique Bátiz.

ASV DCA 888 31 Ibert, J. Escales (1922). Montreal SO/ Charles Dutoit.

Decca 440 332-2 15 Charpentier, G. Impressions of Italy (188789). Opéra Comique National TO/Pierre Dervaux.

EMI 5 65150 2 35 20:30 NEW HORIZONS Prepared by Krystal Li Dorman, A. Mandolin concerto (2006). Avi Avital, mand; Metropolis Ensemble/Andrew Cyr. Naxos 8.559620 17 Trifonov, D. Rachmaniana (2015). Daniil Trifonov, pf.

DG 479 4970 12 Mills, R. Soundscapes. Richard Mills, perc; Queensland SO/Werner Andreas Albert.

ABC 432 251-2 23 Bogdanovic, D. Four intimate pieces. Duo Goyescas.

Doberman DO 458 10 Williamson, M. Symphony for voices (196062). Kathryn Cook, cont; Joyful Company of Singers/Peter Broadbent.

Naxos 8.557783 17 22:00 AFTER HOURS JAZZ

Monday 11 November 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: 1891 Prepared by Anne Irish Rachmaninov, S. Youth symphony in D minor (1891). Sydney SO/Vladimir Ashkenazy.

Exton EXCL-00018 14 Grieg, E. Lyric pieces, bk 5, op 54 (1891).

Leif Ove Andsnes, pf.

Virgin VC 7 59300 2 23 Glazunov, A. Meditation in D, op 32 (1891).

Chloë Hanslip, vn; Swiss Italian O/Alexander Vedernikov.

Hyperion CDA67940 4 Brahms, J. Clarinet trio in A minor, op 114 (1891). Deborah de Graaff, cl; Georg Pedersen, vc; Len Vorster, pf.

ABC 472 672-2 26 Fauré, G. En sourdine, op 58 no 2 (1891).

Janet Baker, mezz; Geoffrey Parsons, pf.

Hyperion CDA66320 3 Bruch, M. Canzone in B flat, op 55 (1891).

Julius Berger, vc; Polish National RSO/Antoni Wit. EBS 6060 9 10:30 CONCERT HALL Prepared by Derek Parker Wolf-Ferrari, E. Overture; Intermezzo, from Doctor Cupid (1913). BBC PO/Gianandrea Noseda.

Chandos CHAN 10511 14 Hindson, M. Violin concerto. Lara St John, vn; Royal PO/Sarah Ioannides.

Ancalagon ANC 133 29 Fibich, Z. Symphony no 3 in E minor, op 53 (1898). Detroit SO/Neeme Järvi.

Chandos CHAN 9328 37

12:00 SWING SESSIONS with John Buchanan 13:00 FOREST SCENES Prepared by Jacky Ternisien Schumann, R. Forest scenes, op 82 (184849). Mitsuko Uchida, pf.

Decca 478 5393 24 Rossini, G. Sombre forêt, from William Tell (1829). Françoise Pollet, sop; Montpellier PO/ Cyril Diederich.

Erato 2292-45025-2 8 Bozza, E. En forêt, op 40 (1941). Barry Tuckwell, hn; Daniel Blumenthal, pf.

Etcetera KTC 1135 7 d’Indy, V. The enchanted forest, op 8 (1878).

Iceland SO/Rumon Gamba.

Chandos CHAN 10464 14 14:00 AFFECTED BY POLITICS Prepared by Albert Gormley Schulhoff, E. Symphony no 5 (1938).

Cologne RSO/Gunther Schuller.

Koch Schwann 3-1597-2 39 Khachaturian, A. Flute concerto (1940; arr.

Galway). James Galway, fl; Royal PO/MyungWhun Chung.

RCA RD 60450 35 Prokofiev, S. Symphony-concerto in E minor, op 125 (1952). Heinrich Schiff, vc; Los Angeles PO/Andre Previn.

Philips 426 306-2 38 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 LOVE OF DANCING AND RHYTHM The musical studies of the ten-year-old Erwin Schulhoff at the Prague Conservatory were encouraged by Antonin Dvorák. Schulhoff also studied in Vienna, Leipzig and Cologne, with Debussy and Reger among his teachers. He won the Mendelssohn Prize twice for piano and later for composition in 1918 when he was 26. With such a background, Schulhoff was destined to be one of the foremost composers of his generation.

He found inspiration in the rhythms of jazz music and embraced avant-garde influences.

His love of rhythm led him to spend many nights dancing in nightclubs. He wrote that it was ‘enjoyment of the rhythm and with my subconscious filled with sensual delight ... I acquire phenomenal inspiration for my work, as my conscious mind is incredibly earthly’.

Being of Jewish descent, his successful career was cut short. His works were declared ‘degenerate’ by the Nazis and he was blacklisted. When his country was invaded by the Nazis, he was sent to a concentration camp where he died in 1942, aged 50.

NOVEMBER 2019

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Tuesday 12 November 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 Villa-Lobos, H. Children’s carnival (1920).

Sonia Rubinsky, pf; Tatiana Rankovich, pf.

Naxos 8.555717 15 Schmidt, Heather. Nebula (2006). Heather Schmidt, pf.

Centrediscs CMC 19613 10 Hovhaness, A. Prayer of St Gregory, op 62b (1946). Anthony Plog, tpt; Hans-Ola Ericsson, org.

BIS CD-565 5 Beach, A. Four songs, op 51 (1903). Katherine Kelton, mezz; Catherine Bringerud, pf.

Naxos 8.559191 9 Bloch, E. Poems of the sea (1922). István Kassai, pf.

Marco Polo 8.223288 10 Bernstein, L. Clarinet sonata (1941-42). Paul Meyer, cl; Éric Le Sage, pf.

Denon CO-18016 10 MacDowell, E. Piano sonata no 4, op 59, Keltic (1901). James Barbagallo, pf.

Naxos 8.559019 18 10:30 CONCERT HALL Prepared by Elaine Siversen Coleridge-Taylor, S. Four characteristic waltzes, op 22 (1898). RTE Concert O/Adrian Leaper.

Marco Polo 8.223516 14 Bach, C.P.E. Flute concerto in G, Wq169 (c1755). Patrick Gallois, fl; Carl Philipp Emanuel Bach CO/Peter Schreier.

DG 439 895-2 25 Brahms, J. Symphony no 1 in C minor, op 68 (1855-76). Gewandhaus O/Riccardo Chailly.

Decca 478 5344 44 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 Prepared by Frank Morrison Beethoven, L. Sonata no 15 in D, op 28, Pastorale (1801). Gerard Willems, pf.

ABC 465 695-2 24 Burda, E. Gypsy suite. Evzen Burda, gui.

Fine Music concert recording 8 20

NOVEMBER 2019

Vierne, L. Psyché, op 33 (1914). Steve Davislim, ten; Queensland SO/Guillaume Tourniaire.

Melba MR 301123 9 Lehmann, W. Song of Mululu (1977). Aulos Trio.

LP Grevillea GRV 1040 12 Smalley, R. Variations on a theme of Chopin.

Ian Munro, pf.

Tall Poppies TP117 10 Puccini, G. Vissi d’arte, from Tosca (1900).

Rita Hunter, sop; Tasmanian SO/Dobbs Franks.

ABC 438 196-2 3 Schumann, R. Adagio and allegro, op 70 (1849). Richard Runnels, hn; Brachi Tilles, pf.

Move MD 3172 9 Koechlin, C. Viola sonata, op 53 (1915).

Roger Benedict, va; Timothy Young, pf.

Melba MR 301126 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 Presented by Mariko Yata Kats-Chernin, E. The three dancers (c2015).

Amy Dickson, sax; Jack Liebeck, vn; Julian Smiles, vc; Rohan Dasika, db; James Crabb, accordion; Eugene Ughetti, perc; TamaraAnna Cislowska, pf.

Fine Music tape archive 23 Dohnányi, E. Cello sonata in B flat minor, op 8 (1899). Maria Kliegel, vc; Jenö Jandó, pf.

Naxos 8.554468 27 Boccherini, L. Guitar quintet no 4 in D, Fandango (1798). Karin Schaupp, gui; Flinders Quartet.

ABC 476 4435 20 Debussy, C. Songs of Bilitis (1914; arr.

Lenski). Bridget Bolliger, fl; Andrew West, pf.

Austrian Gramophone AG0013 15 Borodin, A. String quartet no 2 in D (1881).

Australian String Quartet.

Fine Music concert recording 27 Czech-born guitarist Evzen Burda came to Australia in 1992. His virtuosic works for the guitar are mainly influenced by the Slovak, Czech and Moravian folk music of his native country, although he says that his Moravian suite is more Australian than Moravian. Other works, including Gypsy suite, are from Hungarian sources.

Wednesday 13 November 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Troy Fil 9:00 DIVERSIONS IN FINE MUSIC Inspired by literature Prepared by Chris Blower Smetana, B. Symphonic poem: Hakon Jarl, op 16 (1860-61). Czech PO/Karel Sejna.

Supraphon SU 1915-2 001 16 Newman, M. The pied piper (2008). Hal Ott, fl; Malibu Chamber Players.

Arts House MAHMR 1205201 16 Farnon, R. Suite from the film Captain Horatio Hornblower (1951). Royal PO/Robert Farnon.

Reference RR-47 21 Mertz, J. Fantasy on Lucia di Lammermoor, after Donizetti, from Opera revue. Fabio Zanon, gui.

Naxos 8.554431 10 Brumby, C. The seven ages of man. The Chambermaids.

Fine Music tape archive 17 10:30 CONCERT HALL Prepared by Rex Burgess Bennett, Richard. Reflections on a sixteenth century tune (1999). Philharmonia O/Richard Hickox.

Chandos CHAN 10389 15 Ravel, M. Piano concerto in G (1931).

Benjamin Grosvenor, pf; Royal Liverpool PO/ James Judd.

Decca 478 3527 21 Vaughan Williams, R. Serenade to music (1938). Vancouver Bach Choir; Vancouver SO/Bruce Pullan.

CBC SMCD 5121 13 Schuman, W. Symphony no 3 (1951). New York PO/Leonard Bernstein.

DG 419 780-2 32 12:00 JAZZ SKETCHES with Robert Vale 13:00 THE MUSICAL CHEMIST Prepared by Georgina Sierra Borodin, A. Tarantella in D (1862). Marco Rapetti, Giampaolo Nuti, pf.

Brilliant Classics 94410 4 Nocturne, from Quartet no 2 in D (1885).

Melbourne String Quartet.

Move MD3143 8 Yaroslavna’s lament, from Prince Igor (1887).

Netania Davrath, sop; Vienna State Opera O/ Vladimir Golschmann.

Vanguard 08908172 11

Wednesday 13 November Symphony no 3 in A minor (1882-87). Royal Stockholm PO/Gennady Rozhdestvensky.

Chandos CHAN 9199 20 Trio in G minor. Alexander Detisov, vn; Alexander Polonsky, vn; Alexander Osokin, vc.

Brilliant Classics 94410 7 Scherzo in A flat (1885). Marco Rapetti, pf.

Brilliant Classics 94410 3 14:00 IN CONVERSATION with Michael Morton-Evans 15:00 ROSSINI EXPLORED Part 2 Prepared by Michael Morton-Evans Rossini, G. Variations in C (1810). Joy Farrell, cl; Britten Sinfonia/Nicholas Daniel.

ASV QS 6242 9 Overture to Il Turco in Italia (1814). Academy of St Martin in the Fields/Neville Marriner.

Philips 473 967-2 8 Fellon, la pena avrai, from Elisabetta, regina d’Inghilterra (1815). Cecilia Bartoli, mezz; La Fenice Theatre Ch & O/Ion Marin.

Decca 436 075-2 8 Overture to The barber of Seville (1816).

Tasmanian SO/Ola Rudner.

ABC 481 0616 7 Largo al factotum, from The barber of Seville.

Tito Gobbi, bar; O/Alberto Erede.

EMI CDM 1 66417-2 5 Ah! Dagli affanni oppressa; Nessun maggior dolore; Deh calma, o ciel, nel sonno, from Otello. Joyce DiDonato, mezz; Lawrence Brownlee, ten; National Academy of Santa Cecilia Ch & O/Edoardo Müller.

Virgin 6945790 6 12 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm In the latter part of the 18th century timpani evolved from military drums to become a staple of the classical orchestra. It is part of the percussion family of instruments. Percussion was the main driving force in the earliest known music. Rhythm is the basis of all music and the whole range of percussion has featured in music over the centuries, in classical, marching band, jazz band and particularly ‘pop’ music. The 1969 soundtrack of The Rhythm of Life contains these lyrics: “And the rhythm of life is a powerful beat / Puts a tingle in your fingers and a tingle in your feet / Rhythm in your bedroom, rhythm in the street / Yes, the rhythm of life is a powerful beat.” So let timpani music make you tingle.

Thursday 14 November

19:00 JAZZ STARS AND STRIPES with Peter Mitchell

0:00 CONTEMPORARY COLLECTIVE

20:00 AT THE OPERA Prepared by James Nightingale

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

Charpentier, M-A. David and Jonathan.

Opera in prologue and four acts. Libretto

by François de Paule Bretonneau. First performed Paris, 1688.

DAVID: Anders Dahlin, ten JONATHAN: Sara Macliver, sop SAUL: Dean Robinson, bass WITCH OF ENDOR: Paul McMahon, ten SAMUEL’S GHOST: David Parkin, bass Cantillation; O of the Antipodes/Antony Walker.

ABC 476 3691 2:00 Israel is threatened by the Philistines. Not waiting for the prophet Samuel to officiate, King Saul sacrifices to God. Samuel declares Saul cursed for impiety. Saul’s son Jonathan introduces his shepherd friend David, whose harp-playing eases the king’s distress. The Philistine captain Goliath challenges the Israelites to send a champion against him.

David sets out armed only with his sling and returns victorious. Jealous of David’s new popularity, Saul banishes him. David creeps into Saul’s tent at night, proving his loyalty by refusing to kill him. The dying Samuel is brought in and anoints David, but Saul refuses to relinquish power. The Philistines overrun the camp, killing Jonathan and his brothers. Saul falls on his sword and David is proclaimed king.

Lully, J-B. Plaude laetare Gallia (c1670). Le Concert Spirituel/Hervé Niquet.

Naxos 8.554397 7 22:30 FESTIVAL FOR TIMPANISTS Prepared by Derek Parker Britten, B. Timpani piece for Jimmy (1955).

James Blades, timp; Joan Goossens, pf.

Decca 478 5364 1

3:00 CLASSICAL TILL DAWN

9:00 DIVERSIONS IN FINE MUSIC The instruments: Woodwinds Prepared by Madilina Tresca Telemann, G. Double concerto in D minor.

Colin Lawson; chalumeau; Michael Harris, chalumeau; Collegium Musicum 90/Simon Standage.

Chandos CHAN 0593 11 Isaac, H. Motet: Regina caeli laetare à 5 (ed.

M. Just 1965). Pro Cantione Antiqua; London Cornett and Sackbutt Ensemble/Bruno Turner.

LP Archiv 2533 378 5 Beethoven, L. Wind sextet in E flat, op 71 (1796). Karl Leister, cl; Peter Geissler, cl; Günter Piesk, bn; Henning Trog, bn; Gerd Seifert, hn; Manfred Klier, hn.

DG 439 852-2 21 Schumann, R. Fantasy pieces, op 73 (1849).

Massimo Data, bn; Piero Barbareschi, pf.

Brilliant Classics 95009 12 Kuhlau, F. Fantasie in D. Peter-Lukas Graf, fl.

Claves 50-8705 11 Danzi, F. Sonata concertante in B flat (c1818). Gabor Reeves, cl; Rachel Valler, pf.

Fine Music tape archive 18 10:30 CONCERT HALL Prepared by Giovanna Grech Boïeldieu, A. Overture to La dame blanche (1825). London SO/Richard Bonynge.

Decca 466 431-2 7 Mahler, G. Suite from orchestral works by J.S. Bach (1910). Berlin RSO/Jésus LópezCobos.

Schwann 11637 24

Jacob, G. Concerto for timpani and band (1984). Tristan Fry, timp; City of London Wind Ensemble/Geoffrey Brand.

LDR LDRC 1001 12

Schumann, R. Violin concerto in D minor (1853). Henryk Szeryng, vn; London SO/Antal Dorati.

Mercury 434 339-2 28

Glass, P. Concerto fantasy for two timpanists and orchestra. Jonathan Haas, timp; Evelyn Glennie, timp; Royal Liverpool PO/Gerard Schwarz.

Orange Mountain Music 0014 24

12:00 JAZZ, PURE AND SIMPLE with Maureen Meers

Waxman, F. Sinfonietta for strings and timpani (1955). Berlin SO/Isaiah Jackson.

Koch 3 7152-2H1 14 Brouwer, M. Aurolucent circles (2002).

Evelyn Glennie, perc; Royal Liverpool PO/ Gerard Schwarz.

Naxos 8.559250 27

Casella, A. Paganiniana op 65 (1942). La Scala PO/Riccardo Muti.

Sony SK 53 280 18

13:00 ROMANTIC CHAMBER Smetana, B. Piano trio in G minor, op 15 (1855/57). Smetana Trio.

Supraphon SU 3810-2 27 Tchaikovsky, P. String quartet no 1 in D, op 11 (1871). Franz Schubert Quartet.

Nimbus NI 5380 28 NOVEMBER 2019

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Thursday 14 November 14:00 FOR LEOPOLD MOZART’S BIRTH DAY Prepared by Krystal Li Mozart, L. Excerpts from Cassation in C, Toy symphony. Academy of St Martin in the Fields/Neville Marriner.

EMI 1 66449 2 8 Chamber sinfonia in D for horn, violin, two violas and cello. Herman Jeurissen, hn; Gerard Hettema, vn; Coen van der Heide, va; Gerrit Oldeman, va; Toshifumi Waki, vc; Ben van Oosten, org; Concerto Rotterdam/Heinz Friesen.

Dabringham Grimm MD+G G 1085 13 Agnes Dei, from Litany of Loreto in E flat (c1762). Siglinde Damisch, sop; Ingrid MayrKuschee, cont; Chris Merritt, ten; Walter Raninger, bass; Salzburg Mozarteum Choir; Camerata Academica/Ernst Hinreiner.

Koch 3-1714-2 8 Peasant wedding. Eduard Melkus Ensemble.

Archiv 427 122-2 13 Gloria, from Mass in C. Arleen Augér, sop; Gabriele Schreckenbach, cont; Horst Laubenthal, ten; Barry McDaniel, bar; Choir of St Hedwig’s Cathedral, Berlin; Martin-Ulrich Senn, fl; Arno Lange, tpt; Helmut Mebert, vn; Wolfgang Meyer, org; Berlin Domkapelle/Roland Bader.

Schwann AMS 3537 F 17 Serenade in D (1762). Guy Touvron, tpt; Michel Becquet, tb; RIAS Sinfonietta/Emö Sebestyen.

Schwann MS 2005 F 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 Dan Bickel Wagner, R. Suite from Act III of Parsifal (1882). Swedish Radio Ch; Berlin PO/Claudio Abbado.

DG 474 377-2 26 Mahler, G. Five songs (1901-02). Christa Ludwig, cont; Berlin PO/Herbert von Karajan.

DG 459 335-2 20 Bruckner, A. Symphony no 4 in E flat, Romantic (1874). Staatskapelle Dresden/ Eugen Jochum.

Brilliant Classics 92084 1:05 22:00 ALMA MAHLER SONGS Prepared by Rex Burgess Mahler, A. In maines Vaters Garten; Bei dir ist es Traut, from Five songs (pub. 1911). 9 Licht in der Nacht; Emtelied, from Four songs (pub. 1915). 8 Hymne; Lobgesang, from Five songs (pub.

1924). 8 Isabel Lippitz, sop; Barbara Heller, pf (3 above) cpo 999 018-2 22:30 ULTIMA THULE 22

NOVEMBER 2019

Friday 15 November 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 Sternefeld, D. Song and dance at the court of Mary of Burgundy. Belgian RT PO/ Alexander Rahbari.

Discover International DICD 920100 19 Mahler, G. Das himmlische Leben, from Symphony no 4 (arr. Mahler). Yvonne Kenny, sop; Gustav Mahler, reproducing pf.

Golden Legacy GLRS 101 7 Purcell, H. A midsummer night’s dream, from The fairy queen (arr. Adams, Bishop, East, Beach). Red Priest.

Red Priest RP002 12 Lennon - McCartney. Beatles concerto grosso no 2 (arr. Breiner). O/Peter Breiner.

Naxos 8.555010 14 Beethoven, L. Wind quintet in E flat for oboe, bassoon and three horns, H19 (c1793: compl.

Zellner 1862). Graham Powning, ob; Douglas Eyre, bn; Anthony Buddle, hn; Amanda Parsons, hn; Deborah Hart, hn. 13 Chopin, F. Grand duo concertant in E on themes from Meyerbeer’s Robert le Diable (1832). Thomas Tsai, vc; Joshua Tsai, pf. 13 Fine Music concert recordings (2 above) 10:30 CONCERT HALL Prepared by Dan Bickel Strauss, R. Metamorphoses (1944-45).

Staatskapelle Dresden/Giuseppe Sinopoli.

DG 480 0478 29 Haydn, J. Piano concerto in F, Hob.XVIII:3 (by 1771). Sebastian Knauer, pf; Cologne CO/Helmut Müller-Brühl.

Naxos 8.570485 20

Take thou this rose (1944); At beauty’s altar (1944); Fire in my heart (1944); The river and the hill (1956). Wendy Dixon, sop; David Miller, pf.

Wirripang Wirr 044 11 Fantasy trio in B minor (1932-33). Antoni Bonetti, vn; Marc Bonetti, vc; James Muir, pf.

Walsingham 2WAL8036-2CD 11 Piano concerto no 1 in E flat minor (1934).

Miriam Hyde, pf; West Australian SO/Geoffrey Simon.

ABC 481 7995 30 14:30 GREAT PIANO TRIOS Prepared by Albert Gormley Haydn, J. Piano trio in A, Hob.XV:18. Vienna Piano Trio.

Nimbus NI 5535 15 Beethoven, L. Piano trio in E flat, op 1 no 1 (c1795). Pinchas Zukerman, vn; Jacqueline du Pré, vc; Daniel Barenboim, pf.

EMI CMS 7 63124 2 28 Brahms, J. Piano trio no 1 in B, op 8 (1853/89). Macquarie Trio.

ABC 472 668-2 38 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 Development of the choral symphony Prepared by David Brett Skryabin, A. Symphony no 1, op 26 (1895).

Lyudmila Ivanova, mezz; Mikhail Agafonov, ten; Moscow Capella & SO/Igor Golovschin.

Naxos 8.553580 53 Rachmaninov, S. The bells, choral symphony, op 35 (1913). Svetla Vassileva, sop; Misha Didyk, ten; Alexei Tanovitski, bass; Mariinsky Theatre Ch; BBC PO/Gianandrea Noseda.

Chandos CHAN 10706 36

Nielsen, C. Symphony no 6, Sinfonia semplice (1924-25). Danish National SO/ Michael Schønwandt.

Dacapo 8.206002 35

Stravinsky, I. Symphony of Psalms (1930/48). Choir of Berlin RO; Berlin PO/ Pierre Boulez.

Decca 478 3640 19

12:00 A JAZZ HOUR with Barry O’Sullivan

22:00 BAROQUE AND BEFORE Praise the Lord Schütz, H. Jauchzet dem Herren, alle Welt (pub. 1619). Mieke van der Sluis, sop; Mona Spagele, sop; David Cordier, alto; Detlef Bratschke, alto; Gerd Turk, ten; Christoph Prégardien, ten; Stuttgart Chamber Choir; Musica Fiata of Cologne/Frieder Bernius.

Sony S2K 48042 7

13:00 REMEMBERING MIRIAM HYDE Prepared by Chris Blower Hyde, M. Village fair (1942-5). Sydney SO/ Dobbs Franks.

ABC 446 285-2 11 Clarinet sonata in F minor (1949). Deborah de Graaff, cl; David Miller, pf.

Walsingham WAL80442 17

Charpentier, M-A. Te Deum. Les Arts Florissants/William Christie.

Harmonia Mundi HMG 501298 23

Friday 15 November Buxtehude, D. Te Deum laudamus, BuxWV218. Wolfgang Rübsam, org.

Naxos 8.555991 16 Vivaldi, A. Gloria in D, RV589. Patrizia Kwella, sop; Elizabeth Priday, sop; Catherine Wyn-Rogers, mezz; Andrew Carwood, ten; Choir of Christ Church Cathedral, Oxford; Hanover Band/Stephen Darlington.

Nimbus NI 5278 27 Bach, J.S. Chorale prelude: Only to God on high give praise, BWV663 (1708-17). Anton Heiller, org.

Vanguard 08 9078 72 7 Handel, G. Chandos anthem no 9: O praise the Lord with one consent, HWV254.

Elizabeth Vaughan, sop; Alexander Young, ten; Forbes Robinson, bass; Choir of King’s College, Cambridge; Academy of St Martin in the Fields/David Willcocks.

Decca 421 150-2 28 Parallels have been drawn between Rachmaninov’s Symphony, The bells and Tchaikovsky’s works. The symphony traces life from birth to death with the Finale a slow movement similar to that of Tchaikovsky’s Pathétique Symphony.

The image of a demonic bellringer in The bells is reminiscent of a scene in The Queen of Spades. The Gregorian Dies irae used frequently during The bells may indicate the fragilty of life.

The movements are titled: The silver sleigh bells, The mellow wedding bells, The loud alarm bells and The mournful iron bells. “The sound of church bells dominated all the cities of the Russia I used to know, Novgorod, Kiev, Moscow,” Rachmaninov explained.

“They accompanied every Russian from childhood to grave, and no composer could escape their influence.”

The symphony is a setting of a free translation into Russian of Edgar Allen Poe’s poem The Bells by the prominent poet Konstantin Balmont.

Bells dominated Russian life and consequently Russian compositions.

Konstantin Balmont’s rather free translation substantially altered the tone and meaning of Poe’s poems, adding specifically Russian resonances to the bells.

The bells is considered by many critics to be Rachmaninov’s secular choral masterpiece and was one of his two favourite compositions along with his All-night vigil. He wrote: “I worked on this composition with feverish ardour and it remains, of all my work, the one I like best.” (refer to previous page)

Saturday 16 November 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SATURDAY MORNING MUSIC with Peter Bell 9:00 WHAT’S ON IN MUSIC Our weekly guide to musical events in and around Sydney 9:05 THE PIANO ALONE Prepared by Frank Morrison Poulenc, F. Thème variée (1951). Pascal Rogé, pf.

Decca 425 862-2 11 Gottschalk, L. La savanne, ballade Créole, op 3 (1845-46). Eugene List, pf.

Vanguard OVC 4050 7 Mussorgsky, M. Pictures at an exhibition (1874). Sviatoslav Richter, pf.

Philips 454 167-2 31 10:00 MUSIC OF THE DANCE Prepared by Gerald Holder Lehár, F. Can can, cakewalk and melos, from The merry widow (1905; arr. Lanchbery, Abbott c1975). Adelaide Singers & SO/John Lanchbery.

EMI 7 54163 2 13 Massenet, J. Ballet music from Le Cid (1885). Israel PO/Jean Martinon.

Decca 476 2742 18 Kraus, J.M. Ballet music for Gluck’s Armide (1787). Swedish CO/Petter Sundkvist.

Naxos 8.557498 4 Verdi, G. Ballet music from Il trovatore (1853). Monte Carlo National Opera O/ Antonio de Almeida.

Philips 422 846-2 22 Campra, A. Excerpt from ballet L’Europe galante (1697). Symphonie du Marais/Hugo Reyne.

Astrée E8650 8 Handel, G. Overture and ballet music from Ariodante, HWV33 (1735). Academy of St Martin in the Fields/Neville Marriner.

Decca 480 1388 18 11:30 ON PARADE Music that’s band Prepared by Owen Fisher Holst, G. Finale, from A Moorside suite.

Besses o’ th’ Barn Band/Ifor James.

LP Astor GH 641 4 Roberton, H. All in the April evening.

Grimethorpe Colliery Band/Robert Childs.

Delta 60357 3 Davies, W. Toy Town trumpeters. Munn and Felton’s (Footwear) Band/Harry Mortimer.

LP Columbia 330 SX 1118 3 Mantegazzi, G. Gandria march. Allentown Band/Ronald Demkee.

AMP 92138 7

Trad. Twinkle, twinkle. Brisbane Excelsior Band/C. Thomas.

LP ABC ABCL 8004 4 12:00 URBAN JAZZ LOUNGE with Leita Hutchings 13:00 COME TO THE OPERA Prepared by Derek Parker Are you an opera fan? If not, why not?

Together the story and the song make for great entertainment as well as great art.

Derek Parker tells the story of Puccini’s La bohème, and plays some of the music that makes it a great opera.

14:30 SATURDAY MATINEE Bruckner finished Prepared by Di Cox Bruckner, A. Symphony no 9 in D minor (1891-96; compl. Samale, Phillips, Cohrs, Mazzuca 1983-2012). Berlin PO/Simon Rattle.

EMI 9 52969 2 1:22 Wagner, R. Siegfried idyll (1870). San Francisco SO/Herbert Blomstedt.

Decca 436 129-2 20 Strauss, R. Violin sonata in E flat, op 18 (1888). Dmitry Sitkovesky, vn; Pavel Gililov, pf.

Virgin 5 45002 2 28 Mahler, G. Piano quartet movement in A minor, Quartettsatz (c1878). Kathryn Selby, pf; Donald Hazelwood, vn; Jane Hazelwood, va; David Periera, vc.

ABC AC 1051 11 17:00 SOCIETY SPOT Classical Guitar Society Prepared by Darryl Rule 18:00 THE MAGIC OF STAGE AND SCREEN Prepared by Sue Jowell Scriptwriters: the authors of the book 19:00 THE ITALIAN SYMPHONY Prepared by Chris Blower Clementi, M. Piano sonata in G, op 40 no 1 (1802). Howard Shelley, pf.

Hyperion CDA67819 25 Symphony no 3 in G, Great National.

Philharmonia O/Francesco d’Avalos.

ASV DCS 247 30 20:00 THE LIFE OF A COMPOSER Richard Strauss Prepared by Rex Burgess Strauss, R. Tone poem: Macbeth, op 23 (1888/91). Seattle SO/Gerard Schwarz.

Naxos 8.571219 19 Four songs, op 27 (1894). Jonas Kaufmann, ten; Helmut Deutsch, pf.

Harmonia Mundi HMC 901879 12 NOVEMBER 2019

23

Saturday 16 November Two pieces for piano quartet (1893). Max Mandel, va; Amelia Piano Trio.

Naxos 8.570896 8 Finale, from Salome, op 54 (1907). Jane Eaglen, sop; Israel PO/Zubin Mehta.

Sony SK 60042 15 Three songs, from Der Krämmerspiegel, op 66 (1919). Knut Skram, bass-bar; Eva Knardahl, pf.

BIS CD-49 7 Suite from Der Rosenkavalier (1911). Sydney SO/Stuart Challender.

ABC 434 714-2 23 Four last songs, op posth (1948). Gundula Janowitz, sop; Berlin PO/Herbert von Karajan.

Decca 467 910-2 22 22:00 SATURDAY NIGHT AT HOME Prepared by Elaine Siversen Bériot, C-A. de Violin concerto no 2 in B minor, op 32 (1835). Edith Volckaert, vn; Belgian RT CO/Edgard Doneux.

LP EMI 4C 161-96986/989 30 Gossec, F-J. Symphonie à 17 parties (1809).

Swiss-Italian RO/Wolf-Dieter Hauschild.

Naxos 8.554750-51 28 Ysaÿe, E. String quintet in B minor à mon frère Théophile (1894). Vlad Bogdanas, va; Kryptos Quartet.

Etcetera KTC 4034 20 Jongen, J. Symphonie concertante, op 81 (1926). Virgil Fox, org; Paris Opera O/ Georges Prêtre.

EMI 5 65075 2 36 After nine years of work, Bruckner was still writing his Ninth Symphony during his last days in 1896. Composition was intermittent; he was constantly revising it, as well as some earlier symphonies and choral works. The composition of other new music also delayed te progrss of the symphony. Researcher Max Auer wrote: “It is true that Bruckner held the pen until the last day of his life to finish his Ninth with a finale. The extensive sketches show that the master also wanted to conclude this work, like the Fifth Symphony, with a purely instrumental finale and a powerful fugue. In the middle of his work on the fugue, death snatched the pen from him.” Several completions of the fourth movement have been made with the version by Nicola Samale, Giuseppe Mazzucca, John A. Phillips and Benjamin-Gunnar Cohrs begun in 1992 and revised by them several times since. (Refer to previous page) 24

NOVEMBER 2019

Sunday 17 November 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SUNDAY MORNING MUSIC with Terry McMullen 9:00 MUSICA SACRA Prepared by Chris Blower Mozart, W. Sancta Maria, Mater Dei, K273 (1776). Vienna Volksoper Ch & O/Peter Maag.

Award AW 28540 6 Liszt, F. St Francis of Assisi preaching to the birds (1863). Nikolai Demidenko, pf.

Hyperion CDA66616 11 Verdi, G. Stabat Mater, from Four sacred pieces (pub. 1898). Hungarian State Opera Ch & O/Pier Giorgio Morandi.

Naxos 8.550944-45 13 Debussy, C. The martyrdom of St Sebastian, symphonic fragments (1911). Rotterdam PO/ James Conlon. apex 0927 49534 2 24 10:00 THE CLASSICAL ERA Prepared by Di Cox Stamitz, J. Orchestral trio in A, op 1 no 2 (175455). New Zealand CO/Donald Armstrong.

Naxos 8.553213 16 Bach, J. Christian Quintet in D for flute, oboe and string trio, op 11 no 6 (1774).

Members of Concentus Musicus Vienna/ Nikolaus Harnoncourt.

Teldec 8.41062 14 Cramer, J. Piano concerto no 8 in D minor, op 70 (pub. 1825). London Mozart Players/ Howard Shelley.

Chandos CHAN 10005 27 Mozart, W. Ch’io mi scordi di te?, K505 (1786). Yvonne Kenny, sop; Pierre Nola, pf; Australian CO/Richard Tognetti.

Sony SK 66282 10 Haydn, J. Symphony in G, Hob:I:92, Oxford (1789). Royal Concertgebouw O/Karel Ancerl.

Radio Nederland RCO 06004 27 Beethoven, L. 14 Variations in E flat, op 44 (1803). Isaac Stern, vn; Leonard Rose, vc; Eugene Istomin, pf.

Sony SM2K 64510 14 12:00 CLASSIC JAZZ AND RAGTIME with Jeannie McInnes 13:00 WORLD MUSIC: Whirled Wide 14:00 AUSTRALIAN GUITAR Prepared by Chris Blower Giuliani, M. Guitar concerto no 1 in A, op 30 (1808). John Williams, gui; Australian CO/ Richard Tognetti.

Sony SK 63385 30 Tórroba, F. Moreno Nocturno. John Williams, gui.

Sony 88697529852 3

Castelnuovo-Tedesco, M. Guitar concerto no 1 in D, op 99 (1939). John Williams, gui; English CO/Charles Groves.

CBS M2YK 45610 21 15:00 SUNDAY SPECIAL Spiritual minimalism explored Prepared by James Nightingale Pärt, A. Variations on the recovery of Arinuschka (1977). Ralph van Raat, pf.

Naxos 8.572525 7 Tavener, J. Threnos (1990). Natalie Clein, vc.

Decca 478 6424 6 Pärt, A. Berlin Mass (1990/97). Theatre of Voices; Pro Arte Singers; Christopher Bowers-Broadbent, org; Paul Hillier, cond.

Harmonia Mundi HMU 907242 23 Górecki, H. Harpsichord concerto, op 40 (1980). Mahan Esfahani, hpd; Concerto Köln.

Archiv 479 4481 9 Tavener, J. Song for Athene (1993). Gabrieli Consort and Players/Paul McCreesh.

Decca 478 3640 6 Harle, J. Silencium suite. Jane Sheldon, sop; Sara Macliver, sop; Sinfonia Australis/David Stanhope.

ABC 476 5102 7 Gubaidulina, S. Reflections on the theme B-A-C-H (2002). Stamic String Quartet.

Supraphon SU 4078-2 7 Kancheli, G. Amao omi (2005). Netherlands Chamber Choir; Rascher Saxophone Quartet/ Klaas Stok.

ECM 1812 476 6394 26 Pelecis, G. Concertino bianco (1990).

Tamara-Anna Cislowska, pf; Tasmanian SO/ Johannes Fritzsch.

ABC 481 6295 15 17:00 HOSANNA Prepared by Richard Munge Hymns: All people that on earth do dwell; Rejoice, the Lord is king. Choir of Westminster Abbey; Robert Quinney, org; James O’Donnell, cond.

Hyperion A 68013 7 Psalm: No 124: If the Lord himself had not been on our side. Choir of Salisbury Cathedral; John Challenger, org; David Halls, cond.

Priory PR 1150 2 Stanford, C. Villiers Magnificat; Nunc dimittis in C, op 115. Choir of St Paul’s Cathedral; Christopher Dearnley, org; John Scott, cond.

Helios H 55401 9 Vaughan Williams, R. Song of the tree of life. 3 Stanford, C. Villiers A song of peace. 4 Choristers of Canterbury Cathedral; Michael

Sunday 17 November

Monday 18 November

Harris, org; David Flood, cond (2 above)

0:00 CLASSIC-ALL THROUGH THE NIGHT

York 120

6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Robert Small

Boyle, M. Anthem: Thou O God art praised in Sion. David Briggs, org; Roy Massey, cond. 6 Harris, W. Anthem: Faire is the heaven.

David Briggs, cond. 5 Combined choirs of Gloucester, Hereford and Worcester Cathedrals (2 above) Griffin GC 4023 Hymns: Thine be the glory; Christ is made the sure foundation. Choir of Westminster Abbey; Robert Quinney, org; James O’Donnell, cond.

Hyperion A 68013 6

9:00 DIVERSIONS IN FINE MUSIC A year in retrospect: 1923 Prepared by Brian Drummond Atterberg, K. Suite barocco, op 23 (1923).

Swedish RSO/Kurt Atterberg.

Swedish Society SCD 1021 17 Rangström, T. A boat with flowers (1923).

Erland Hagegård, ten; Staffan Scheja, pf.

LP Caprice CAP 1208 7

Guilmant, A. March on a theme of Handel.

Simon Preston, org.

Decca 430 091-2 6

Fauré, G. Trio in D minor, op 120 (1923).

Augustin Dumay, vn; Frédéric Lodéon, vc; Jean-Philippe Collard, pf.

EMI CMS 7 62545 2 20

18:00 SMALL FORCES Prepared by Krystal Li

Barrios Mangoré, A. Waltz in G, op 8 no 4 (1923). Pepe Romero, gui.

Philips 432 102-2 5

Satie, E. Three pieces (1888). Atlantic Brass Quintet.

Summit DCD 119 9 Poulenc, F. Cello sonata (1948). JeanGuihen Queyras, vc; Alexandre Tharaud, pf.

Harmonia Mundi HMC 902012 21 Farrenc, L. Sextet in C minor for piano and wind quintet (1852). Kathryn Selby, pf; Omega Ensemble.

Fine Music concert recording 25 19:00 SUNDAY NIGHT CONCERT Prepared by Frank Morrison Gershwin, G. An American in Paris (1928).

BBC PO/Yan Pascal Tortelier.

Chandos CHAN 9325 19 Richter, F. Trumpet concerto in D (c1760).

Maurice André, tpt; Munich CO/Hans Stadlmair.

Decca 478 4664 15 Goldmark, K. Rustic wedding symphony, op 26 (1877). Royal PO/Yondani Butt.

ASV DCA 791 47 20:30 NEW HORIZONS Prepared by Nev Dorrington Sakamoto, R. Playing the piano (2009).

Ryulchi Sakamoto, pf.

Commons RZCM 46381-2 1:02 Beving, J. Henosis (2019). Joep Beving, pf.

DG 2894 7998 754 24 22:00 AFTER HOURS JAZZ Being unfamiliar with the technical aspects of the cello, Poulenc enlisted the help of virtuoso cellist Pierre Fournier when composing his Cello sonata. A mixed reaction from critics included: ‘pleasant, no more’; ‘the Cavatine severe but beautiful’.

Delius, F. Violin sonata in no 2 (1923).

Susanne Stanzeleit, vn; Gusztáv Fenyö, pf.

Naxos 8.572261 12 Jacob, G. William Byrd suite (1923).

Eastman Wind Ensemble/Frederick Fennell.

Mercury 432 009-2 18 10:30 CONCERT HALL Prepared by Jacky Ternisien Respighi, O. Suite from La boutique fantasque, op 40, after Rossini (1919; ed.

Sargent). Würzburg PO/Enrico Calesso.

Naxos 8.573382 23 Alwyn, W. Sinfonietta (1970). London SO/ Richard Hickox.

Chandos CHAN 9196 25 Rossini, G. Bassoon concerto (1845).

Karen Geoghegan, bn; BBC PO/Gianandrea Noseda.

Chandos CHAN 10613 18 Baguer, C. Symphony no 18 in B flat (c1790s). London Mozart Players/Matthias Bamert.

Chandos CHAN 9456 16 12:00 SWING SESSIONS with John Buchanan 13:00 I WROTE IT MYSELF! Prepared by Mariko Yata Copland, A. Danza de Jalisco, from Three Latin-American sketches (1959). New Philharmonia O/Aaron Copland.

CBS MK 42429 4 Kreisler, F. Tambourin chinois, op 3 (1911); Liebesleid. Fritz Kreisler, vn; Franz Rupp, pf.

Naxos 8.110992 7 Rachmaninov, S. Rhapsody on a theme of Paganini, op 43 (1934). Sergei Rachmaninov,

pf; Philadelphia O/Leopold Stokowski.

Fidelio 8822 22 Schmidt, Heather. Twelve for ten: prelude and fugue (2007). Heather Schmidt, pf.

Centrediscs CMC 19613 7 Westlake, N. Malachite glass (1990). Nigel Westlake, cl; Synergy.

Tall Poppies TP047 11 Milhaud, D. Symphony no 4 (1947). Austrian Radio PO/Darius Milhaud.

LP Erato/WRC R.0293 26 Bernstein, L. Chichester Psalms (1965).

Vienna Youth Choir; Israel PO/Leonard Bernstein.

DG 469 115-2 19 Gould, T. Kashmir remembered (1990).

Robert Burke, sax; Hiroki Hoshino, db; Aaron McCullough, drums; Sam Evans, tabla; Tony Gould, pf.

Move MD 3412 12 15:00 ANNE-SOPHIE MUTTER IN CHAMBER AND CONCERT Prepared by Chris Blower Mendelssohn, F. Piano trio no 1 in D minor, op 49 (1839). Lyn Harrell, vc; André Previn, pf.

DG 477 8001 28 Bruch, M. Violin concerto no 1 in G minor, op 26 (1866-67). Berlin PO/Herbert von Karajan.

DG 479 4110 26 Anne-Sophie Mutter, vn (2 above) 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm 19:00 JAZZ PULSE with Chris Wetherall 20:00 STORMY MONDAY with Austin Harrison and Garth Sundberg 22:00 THE AUSTRALIAN JAZZ SCENE with Susan Gai Dowling and Peter Nelson Among the most popular of Mendelssohn’s works are his youthful compositions the Opus 20 Octet and his First Piano Trio. Both are recognised as the greatest of his chamber works. After being advised by his boyhood friend Ferdinand Hiller (later a noted pianist and composer), Mendelssohn revised the piano part of the Piano Trio into a more Romantic style with the piano being given a more prominent role.

When Schumann reviewed the work he declared Mendelssohn to be ‘the Mozart of the 19th century, the brightest musician, who most clearly understands the contradictions of the age and is the first to reconcile them’.

NOVEMBER 2019

25

Tuesday 19 November 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 Beethoven, L. Violin sonata no 5 in F, op 24, Spring (1800-01). Itzhak Perlman, vn; Vladimir Ashkenazy, pf.

Decca 421 453-2 24 Bach, C.P.E. Sonata in E minor, Wq59 no 1 (1784). Andreas Staier, fp.

Harmonia Mundi RD 77025 9 Debussy, C. Children’s corner suite (190608). François-Joël Thiollier, pf.

Naxos 8.553291 18 Meyer, L. Second piece, from The country organists manual. Pierre Pfister, org.

Arion ARN 68069 8 Copland, A. Piano quartet (1950). Cantilena Chamber Players.

Pro Arte CDD 120 22 10:30 CONCERT HALL Prepared by Frank Morrsion Dvorák, A. Scherzo capriccioso, op 66 (1883). London PO/Mstislav Rostropovich.

EMI 5 65705 2 14 Haydn, J. Violin concerto no 2 in G, Hob. VIIa:4 (1769). O of the Age of Enlightenment/ Elizabeth Wallfisch, vn & dir.

Virgin 5 61301 2 18 Kraus, J.M. Ballet: The fisherman. Swedish CO/Petter Sundkvist.

Naxos 8.557498 50 12:00 JAZZ RHYTHM with Jeannie McInnes 13:00 LAUGHTER Prepared by Derek Parker Weill, K. There’ll be life, love and laughter, from The firebrand of Florence (1945; arr.

Duke). Peter Coleman-Wright, bar; Nexas Quartet.

ABC 576 2204 3 Ford, A. The laughter of mermaids. Song Company/Roland Peelman.

Vox Australis VAST016-2 13 Bach, J.S. Let our mouths be filled with laughter, from Christmas oratorio, BWV110 (1725). Collegium Vocale Gent/Philippe Herreweghe.

Harmonia Mundi HMX 2981594 25 Hyde, M. Laughter (1937). Wendy Dixon, sop; David Miller, pf.

Wirripang WIRR 044 2 26

NOVEMBER 2019

Verdi, G. Farewell lovely laughter-filled dreams of the past, from La traviata (1853).

Ileana Cotrubas, sop; Bavarian SO/Carlos Kleiber.

ABC 480 8207 2

Eccles, J. Must then a faithful lover go?

Catherine Bott, sop; Anthony Pleeth, vc; Paula Chateauneuf, archlute; Tom Finucane, archlute; David Roblou, hpd.

L’Oiseau-Lyre 433 187-2 2

Schubert, F. Laughter and tears, D777 (1823). Bryn Terfel, bass-bar; Malcolm Martineau, pf.

DG 445 294-2 2

Handel, G. Organ concerto no 3 in G minor, HWV291 (1735-36). Simon Standage, vn; Anthony Pleeth, vc; Simon Preston, org; English Concert/Trevor Pinnock.

Archiv 479 1932 11

Delius, F. They are not long, the weeping and the laughter, from Songs of sunset (1907).

Sally Burgess, mezz; Bryn Terfel, bassbar; Waynflete Singers; Southern Voices; Bournemouth Symphony Ch & O/Richard Hickox.

Chandos CHAN 10568(2) 3 14:00 MUSICAL FAMILIES Fathers and sons Prepared by Jennifer Foong Gibbons, O. The Queen’s command.

Christopher Kite, virginals.

Hyperion CDA66067 1 Gibbons, C. Ah, my soul, why so dismayed?

Charmian Bedford, sop; Philippa Hyde, sop; Richard Lathan, bass; Choir of the Academy of Ancient Music; Alastair Ross, org; Academy of Ancient Music/Richard Egarr.

Harmonia Mundi HMU 807551 2 Gibbons, O. Ne’er let the sun, from First set of madrigals (1612). Consort of Musicke/ Anthony Rooley.

Decca 476 7227 3 Gibbons, C. Fantasy-suite in D minor. Pavlo Beznosliuk, vn; Rodolfo Richter, vn; Mark Levy, bass viol; Richard Egarr, org.

Harmonia Mundi HMU 807551 7 Gibbons, O. Pavan and galliard in A minor: Lord Salisbury. Laurent Stewart, hpd.

Pierre Verany PV795051 5 Gibbons, C. O bone Jesu. Charmian Bedford, sop; Jacqueline Connell, cont; Susanna Spicer, cont; Richard Lathan, bass; Choir of the Academy of Ancient Music; Alastair Ross, org; Academy of Ancient Music/Richard Egarr.

Harmonia Mundi HMU 807551 3 Gibbons, E. Long live fair Oriana. King’s Singers.

Signum SIGCD307 3 Vivaldi, A. Cello sonata no 7 in G minor, RV42. Anthony Pleeth, vc; Robert Woolley, hpd.

ASV GAD 201 17 Bach, C.P.E. Quartet no 1 in A minor, Wq93 (1788). Nicholas McGegan, fl; Catherine Mackintosh, va; Anthony Pleeth, vc; Christopher Hogwood, fp.

L’Oiseau-Lyre 433189-2 15

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 33 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 Beethoven, L. Violin sonata in D, op 12 no 1 (1797-98). Itzhak Perlman, vn; Vladimir Ashkenazy, pf.

Decca 421 453-2 23 Vaughan Williams, R. Phantasy quintet (1912). Garfield Jackson, va; Maggini Quartet.

Naxos 8.555300 15 Marais, M. Suite in B minor, from bk 2 (pub.

1701). Jordi Savall, va da gamba; Hopkinson Smith, theorbo; Anne Gallet, hpd.

Alia Vox AVSA 9872 21 Koechlin, C. Oboe sonata, op 58 (1911-16).

Alexander Ott, ob; Hans-Georg Gaydoul, pf.

SWR Music SWR19047 28 Britten, B. String quartet no 3 in G, op 94 (1975). Emerson String Quartet.

Decca 4815204 24 The string quartet has always dominated the concert hall but the string sextet has more luxuriant textures. “Brahms’ feeling for rich sonorities motivated the two string sextets,” writes Peter Lamb.

“Brahms was 27 by the time he came to write the First Sextet, an age by which his musical discretion was well able to resist the temptation to score too abundantly for the medium. His delight in composition can be understood from the outset as he explores the unusual sonorities at his disposal.” The work was premiered in Hanover by an ensemble led by Brahms’ friend Joseph Joachim.

Wednesday 20 November 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Troy Fil 9:00 DIVERSIONS IN FINE MUSIC Inspired by literature Prepared by Paul Cooke Sullivan, A. Incidental music to Macbeth (1888). RTE Chamber Ch & CO/Andrew Penny.

Marco Polo 8.223635 19 Chopin, F. Variations on a theme from Rossini’s Cinderella (1824; arr. H. Holliger).

Heinz Holliger, ob; Ursula Holliger, hp.

Philips 426 288-2 4 Bantock, G. Overture to a Greek tragedy (1911). Royal PO/Vernon Handley.

Hyperion CDA67395 18 Debussy, C. Fêtes galantes, set 1 (1891).

Frederica von Stade, mezz; Martin Katz, pf.

BMG Classics 09026 62711 2 8 Ibert, J. Suite from Don Quichotte (1933).

Henry Kiichli, bass; Slovak RSO/Adriano.

Marco Polo 8.223287 11 Balakirev, M. Symphonic poem: Tamara (1867-82; transcr.). Aurora Piano Quartet.

Naxos 8.557717D 19 10:30 CONCERT HALL Prepared by Michael Field Tchaikovsky, P. Fantasy overture: Romeo and Juliet (1869/79/80). Oslo PO/Mariss Jansons.

EMI 574113-2 19 Mozart, W. Double concerto in C, K299 (1778). Jean-Pierre Rampal, fl; Lily Laskine, hp; Jean-François Paillard CO/Jean-François Paillard.

Erato 0630-13705-2 31 Vaughan Williams, R. Symphony no 9 in E minor (1956-57/58). London PO/Adrian Boult.

EMI CDC 7 63098 2 35 12:00 JAZZ SKETCHES with Robert Vale 13:00 THE SUBLIME PORTE Prepared by Rodrigo Azaola Schmelzer, J. Sonata: The victory of the Christians over the Turks (pub. 1683; arr.

Schmelzer). Romanesca.

Harmonia Mundi HMU 907143 10 Couperin, F. La sultane (c1696). Lars Frydén, vn; Tullo Galli, vn; Björn Sjögren, va; Bengt Ericson, bass viol; Anders Öhrwall, hpd.

BIS CD-134 8 Vivaldi, A. Veni, sequere fida, from Juditha

triumphans, RV645 (pub. 1716). Magdalena Kozená, sop; Academia Montis Regalis/ Alessandro de Marchi. naïve V 5294 7 Handel, G. Cor di padre, from Tamerlano, HWV18 (1724). Emma Kirkby, sop; Brandenburg Consort/Roy Goodman.

Hyperion CDS44271/3 8 Jommelli, N. Fra il mar turbato, from Bajazette (1753). Filippo Mineccia, ct; Nereydas/Javier Ulises Illán.

Pan Classics PC 10352 5 Hasse, J. Fra quest’ombre, from Solimano (1753). Vivica Genaux, mezz; Armonia Atenea/George Petrou.

Decca 478 8099 12 Beethoven, L. Turkish march, from The ruins of Athens, op 113 (1812; arr. Rubinstein).

Sergei Rachmaninov, reproducing pf.

Telarc 80491 3 14:00 IN CONVERSATION with Michael Morton-Evans 15:00 ROSSINI EXPLORED Part 3 Prepared by Michael Morton-Evans Rossini, G. Overture to La Cenerentola (1817). European Wind Soloists/Patrick de Ritis.

Naxos 8.573259 8 Overture to The thieving magpie (1817).

Tasmanian SO/Ola Rudner.

ABC 476 259-9 10 Overture to Bianca e Falliero (1819). Prague SO/Christian Benda.

Naxos 8.572735 7 Bel raggio lusinghier ... Dolce pensiero, from Semiramide (1823). Simone Kermes, sop; Concerto Köln/Christoph-Mathias Meuller.

Sony 88765455042 7 Ballet music from Moses and Pharaoh (1827).

Monte Carlo National Opera O/Antonio de Almeida.

Philips 422 843-2 21 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm 19:00 JAZZ STARS AND STRIPES with Peter Mitchell 20:00 AT THE OPERA Prepared by Elaine Siversen Nielsen, C. Saul and David, op 25. Opera in four acts. Libretto by Einar Christiansen. First performed Copenhagen, 1902.

SAUL: Aage Haugland, bass DAVID: Peter Lindroos, ten JONATHAN: Kurt Westi, ten GHOST OF SAMUEL: Christian Christiansen, bass

Danish Radio Choir; Danish National RSO/ Neeme Järvi.

Chandos CHAN 8911/12 2:04 Israel is threatened by the Philistines. Not waiting for the prophet Samuel to officiate, King Saul sacrifices to God. Samuel declares Saul cursed for impiety. Saul’s son Jonathan introduces his shepherd friend David, whose harp-playing eases the king’s distress. The Philistine captain Goliath challenges the Israelites to send a champion against him.

David sets out armed only with his sling and returns victorious. Jealous of David’s new popularity, Saul banishes him. David creeps into Saul’s tent at night, proving his loyalty by refusing to kill him. The dying Samuel is brought in and anoints David, but Saul refuses to relinquish power. The Philistines overrun the camp, killing Jonathan and his brothers. Saul falls on his sword and David is proclaimed king.

Suite from Maskarade (1904-06). Danish NSO/Thomas Dausgaard..

Dacapo 8.206002 10 22:30 LANDSCAPES Prepared by Derek Parker Delius, F. Over the hills and far away (1897).

London PO/Thomas Beecham.

Naxos 8.110906 13 Wagner, R. Forest murmurs, from Siegfried (1856-71; arr. Hutschenruyter). Seattle SO/ Gerard Schwarz.

Naxos 8.572767 8 d’Indy, V. Summer day on the mountain, op 61 (1905). Iceland SO/Rumon Gamba.

Chandos CHAN 10464 31 Jenkins, K. Song of the plains, from Cantata mundi (1997). Miriam Stockley, voice; Mary Carewe, voice; Pamela Thorby, rec; Christopher Warren-Green, vn; Jody BarrattJenkins, perc; London PO/Karl Jenkins.

Decca 579 3828 10 Grofé, F. Death Valley suite. Capitol SO/ Ferde Grofé.

EMI 5 74117 2 17 Seekers of gold, the ‘49ers’, travelled in 1849 across the United States and through the harsh lands of Death Valley to the goldfields of California. The pioneering and mining history of the Death Valley region is maintained by the Death Valley 49ers, which celebrated the 100th anniversary of this journey by commissioning an orchestral suite from Ferde Grofé. It was performed in 1950 as background to a procession of covered wagons during California’s centennial celebrations.

NOVEMBER 2019

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Thursday 21 November 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Simon Moore 9:00 DIVERSIONS IN FINE MUSIC The instruments: Woodwinds Prepared by Jennifer Foong Danzi, F. Concertino in B flat, op 47 (pub.

1818). Andreas Ottensamer, cl; Albrecht Mayer, cora; Potsdam Chamber Academy.

Decca 481 4711 16 Beethoven, L. Wind sextet in E flat, op 71 (1796). European CO Wind Soloists.

ASV COE 807 20 Piazzolla, A. Contrabajissimo (arr. van der Linden). Gustavo Toker, ban; Juan Pablo Dobal, pf; Aurelia Saxophone Quartet.

Etcetera KTC 1186 11 Triebensee, J. Trio in B flat. Marilyn Zupnik, ob; Kathryn Greenbank, ob; Elizabeth Starr, cora.

ASV QS 6192 10 Mendelssohn, F. Concert piece no 1 in F minor, op 113 (1833). Alan Hacker, cl; Lesley Schatzberger, bshn; Richard Burnett, pf.

Amon Ra SAR 38 8 Telemann, G. Double concerto in E minor.

Clas Pehrsson, rec; Penelope Evison, fl; Drottningholm Baroque Ensemble/Nils-Erik Sparf.

BIS CD-617 13 10:30 CONCERT HALL Prepared by Alexandra Horner Rimsky-Korsakov, N. Overture and entr’actes, from The maid of Pskov (1873-77).

Moscow SO/Igor Golovchin.

Naxos 8.553513 22 Mozart, W. Violin concerto no 5 in A, K219, Turkish (1775). English Concert/Andrew Manze.

Harmonia Mundi HMX 2907541.45 29 Bliss, A. A colour symphony (1921-22/32).

Ulster O/Vernon Handley.

Chandos CHAN 10221 X 31 12:00 JAZZ, PURE AND SIMPLE with Maureen Meers 13:00 CASANOVA’S MUSICAL EUROPE Prepared by Derek Parker Boccherini, L. Violin sonata in E flat, op 5 no 6 (1768). Enrico Gatti, vn; Franco Angeleri, fp.

Brilliant Classics 94386 11 Legnani, L. Potpourri concertant for cello and guitar. Duo Vitare. www.duovitare.com 16 Nardini, P. Violin concerto in G (c1750).

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NOVEMBER 2019

Giulano Carmignola, vn; Venice Baroque O/ Andrea Marcon.

Archiv 477 6606 17 Mercadante, S. Clarinet concerto in E flat.

Joy Farrell, cl; Britten Sinfonia/Nicholas Daniel.

ASV QS 6242 17 Stamitz, C. Clarinet concerto no 3 in B flat.

Sabine Meyer, cl; Academy of St Martin in the Fields/Iona Brown.

EMI CDC 7 54842 2 14 Mozart, W. Overture to Don Giovanni, K527 (1787). Prague National TO/Karl Böhm.

DG 469 666-2 6 14:30 FESTIVAL FOR STRINGS Prepared by Derek Parker Tchaikovsky, P. Serenade in C for strings, op 48 (1880). Moscow Virtuosi/Vladimir Spivakov.

RCA 09026 61964 2 29 Walton, W. Two pieces for strings, from Henry V (1944). English CO/Julian Lloyd Webber.

Naxos 8.573250 5 Britten, B. Elegy for strings (1928). Camerata Nordica/Terje Tønnesen.

BIS 2060 8 Barber, S. Adagio for strings, op 11a (1936).

Australian CO/Richard Tognetti.

Sony SK 48252 9 Dvorák, A. Nocturne for strings in B, op 40 (1875). Detroit SO/Antal Dorati.

Decca 414 370-2 8 Sculthorpe, P. Little suite for strings (1983).

Concordia Mandolin and Guitar Ensemble/ Basil Hawkins.

Move MCD 557 8 Elgar, E. Serenade for strings, op 20 (1892).

Royal PO/Pinchas Zukerman.

Decca 478 9386 13

16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm 19:00 THE NEW JAZZ STANDARD with Frank Presley 20:00 THE WORLD OF A SYMPHONY Prepared by James Nightingale Waxman, F. Sinfonietta for strings and timpani (1955). Berlin SO/Isaiah Jackson.

Koch 3 7152-2H1 14 Bacewicz, G. Partita (1955). Joanna Kurkowicz, vn; Gloria Chien, pf.

Chandos CHAN 10250 14 Braunfels, W. The death of Cleopatra, op 59 (1944). Ricarda Merbeth, sop; Berlin Konzerthaus O/Hansjörg Albrecht.

OEHMS classics OC 1847 10 Ben-Haim, P. Serenade for flute quartet (1952). Noam Buchman, fl; members of Israel String Quartet.

Music in Israel MII-CD-20 14 Strauss, R. September, from Four last songs, op posth (1948). Elisabeth Schwarzkopf, sop; Berlin RSO/George Szell.

EMI 0 87318 2 5 Korngold, E. Symphony in F sharp, op 40 (1951-52). BBC PO/Edward Downes.

Chandos CHAN 9171 51 22:00 MARTHA ARGERICH AND FRIENDS Prepared by Jacky Ternisien Smetana, B. Sonata in E minor. Martha Argerich, Lilya Zilberstein, pf; Anton Gerzenberg, Daniel Gerzenberg, pf.

EMI 7 21119 2 11 Schumann, R. Fünf Stücke im Volkston, op 102 (1849). Gautier Capuçon, vc; Martha Argerich, pf.

EMI 7 21119 2 17 22:30 ULTIMA THULE

A COLOUR SYMPHONY Writing in the The Telegraph, Simon Heffer titled his piece, Why A Colour Symphony is Pure Bliss. He praises this unusual work by Arthur Bliss who was one of the few British composers to write a symphony in the early 20th century. Scarred by his service in World War I, in which he was wounded and his brother died, he had been urged by other composers, including Elgar, to write a symphony, but he struggled to find inspiration.

Late in 1922, Bliss was browsing through a book on heraldry when the four principal colours of heraldy inspired him. He recorded that he assigned characteristics to the four colours, each of which became the movement of the symphony. The first movement is Purple: ‘amethysts, pageantry, royalty and death’. The second is Red: ‘rubies, wine, revelry, furnaces, courage and magic’. The third is Blue: ‘sapphires, deep water, skies, loyalty and melancholy’. The fourth is Green: ‘the colour of emeralds, hope, youth, joy, spring and victory’. Although the work begins with a reference to death, the finale is the return of hope, and the work as a whole is life-affirming.

Shocked by the symphony, Elgar described it as ‘disconcertingly modern’ but , as Heffer writes, ‘that is what gives it its brilliance’.

Friday 22 November 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 Stephen Wilson Vivaldi, A. Organ concerto no 2 in A minor, RV522 (pub. 1711; transcr. J.S. Bach). Pierre Bardon, org; Munich Pro Arte O/Kurt Redel.

Pierre Verany PV79801 12 Mozart, W. Six German dances, K509 (1787; transcr. Schornsheim, Staier). Andreas Staier, Christine Schornsheim, Stein vis-à-vis combination hpd & fp.

Harmonia Mundi HMC 901941 8 Rodrigo, J. Adagio, from Concierto d’Aranjuez (1939; arr. Koch). Gareth Koch, gui.

Gracia 0010692 8 Allegri, G. Miserere (c1638; arr Esenvalds). Elina Garanca, mezz; Latvian Radio Choir; German Radio PO Saarbrücken Kaiserslautern/Karel Mark Chichon.

DG 479 2071 8 Bach, J.S. Toccata and fugue in D minor, BWV538, Dorian (c1732; transcr. Kabalevsky). Risto Lauriala, pf.

Naxos 8.553761 14 Haydn, J. Divertimento in B flat, Hob.II:46, St Antoni (c1784; arr. Perry). Sydney Wind Quintet.

Fine Music tape archive 11 Thalberg, S. Memories of Beethoven, grand fantasy on Symphony no 7, op 39 (c1835).

Francesco Nicolosi, pf.

Naxos 8.553701 17 10:30 CONCERT HALL Prepared by Dan Bickel Debussy, C. Ballet: The toybox (1913). Ulster O/Yan Pascal Tortelier.

Chandos CHAN 8711 30 Haydn, J. Piano concerto in G, Hob.XVIII:4 (bef. 1781). Sebastian Knauer, pf; Cologne CO/Helmut Müller-Brühl.

Naxos 8.570485 20 Nielsen, C. Symphony no 4, op 29, The inextinguishable (1914-16). Scottish NO/ Alexander Gibson.

Chandos CHAN 6524 33 12:00 A JAZZ HOUR with Barry O’Sullivan 13:00 IN A FRENCH CATHEDRAL Prepared by Ray Lemond Vierne, L. Westminster carillion, op 54 no 6 (1927). Marie-Claire Alain, org.

Erato 2292-45976-2 6 Tantum ergo (1886); Ave Maria (1890).

Joseph Cullen, org; Choir of Westminster Cathedral/James O’Donnell.

Hyperion CDA66898 5

Sea pictures, op 37 (1897-99). Janet Baker, mezz; London SO/John Barbirolli.

EMI CDC 7 47329 2 24

Eros, op 37 (1916). Steve Davislim, ten; Queensland SO/Guillaume Tourniaire.

Melba MR 301123 12

Variations on an original theme, op 36, Enigma (1899). BBC SO/Andrew Davis.

Teldec 9031-73279-2 31

Duruflé, M. Prelude and fugue on the name Alain, op 7 (1942). Henry Fairs, org.

Naxos 8.557924 13

Coronation march, op 65 (1911). London SO/ Barry Tuckwell.

IMP PCD 913 10

Mass, op 11, Cum jubilo (1966). Mark Chaundy, ten; Choir of Magdalen College, Oxford; Richard Pinel, org; Bill Ives. cond.

Harmonia Mundi HMU 807480 19

22:00 BAROQUE AND BEFORE Composers from Das Partiturbuch Prepared by Paul Cooke

14:00 A MUSICAL CARAVAN Prepared by Frank Morrison Palmgren, S. Pictures from Finland, op 24 (1908). Turku PO/Jacques Mercier.

Finlandia 3984-28171-2 17 Bergman, E. Four songs for mixed chorus, op 44b (1956). Helsinki Chamber Choir/Nils Schweckendiek.

BIS CD-2252 5 Sallinen, A. Three dreams each within each (1973). Taru Valjakka, sop; Ralf Gothóni, pf.

BIS CD-64 4 Kokkonen, J. Inauguratio (1971). Lahti SO/ Osmo Vänskä.

BIS CD-498 8 Rautavaara, E. Sonata (1975). Gunilla von Bahr, fl; Diego Blanco, gui.

BIS CD-60 7 Crusell, B. Clarinet quartet no 3 in D, op 7 (1821).

Thea King, cl; members of Allegri String Quartet.

Hyperion CDA66077 22 Madetoja, L. Comedy overture, op 53 (1923).

Helsinki PO/Jorma Panula. apex 0927 43074 2 9 Kuula, T. Three pieces, op 3b (1908). Eero Heinonen, pf.

BIS CD-198 10 Sibelius, J. Symphony no 7 in C, op 105 (1924). Vienna PO/Lorin Maazel.

Decca 478 8541 21 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm 19:00 FRIDAY JAZZ SESSION with Christopher Waterhouse 20:00 EVENINGS WITH THE ORCHESTRA Prepared by Di Cox Elgar, E. Overture: Cockaigne, op 40, In London Town (1900-01). London PO/Georg Solti.

Decca 421387-2 14 Cello concerto in E minor, op 85 (1918-19).

Jaqueline du Pré, vc; London SO/John Barbirolli.

EMI CDC 7 47329 2 30

Bach, H. Ich danke dir, Gott. Maria Zedelius, sop; Ulla Groenewold, cont; David Cordier, ct; Paul Elliott, ten; Michael Schopper, bass; Rheinische Kantorei; members of Musica Antiqua, Cologne/Reinhard Goebel.

Archiv 419 253-2 6 Schnittelbach, N. Ciaconna in A for solo violin and continuo. Martin Japp, vn; Christian Zincke, va da gamba; Michael Dücker, theorbo; Margit Schultheiss, hp; Alexander Weimann, hpd.

Naxos 8.557679 10 Bernhard, C. True dream; Parting brings suffering. Martin Hummel, bar; Karl-Ernst Schröder, lute.

Naxos 8.555935 6 Pandolfi Mealli, G. Sonata la Clemente. Le Concert Brisé/William Dongois.

Accent ACC 24261 11 Sonata in D minor à 4 for two violins, viola da gamba and bassoon. Ensemble Echo du Danube/Christian Zincke.

Naxos 8.557679 9 Lamento della Regina d’Inghilterra. Anne Sofie von Otter, sop; Franz-Josef Selig, bass; Christian Rieger, hpd; Musica Antiqua Cologne/Reinhard Goebel.

Archiv 457617-2 15 Valentini, Giuseppe. Sonata. André Navarra, vc; Erika Kilcher, pf.

Calliope CAL 5673 14 Schmelzer, J. Sonate con arie zu der kaiserlichen Serenada. New London Consort/ Philip Pickett.

Decca 458 081-2 7 Fencing school (c1660). European Community Baroque O/Monica Huggett.

Channel CCS 4392 8 Sonata quarta in D (pub. 1664). Elizabeth Wallfisch, vn.

Hyperion CDA67238 10 Cantata: Venite ocius, transeamus usque in Bethlehem. Peter Schreier, ten; Eberhard Büchner, ten; Capella Sagittariana/Dietrich Knothe.

LP Forlane UM 6510 10 NOVEMBER 2019

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Saturday 23 November 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SATURDAY MORNING MUSIC with Stephen Wilson 9:00 WHAT’S ON IN MUSIC Our weekly guide to musical events in and around Sydney 9:05 THE PIANO ALONE Prepared by Chris Blower Moszkowski, M. Trois morceaux, op 73. Seta Tanyel, pf.

Collins 14732 12 Vorísek, J. Impromptus, op 7 (1818).

Radoslav Kvapil, pf.

Unicorn-Kanchana DKP(CD)9145 37 10:00 MUSIC OF THE DANCE Prepared by Frank Morrison Farina, C. Suite of dances (pub. 1626). La Fontegara Amsterdam.

Globe GLO 5065 12 Rossini, G. Ballet music from Moses and Pharaoh (1827). Monte Carlo National Opera O/Antonio de Almeida.

Philips 422 843-2 21 Sculthorpe, P. The Rose Bay quadrilles (1989). Tamara-Anna Cislowska, pf.

ABC 481 1181 5 Moscheles, I. German dance. Eduard Melkus Ensemble.

Archiv 439 964-2 8 Mozart, W. Six German dances, K571 (1789).

Tasmanian SO/Ola Rudner.

ABC 472 826-2 12 Glazunov, A. Ballet: Chopiniana, op 46 (1893). German SO/Vladimir Ashkenazy.

Decca 460 019-2 21 11:30 ON PARADE Prepared by Chris Blower Rubbra, E. Variations on The shining river, op 101 (1958). Williams Fairey Band/James Gourlay.

Chandos CHAN 4547 11 Simpson, R. Introduction and allegro (1986).

Desford Colliery Caterpillar Band/James Watson.

Hyperion CDA66449 16 12:00 URBAN JAZZ LOUNGE with Leita Hutchings 13:00 IN A SENTIMENTAL MOOD with Maureen Meers Nostalgic music and artists from the 30s, 40s and 50s and occasionally beyond, in a trip down many memory lanes 14:00 THE VOICES, THE ROLES Prepared by Angela Cockburn Seduced sopranos 30

NOVEMBER 2019

14:30 SATURDAY MATINEE Operetta in the afternoon Prepared by Elaine Siversen

Elly Ameling, sop; Claes-Hakan Ahnsjö, ten; Rotterdam PO/Edo de Waart.

LP Philips 9500 170 7

Strauss, J. II The goddess of reason.

Operetta in three acts. Libretto by Alfred Willner and Bernhard Buchbinder. First performed Vienna, 1897.

JACQUELIN: Wolfgang Veith, ten ERNESTINE: Isabella Ma-Zach, sop COLONEL FURIEUX: Manfred Equiluz, ten COUNTESS MATHILDE: Veronika Groiss, sop BONHOMME: Franz Födinger, ten CAPTAIN ROBERT: Kirlianit Cortes, ten Slovak Sinfonietta, Zilina/Christian Pollack.

Naxos 8.660280-81 1:24

Räuberliedf, from Die Bürgschaft. Die Singphoniker. cpo 999 399-2 2

Jacquelin, an artist, is on the run because of his political caricatures during Robespierre’s ‘reign of terror’. He and his lover, Ernestine, need passports from Colonel Furieux to escape from France. Ernestine, singing the role of the Goddess of Reason, is delayed.

Colonel Furieux threatens to execute Jacquelin if Ernestine does not come.

Countess Mathilde has no passport and also needs to flee. She is introduced as Ernestine and is invited to dinner by the colonel. He makes advances to her but Captain Robert comes to her aid.

Furieux sees his caricature in Jacquelin’s sketchbook. Afraid for his life, Jacquelin admits that the Countess is not Ernestine.

Furieux orders the Countess to be arrested as an aristocrat. Robert stands by her but is revealed as a marquis. Bonhomme, as a delegate to the Convention, declares that he is arresting them and also threatens to arrest Furieux. On arrival Ernestine, as the Goddess of Reason, sways the crowd’s opinion in favour of Bonhomme’s action against Furieux. Ernestine gives the passports which Jacquelin had obtained for her and himself to the Countess and Robert who escape and later marry, as do Jacquelin and Ernestine.

Strauss, J. II Excerpts from The gypsy baron.

Jeanette Scovotti, sop; Rosalind Elias, mezz; William Lewis, ten; John Hauxvell, bar; Ch & O/Lehman Engel.

LP RCA/Readers Digest RDS 40 26 Grieg, E. Excerpts from The song of Norway (arr. Robert Wright and George Forrest 1944).

Jeanette Scovotti, sop; William Lewis, ten; Richard Fredericks, bar; Ch & O/Lehman Engel.

LP RCA/Readers Digest RDS 40 19 17:00 SYDNEY SCHUBERT SOCIETY Prepared by Ross Hayes Schubert, F. Horch die Seufzer uns’rer Mutter, from Die Bürgschaft, D435 (1816).

Symphony no 4 in C minor, D417, Tragic (1816). RSO Stuttgart/Roger Norrington.

Hänssler 93.288 31 Licht und Liebe, D352 (c1816). Kathleen Livingstone, sop; Neil Mackie, ten; John Blakely, pf.

Unicorn-Kanchana UKCD 2009 5 Andantino in C, D348 (c1816; compl. Munro).

Ian Munro, pf.

Tall Poppies TP079 4 18:00 THE MAGIC OF STAGE AND SCREEN Prepared by Paul Cooke Tognetti, R. Excerpts from Mountain (2017).

Danny Spooner, voice; Timo-Veikko Valve, vc; Australian CO/Richard Tognetti.

ABC 481 5781 12 Yeston, M. Excerpts from Titanic (1997; orch.

Tunick). Members of original Broadway cast; O/Kevin Stites.

RCA 09026-68834-2 16 Prokofiev, S. The battle on the ice, from Alexander Nevsky (1938; arr Brohn). St Petersburg PO/Yuri Temirkanov.

RCA 09026 61926 2 18 Knopfler, M. Local hero saxophone concerto: Going home. Amy Dickson, sax; Leon Gaer, db; Rex Goh, gui; Daryl Pratt, vibraphone; Gordon Rytmeister, drums; Bill Risby, keyboard; Melbourne SO/Benjamin Northey.

ABC 534 3879 7 19:00 THE ITALIAN SYMPHONY Prepared by Chris Blower Martucci, G. Notturno, op 70 no 1 (1891).

Rome SO/Francesco la Vecchia.

Naxos 8.570929 9 Symphony no 2 in F, op 81 (1904).

Philharmonia O/Francesco d’Avalos.

ASV DCA 689 44 20:00 THE LIFE OF A COMPOSER Vincenzo Bellini Prepared by Madilina Tresca Bellini, V. Trumpet concerto in E flat (pub.

1941). Maurice André, tpt; Franz Liszt CO/ Frigyes Sandor.

Erato 2292-45062-2 9 Finale: Adalgisa ... O rimembranza, from Norma (1831). Joan Sutherland, sop; Marilyn Horne, mezz; Luciano Pavarotti, ten; New York City Opera O/Richard Bonynge.

LP Decca D255D2 22

Saturday 23 November Paraphrase for clarinet, clarinet piccolo and piano, from La sonnambula (1831).

Alessandro Carbonare, cl; Gilbert Monier, cl; Andrea Dindo, pf; Quatuor Z. Harmonia Mundi HMA 1951722 12 Zingarelli, N. Ombra adorata, aspetta, from Juliet and Romeo (1796). Deborah Riedel, sop; Arcadia Lane O/Richard Bonynge.

Melba MR30118 3 Donizetti, G. String quartet no 2 in A. Tonhalle Quartet.

LP Schwann VMS 1016 17 Mercadante, S. Flute concerto in E minor (c1819; rev. Scimone). James Galway, fl; I Solisti Veneti/Claudio Scimone.

RCA RD 60450 22

Sunday 24 November 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SUNDAY MORNING MUSIC with David Garrett 9:00 MUSICA SACRA Prepared by Paul Cooke Sullivan, A. Sing O heavens (1869). Choir of Keble College, Oxford; Gavin Plumley, org; Mark Laflin, cond.

Priory PRCD 691 15 Pergolesi, G. Stabat Mater (1736). Sara Macliver, sop; Sally-Anne Russell, mezz; O of the Antipodes/Antony Walker.

ABC 476 7737 40 10:00 THE CLASSICAL ERA Prepared by Krystal Li

Rossini, G. Ballet music from Othello (1816).

Monte-Carlo National Opera O/Antonio de Almeida.

Philips 422 843-2 19

Arriaga, J. Overture to Nonetto, op 1 (c1817). Le Concert des Nations; La Capella Reial de Catalunya/Jordi Savall.

Astrée E 8532 8

Bellini, V. Ah! non giunge, from La sonnambula (1801). Cecilia Bartoli, mezz; International Chamber Soloists; O La Scintilla/Ádám Fischer.

Decca 475 9077 3

Eberl, A. Variations on a Russian theme.

Dmitri Sokolov, vc; Yuri Martinov, pf.

Christophorus CHE 0131-2 15

22:00 SATURDAY NIGHT AT HOME Prepared by Gerald Holder Brahms, J. Variations on a theme by J. Haydn, op 56a, St Antoni chorale (1873).

Vienna PO/István Kertész.

Decca 448 197-2 19 Grieg, E. Lyric pieces, bk 3, op 43 (1886).

Leif Ove Andsnes, pf.

Virgin VC 7 59300 2 14

Kozeluch, L. Clarinet concerto in E flat (bef.

1790). Emma Johnson, cl; Royal PO/Günther Herbig.

ASV DCA 763 22 Mozart, F. Romanze: In der Väter Hallen ruhte, op 12 (1808). Barbara Bonney, sop; Malcolm Martineau, pf.

Decca 475 6936 8 Clementi, M. Piano sonata in G minor, op 50 no 32 (1821). Howard Shelley, pf.

Hyperion CDA67819 26

Kats-Chernin, E. Concert suite: Wild swans (2003). Jane Sheldon, sop; Tasmanian SO/ Ola Rudner.

ABC 476 763-9 37

Berwald, F. Symphony no 4 in E flat, Sinfonie naïve (1845). San Francisco SO/Herbert Blomstedt.

Decca 478 6787 30

Beethoven, L. Symphony no 6 in F, op 68, Pastoral (1808). Royal Concertgebouw O/ Wolfgang Sawallisch.

Radio Nederland RCO11004 43

12:00 CLASSIC JAZZ AND RAGTIME with John Buchanan

The Wild Swans, by Hans Christian Andersen, is the story of Eliza, a princess whose 11 brothers have been turned into swans by their stepmother, a wicked witch. In order to return her brothers to human form, Eliza must knit magic shirts from stinging nettles. This story forms the basis of Elena KatsChernin’s ballet commissioned by the Australian Ballet and the Sydney Opera House and premiered in 2003. The work follows in the tradition of Russian ballet and the Russian-born Australian composer acknowledges the influence of Tchaikovsky, Prokofiev and Stravinsky on her score.

13:00 WORLD MUSIC: Whirled Wide 14:00 AUSTRALIAN GUITAR Prepared by Chris Blower Sor, F. L’Encouragement, op 34. Leonard Grigoryan, gui; Slava Grigoryan, gui.

ABC 472 224-2 14 Debussy, C. Suite bergamasque (1890/1905; arr. E. Grigoryan). Slava Grigoryan, gui; Leonard Grigoryan, gui.

ABC 476 6088 17 Rodrigo, J. Concierto de Aranjuez (1939).

Slava Grigoryan, gui; Queensland O/Brett Kelly.

ABC 476 8072 23 “Music is life and, like it, inextinguishable” — Carl Nielsen

15:00 SUNDAY SPECIAL The soldier and the devil Prepared by Elaine Siversen Stravinsky, I. The soldier’s tale (1918).

Madeleine Milhaud, narr; Jean Pierre Aumont, voice; Martial Singher, voice; Instrumental Ensemble/Leopold Stokowski.

Vanguard ATMSC 1559 57 Three pieces (1918). Paul Meyer, cl.

Denon CO-78917 4 Suite no 2 from The firebird (1919). Chicago SO/Carlo Maria Giulini.

EMI 5 85974 2 23 Suite from The soldier’s tale (1920). Royal Scottish NO/Neeme Järvi.

Chandos CHAN 7120 26 17:00 HOSANNA Hymn: Let all the world in every corner sing.

Choir of Westminster Abbey; Martin Baker, org; Martin Neary, cond.

Sony SONYTV49CD 2 Rorem, N. Sing, my soul, His wondrous love. Choir of St John’s College, Cambridge/ Andrew Nethsingha.

Hyperion SIGCD567 3 Buxtehude, D. Magnificat. Cambridge Singers; La Nuova Musica/John Rutter.

Collegium COLCD 134 8 Finzi, G. Lo, the full, final sacrifice, op 26. Choir of Trinity College, Cambridge; Alexander Hamilton, org; Stephen Layton, cond.

Hyperion CDA68222 15 Mozart, W. Agnes Dei, from Mass in C, K317, Coronation. Emma Kirkby, sop; Choir of Winchester Cathedral; Academy of Ancient Music/Christopher Hogwood.

Decca B000004CY4 6 Dove, J. Seek Him that maketh the seven stars. Choir of St John’s College, Cambridge; Glen Dempsey, org; Andrew Nethsingha, cond.

Hyperion SIGCD567 7 Rachmaninov, S. Hymn to the cherubim.

Choir of St John’s College, Cambridge/ Andrew Nethsingha.

Hyperion SIGCD567 5 Hymn: Lead, kindly light. Choir of Wells Cathedral; Rupert Gough, org; Malcolm Archer, cond.

Hyperion CDP12101 2 18:00 SMALL FORCES Prepared by Frank Morrison Beethoven, L. Violin sonata no 4 in A minor, op 23 (1800). Itzhak Perlman, vn; Vladimir Ashkenazy, pf.

Decca 421 453-2 20 NOVEMBER 2019

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Monday 25 November

Sunday 24 November Castelnuovo-Tedesco, M. Sonatina, op 205 (1965). William Bennett, fl; Simon Wynberg, gui.

ASV DCA 692 13 Haydn, J. Keyboard trio in A flat, Hob. XV:14 (1789). Yuuko Shiokawa, vn; Boris Pergamentchikov, vc; András Schiff, pf.

Decca 444 862-2 21 19:00 SUNDAY NIGHT CONCERT Prepared by Rex Burgess d’Indy, V. Saugefleurie, op 21 (1884). BBC NO of Wales/Thierry Fischer.

Hyperion CDA67690 17 Rossini, G. Assisa a piè d’un salice, from Othello (1816). Frederica von Stade, mezz; Bavarian PO/Edo de Waart.

Pentatone PTC 5186 158 14 Saint-Saëns, C. Piano concerto no 4 in C minor, op 44 (1875). Philippe Entremont, pf; Toulouse Capitole O/Michel Plasson.

CBS M2YK 45624 26 Strauss, R. Death and transfiguration, op 24 (1888-89). Cleveland O/George Szell.

Sony SBK 53511 24 20:30 NEW HORIZONS Prepared by James Nightingale Keller, A. Love in solitude (2017). Ensemble Offspring. www.ensembleoffspring.com 15 Vines, N. A king’s manifesto (2013). Alison Morgan, sop; Geoffrey Gartner, vc; William Jackson, perc.

Tall Poppies TP236 6 Uncanny valley (2011). Ryan MacEvoy McCullough, pf.

Navonna NV6173 17 Economy of wax. Adrienne Pardee, sop; Jessi Rosinski, fl, picc; Derek Mosloff, va; Franziska Huhn, hp; Stephen Drury, cond.

Navona Records NV5915 9 Crane, L. Estonia (2001). Apartment House.

Another Timbre at74x2 12 Marcus, B. Music for Japan (1983).

Ensemble Adapter. www.ensemble-adapter.de 22

Saugefleurie, a symphonic poem by d’Indy, was based on a poem from Contes des fées written by his boyhood friend Robert de Bonnières, a minor literary figure. Saugefleurie, a lonely fairy, living in a hollow tree, knows that she is destined to die after she and the King’s son fall in love when they meet during a royal hunt. Saugefleurie’s motif is a solo viola.

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NOVEMBER 2019

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 Year in retrospect: 1942 Prepared by Derek Parker Finzi, G. O mistress mine; It was a lover and his lass, from Let us garlands bring, op 18 (1942). John Carol Case, bar; New Philharmonia O/Vernon Handley.

Lyrita SRCD.237 5 Prokofiev, S. Five piano pieces, from Cinderella (1942/44). Sviatoslav Richter, pf.

Divox CDX-25252/3-2 14 Benjamin, A. Viola sonata (1942). Lawrence Power, va; Simon Crawford-Phillips, pf.

Hyperion CDA67969 17 Poulenc, F. Violin sonata (1942). Isabelle van Keulen, vn; Ronald Brautigam, pf.

Schwann 3-1527-2 16 Tippett, M. Piano sonata no 1 (1936-37/42).

Peter Donohoe, pf.

Naxos 8.557611 19 Britten, B. Hymn to St Cecilia, op 27 (1942).

Alexander Banwell, treb; William Hirtzel, treb; Andreas Eccles-Williams, alto; Ruairi Bowen, ten; Daniel D’souza, bass; Choir of King’s College, Cambridge/Stephen Cleobury.

Choir of King’s College KGS0003 10 10:30 CONCERT HALL Prepared by Derek Parker Wagner, R. Overture to Act I of The mastersingers of Nuremberg (1866-67).

Munich PO/Hans Knappertsbusch.

DG 479 1148 11 Tippett, M. Piano concerto (1953-35).

Howard Shelley, pf; Bournemouth SO/Richard Hickox.

Chandos CHAN 9333 35 Mozart, W. Symphony no 41 in C, K551, Jupiter (1788). Australian CO/Richard Tognetti.

ABC 481 4571 34 12:00 SWING SESSIONS with John Buchanan 13:00 GERUSALEMME LIBERATA Prepared by Rodrigo Azaola Rossi, L. Cantata: Erminia sventurata. Judith Nelson, sop; Wieland Kuijken, bass viol; William Christie, org.

LP Harmonia Mundi HM 1010 7 Marenzio, L. Giunto a la tomba, ov’al suo spirto vivo, from Il quarto libro de madrigali a cinque voce (pub. 1584). Barbara Schlick, sop; René Jacobs, ct; Marius van Altena, ten; Guy de Mey, ten; Michiel ten Houte de Lange,

ten; Harry van der Kamp, bass; Konrad Junghänel, theorbo.

Harmonia Mundi HMA 1901065 9 Monteverdi, C. Oratorio: Il combattimento di Tancredi e Clorinda (pub. 1624). Mária Zádori, sop; Guy de Mey, ten; Marin Klietmann, ten; Capella Savaria/Nicholas McGegan.

Hungaroton HCD 12952 17 Bertoni, F. Addio o miei sospiri!, from Tancredi (1766). Max Emanuel Cencic, ct; Armonia Atenea/George Petrou.

Decca 478 8094 4 Hasse, J. Fra quest’ombre, from Solimano (1753). Vivica Genaux, mezz; Armonia Atenea/George Petrou.

Decca 478 8099 12 Scarlatti, A. Torbido, irato, e nero, from Serenata Erminia (1723). Elizabeth Watts, sop; English Concert/Laurence Cummings.

Harmonia Mundi HMU 807574 5 14:00 A MISCELLANY Prepared by Ron Walledge Mendelssohn, F. Excerpts from Incidental music to A midsummer night’s dream, op 61 (1842). Jennifer Vyvyan, sop; Marion Lowe, sop; Women of the Royal Opera House Ch; London SO/Peter Maag.

Decca 478 2826 29 Strauss, R. Horn concerto no 1 in E flat, op 11 (1883). Dennis Brain, hn; Philharmonia O/ Wolfgang Sawallisch.

EMI 7 47834 2 15 Stravinsky, I. Suite from The soldier’s tale (1918). Dimitri Ashkenazy, cl; European Soloists Ensemble/Vladimir Ashkenazy.

Decca 473 810-2 14 Gershwin, G. An American in Paris (1928).

New York PO/Leonard Bernstein.

CBS MYK 42611 18 Roussel, A. Ballet: Le festin de l’araignée, op 17 (1912-13). BBC PO/Yan Pascal Tortelier.

Chandos CHAN 9494 32 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 “I never had much interest in the piano until I realized that every time I played, a girl would appear on the piano bench to my left and another to my right.”

— Duke Ellington

Tuesday 26 November 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 Dieupart, C. Suite no 2 in D, from Six suites for flûte à voix and harpsichord (1701). Ruth Wilkinson, fl de voix; Linda Kent, hpd.

Move MD 3161 10 Haydn, J. Keyboard trio in A, Hob.XV:18 (1794). Australian Fortepiano Trio.

Fine Music concert recording 18 Mozart, W. Rondo in D, K382 (1782). Mitsuko Uchida, pf; English CO/Jeffrey Tate.

Philips 475 7306 8 Bach, J.S. Concerto in A minor after Vivaldi’s op 3 no 6, BWV593. André Isoir, org.

La Dolce Volta LDV 118.0 11 Bach, C.P.E. Sonata in B minor/F sharp minor, Wq63 no 4 (1753). Gustav Leonhardt, clvd.

Philips 422 349-2 8 Chopin, F. Piano sonata no 2 in B flat minor, op 35 (1840). Maurizio Pollini, pf.

DG 477 8445 23 10:30 CONCERT HALL Prepared by Michael Field Varèse, E. Tuning up (1947). Polish National RSO/Christopher Lyndon-Gee. Naxos 8.557882 5 Milhaud, D. Ballet: Le boeuf sur le toit, op 58a (1919). Czech PO/Libor Pesek.

Praga PR 250 007 15 Handel, G. Harp concerto in B flat, HWV294 (1735-36). Lily Laskine, hp; Jean-François Paillard CO/Jean-François Paillard.

Erato 2292-45084-2 13 Beethoven, L. Symphony no 3 in E flat, op 55, Eroica (1803). West-Eastern Divan O/ Daniel Barenboim.

Decca 478 3511 50 12:00 JAZZ RHYTHM with Jeannie McInnes 13:00 AMONG THE TREASURES Prepared by Iris Zeng Lehár, F. Gold and silver waltz, op 79 (1902).

Vienna SO/Robert Stolz.

Eurodisc 258 667 8 Gounod, C. Jewel song, from Faust (185259). Angela Gheorghiu, sop; Turin Regio TO/ John Mauceri.

Decca 452 417-2 5

Morricone, E. Ecstasy of gold, from The good, the bad and the ugly (1966). Yo-Yo Ma, vc; Rome Sinfonietta/Ennio Morricone.

Sony SK 93456 4 Dvorák, A. Song to the moon, from Rusalka, op 114 (1900). Renée Fleming, sop; London SO/Georg Solti.

Decca 478 8583 6 Pujol, M. Pagina de radio, from Four crystalline pieces. Alan Rinehart, gui.

Novascribe N.S. 204 3 Bizet, G. In the depths of the temple, from The pearl fishers (1863). Jussi Björling, ten; Robert Merrill, bar; RCA Victor SO/Renato Cellini.

RCA GD 87799 5 Fauré, G. Dolly suite, op 56. RTE Sinfonietta/ John Georgiadis.

Naxos 8.553360 18 14:00 A NEW LIFE ON THESE SHORES Prepared by Frank Morrison Beethoven, L. Piano sonata in C, op 53, Waldstein (1804). Amir Farid, pf.

Move MD 3331 27 Charlton, R. Four duos for two guitars.

Raffaele Agostino, gui; Richard Charlton, gui.

Fine Music concert recording 10 Ellard, F. National country dances, set 4 (1843; arr. Baer). Adelaide SO/Carl Pini.

LP ABC AC 1036 9 Mageau, M. Concert pieces (1984). Andrew Lorenz, vn; Gary Williams, vc; Wendy Lorenz, pf.

Jade JADCD 1028 10

Hoàng, T. Brazilian soundscape. Tuan Hoàng, gui.

Fine Music concert recording 5 Stravinsky, I. Suite after Pergolesi (1925).

Ray Chen, vn; Timothy Young, pf.

Melba MR 301128 18 Franck, C. Cello sonata in A (1886). Georg Pedersen, vc; Natalia Sheludiakova, pf.

Fine Music concert recording 29 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm 19:00 THE JAZZ BEAT with Lloyd Capps 20:00 RECENT RELEASES with David Garrett 22:00 CHAMBER SOIRÉE Prepared by Paul Cooke Danzi, F. Bassoon quartet in B flat, op 40 no 3 (pub. c1814). Robert Thompson, bn; Roger Coull, vn; David Curtis, va; John Todd, vc.

CRD 3503 19 Zelenski, W. Piano quartet in C minor, op 61.

Grzegorz Kotów, vn; Vladimir Mykytka, va; Marcin Sieniawski, vc; Jonathan Plowright, pf.

Hyperion CDA67905 37 Martinu, B. Quartet for oboe, violin, cello and piano (1947). Diana Doherty, ob; Seraphim Trio.

Fine Music concert recording 11 Medtner, N. Violin sonata no 3 in E minor, op 57, Epica (1938). Laurence Kayaleh, vn; Paul Stewart, pf.

Naxos 8.570298 47

‘PASSIONATE AND RADIANT’ Cellist Steven Isserlis says that Franck’s Sonata in A is a ‘voyage of the soul’. He describes it as passionate and radiant but also writes that, during its course, there is a conflict between the worldly and the sacred with minor and major thirds tussling for supremacy. “This struggle remains unresolved until after the appearance halfway through the Recitativo/Fantasia of a shining theme dominated by the ‘pure’ intervals of the fourth and fifth.” He describes the last movement as ‘joyous’ with the sacred seeming to be victorious ‘with bells pealing to mark the conclusion to the conflict’.

Oral history tells that Franck had originally conceived it as a sonata for cello and piano but decided to write for the violin, as a gift for his friend Eugène Ysaÿe whom he regarded as being the ideal interpreter of the work. Franck’s friend, the cellist Jules Desart, was so impressed when he heard the Violin Sonata performed at the Société nationale de musique in Paris, that he adapted the work for his instrument. The piano part remains the same with the cello part simply replacing the violin part. This version, arranged by Desart, first published in 1887 and described as being ‘for violin or cello and piano’, is the only arrangement of the work authorised by the composer. Both versions have become ‘treasured’ works in the repertoire. The Sonata has been described as ‘a masterpiece of cyclic form with a gracefulness and expressive force almost paradigmatic for the age of musical Romanticism’. In this work ... Franck blended his own unique and rich harmonic language with the Classical traditions that he valued so highly.

NOVEMBER 2019

33

Wednesday 27 November 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Troy Fil 9:00 DIVERSIONS IN FINE MUSIC Inspired by literature Prepared by Chris Blower Butterworth, G. Rhapsody: A Shropshire lad (1912). London Mozart Players/Hilary Davan Wetton.

Naxos 8.573426 10 Bottesini, G. Fantasia on Bellini’s Beatrice di Tenda. Joel Quarrington, db; Andrew Burashko, pf.

Naxos 8.557042 11 Prokofiev, S. Suite from The love for three oranges, op 33a (1919). Philadelphia O/ Eugene Ormandy.

Sony SBK 53 261 16 Pasculli, A. Concerto on themes from Donizetti’s La favorita. Heinz Holliger, ob; Gabriel Bürgin, pf.

Philips 426 288-2 13 Ernst, H. Othello fantasy, after Rossini, op 11 (1839). Ilya Gringolts, vn; Ashley Wass, pf.

Hyperion CDA67619 15 Poulenc, F. L’invitation au château, incidental music for the play by Jean Anouilh (1940-45).

Ronald van Spaendonck, cl; Laurent Lefèvre, bn; Thibault Vieux, vn; Stéphane Logeret, db; Alexandre Tharaud, pf.

Naxos 8.553615 14 10:30 CONCERT HALL Prepared by Jacky Ternisien Elgar, E. Overture: In the South, op 50, Alassio (1904). Sydney SO/Vladimir Ashkenazy.

Exton EXCL-00029 21 Boyce, W. Symphony no 1 in B flat (1760).

Bournemouth Sinfonietta/Ronald Thomas.

CRD 3356 7 Popper, D. Suite: Im Walde, op 50 (1882; orch. Breiner). Maria Kliegel, vc; Nicolaus Esterházy Sinfonia/Gerhard Markson.

Naxos 8.554657 21 Wranitzky, P. Grand characteristic symphony for the peace with the French Republic, op 31 (1797). London Mozart Players/Matthias Bamert.

Chandos CHAN 9916 31 12:00 JAZZ SKETCHES with Robert Vale 13:00 THE ENGLISH BAROQUE Prepared by Ray Lemond Baston, J. Concerto no 5 in D. Dan Laurin, 34

NOVEMBER 2019

rec; Van Wassenaer O/Makoto Akatsu.

BIS CD-985 5

19:00 JAZZ STARS AND STRIPES with Peter Mitchell

Banister, J. The musick att the Bath (1663; compl. Holman). Parley of Instruments Renaissance Violin Band/Peter Holman.

Hyperion CDA66667 10

20:00 AT THE OPERA Prepared by Camille Mercep

Purcell, H. Rejoice in the Lord alway (1683-84). Christopher Robson, alto; William Kendall, ten; Stephen Roberts, bass; Choir of Winchester Cathedral; Brandenburg Consort/ David Hill.

L’Oiseau-Lyre 444 620-2 8 Blow, J. Ode on the death of Mr Henry Purcell. James Bowman, ct; Michael Chance, ct; King’s Consort/Robert King.

Helios CDH55447 22 Locke, M. Suite no 4 in F, from The broken consort, part 2 (1661). Locke Consort.

Globe GLO 5027 10 14:00 IN CONVERSATION with Michael Morton-Evans 15:00 ROSSINI EXPLORED Part 4 Prepared by Michael Morton-Evans Rossini, G. Overture to Il viaggio a Reims (1825). Academy of St Martin in the Fields/ Neville Marriner.

Philips 473 967-2 7 Overture to William Tell (1829). Tasmanian SO/Ola Rudner.

ABC 481 0616 12 Dark sombre wood, from William Tell. Yvonne Kenny, sop; Philharmonia O/David Parry.

Chandos CHAN 3035 5 Un espoir, from Album de château (c1860).

Bruno Mezzena, pf.

Dynamic CDS 89 4 Sancta Mater, from Stabat Mater (17921868). Pilar Lorengar, sop; Yvonne Minton, mezz; Luciano Pavarotti, ten; Hans Sotin, bass; London Symphony Ch & O/István Kertséz.

Decca 417 766-2 7 La lontananza, from Péchés de vieillesse, vol I (1857-60; arr. Barnidge). Rolando Villazón, ten; Maggio Musicale Fiorentino O/Marco Armiliato.

DG 479 4959 4 Kyrie; Cum sanctu spiritu, from Petite Messe solennelle (1863). Helen Field, sop; AnneMarie Owens, mezz; Edmund Barham, ten; John Tomlinson, bass; City of Birmingham SO Ch; Peter King, harmonium; David Nettle, pf; Richard Markham, pf; Simon Halsey, cond.

Netmarc NEMA900 12 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm

Verdi, G. Nabucco. Opera in four acts.

Libretto by Temistocle Solera. First performed Milan, 1842.

NABUCCO: Tito Gobbi, bar ISMAELE: Bruno Prevedi, ten ZACCARIA: Carlo Cava, bass ABIGAILLE: Elena Suliotis, sop FENENA: Dora Carral, sop HIGH PRIEST OF BAAL: Giovanni Foiani, bass ABDALLO: Walter Kräutler, ten ANNA: Anna d’Auria, sop Vienna State Opera Ch; Vienna Opera O/ Lamberto Gardelli.

Decca 417 407-2 2:01 The Hebrews are taken prisoner by Assyrian king, Nabucco. A love triangle between his supposed daughter, Abigaille, her sister Fenena and the Hebrew Ismaele leads to a plot against Fenena who has converted to the Hebrew faith. Abigaille demands the crown when Nabucco is reported killed.

Nabucco, alive, proclaims himself both king and God, is struck by a thunderbolt and goes mad. Abigaille seizes the throne and tricks Nabucco into signing the death warrant of Fenena and the Hebrews. Nabucco prays to the God of the Hebrews for forgiveness, is restored to sanity, stops the execution and frees the Hebrews. Abigaille takes poison.

Glinka, M. Overture to Ruslan and Ludmila (1842). USSR Bolshoi TO/Yevgeny Svetlanov.

Melodiya SUCD 10-00166 5 Donizetti, G. Linda, Linda, ... Da quel di che t’incontrai, from Linda di Chamounix (1842).

Joan Sutherland, sop; Luciano Pavarotti, ten; National PO/Richard Bonynge.

Decca 400 458-2 8 22:30 LATE CONCERT Prepared by Giovanna Grech Smetana, B. Grand overture in D (1848).

BBC PO/Gianandrea Noseda.

Chandos CHAN 10413 8 Bruch, M. Scottish fantasy, op 46 (1879-80).

Natsuko Yoshimoto, vn; Willoughby SO/ Nicholas Milton.

Fine Music concert recording 31 Boïeldieu, A. Harp concerto in C (1801).

Marielle Nordmann, hp; Franz Liszt CO/JeanPierre Rampal.

Sony SK 58919 23 Korngold, E. Suite from Much ado about nothing (1920). Westphalian SO/Siegfried Landau.

LP Candide QCE 31091 17

Thursday 28 November 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Simon Moore 9:00 DIVERSIONS IN FINE MUSIC The instruments: Woodwinds Prepared by Chris Blower Vanerovsky, F. Quartet in F for clarinet and three basset horns. Christoff Ogg, cl; Regula Schneider, bshn; Markus Niederhauser, bshn; Andreas Ramseier, bshn.

Claves 50-9212 11 Beethoven, L. Solo della cassentini, from The creatures of Prometheus, op 43 (180001). Melbourne SO/Michael Halász.

Naxos 8.553404 5 Bach, J.S. Es halt’ es mit der blinden Welt, from Cantata, BWV94 (1724). Elly Ameling, sop; Han de Vries, ob d’amore; Richte van der Meer, vc; Albert de Klerk, org.

EMI CDC 5 55000 2 7 Schumann, R. Sonata in A minor, op 105 (1851 arr. Oguey for cor anglais from Violin sonata). Alexander Oguey, cora; Neal Peres da Costa, pf.

ABC 481 7026 20 Leclair, J-M. Sonata in E minor, op 9 no 2 (pub. 1743; arr. from Violin sonata). Fenwick Smith, fl; Laura Blustein, vc; John Gibbons, hpd.

Naxos 8.557440-41 12 Böhm, T. Fantasy in A on a theme of Schubert, op 21 (1838). Aurèle Nicolet, fl; Barton Weber, pf.

Orfeo S 018822 H 11 Reicha, A. Variations for solo bassoon, accompanied by two violins, viola and cello.

Jane Gower, bn; Madeleine Easton, vn; Alice Evans, vn; Galina Zinchenko, va; Catherine Jones, vc.

Ars ARS 38 091 12 10:30 CONCERT HALL Prepared by Dan Bickel Dvorák, A. Symphonic poem: The golden spinning wheel, op 109 (1896). Polish National RSO/Stephen Gunzenhauser.

Naxos 8.550598 25 Haydn, J. Piano concerto in D, Hob.XVIII. Geoffrey Tozer, pf; Astra CO/George LogieSmith.

McPherson Promotions MP001 21 Nielsen, C. Symphony no 5, op 50 (1921-22).

Royal Danish O/Paavo Berglund.

RCA 74321 20293 2 37 12:00 JAZZ, PURE AND SIMPLE with Maureen Meers

13:00 THE GREAT STOKOWSKI Prepared by Derek Parker Wagner, R. Entrance of the Gods into Valhalla, from Das Rheingold (1853-54; transcr. Stokowski). Bournemouth SO/José Serebrier.

Naxos 8.570293 8

Holst, G. St Paul’s suite, op 29 no 2 (191213; arr. Walsh). Guitar Trek.

ABC 432 698-2 13 Field, J. Piano concerto no 5 in C, Fire by lightning (1815). Benjamin Frith, pf; Northern Sinfonia/David Haslam.

Naxos 8.554221 27

Bach, J.S. Great fugue on the chorale prelude Komm, süsser Tod, BWV478 (pub.

1736; transcr. Stokowski). Sydney SO/Robert Pikler.

Chandos CHAN 6532 4

Moeran, E.J. Symphony in G minor (1937).

Ulster O/Vernon Handley.

Chandos CHAN 8577 46

Debussy, C. The sunken cathedral, from Preludes, bk 2 (1910; orch. Stokowski). New Philharmonia O/Leopold Stokowski.

Decca 4783691 7

Liszt, F. Waltz-caprice no 7, from Vienna evenings (1852). Vladimir Horowitz, pf.

DG 427 772-2 6

Purcell, H. Suite of five pieces (c1690; arr.

Stokowski). Brussels PO; Flanders O/Richard Egarr.

Glossa GCDSA 922209 12 Bach, J.S. Sheep may safely graze, from Cantata, BWV208 (c1713; transcr.

Stokowski). Bournemouth SO/José Serebrier.

Naxos 8.578305 6 Stokowski, L. Two ancient liturgical melodies (1934). Bournemouth SO/José Serebrier.

Naxos 8.557883 6 Mussorgsky, M. St John’s night on Bald Mountain (1869-72; orch. Stokowski 1922).

BBC PO/Matthias Bamert.

Chandos CHAN 9445 10 14:00 TO MY FRIENDS Prepared by Mariko Yata Brahms, J. Double concerto in A minor, op 102 (1887). David Oistrakh, vn; Mstislav Rostropovich, vc; Cleveland O/George Szell.

EMI 5 65701 2 33 Weber, C.M. Clarinet quintet in B flat, op 34 (1811-15). Omega Ensemble.

Fine Music concert recording 26 Puts, K. Flute concerto (2013/14). Adam Walker, fl; Peabody SO/Marin Alsop.

Naxos 8.559794 24 Ravel, M. Miroirs (1905). Pascal Rogé, pf.

Decca 440 836 2 28 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 Di Cox Warlock, P. Capriol suite (1926-28). Musica Dolce/Clas Pehrsson.

BIS CD-8 10 Delius, F. In a summer garden (1908). Welsh National Opera O/Charles Mackerras.

Argo 430 202-2 14

22:00 FROM VIENNA Prepared by Jacky Ternisien

Strauss, J. II Tales from the Vienna Woods, op 325. Amelia Farrugia, sop; BBC SO/ Alexander Briger.

Decca 987 5237 5 Lanner, J. Neue Wiener Ländler, op 1 (1825).

Vienna Dance Quartet.

Naxos 8.555689 5 Strauss, J. II Vienna punch songs, op 131 (1853). CSSR State PO/Alfred Walter.

Marco Polo 8.223203 8 Korngold, E. Sonnet for Vienna, op 41, In memoriam (1952). Detlef Hahn, vn; Andrew Ball, pf.

ASV DCA 1080 3 22:30 ULTIMA THULE Like the gestation period of an elephant, some musical works are a long time in their creation. Ernest John Moeran (always known as E.J.) only completed one symphony. In 1926 he was commissioned by Hamilton Harty to write a symphony for the Hallé Orchestra.

Moeran had already been working on a symphony for about two years but, when the symphony was almost completed, with the performance scheduled and announced for March 1926, Moeran decided that he was not satisfied and withdrew it. He worked on a revision for eight years, abandoned it and started again. In this process he reused some of the earlier music but it was essentially a new composition when he completed it in January 1937. Much of the symphony was written in County Kerry, Ireland (although not directly influenced by this location), where Moeran spent most of this time.

However, it seems that the inspiration for the second movement may have been the scenery of East Norfolk with its sand dunes and marshes; perhaps its genesis may have been in Moeran’s Six Songs from Norfolk of 1924.

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Friday 29 November 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 Alexandra Horner Bach, J.S. Toccata and fugue in D minor, BWV565 (transcr. Reger). Antony Gray, pf.

ABC 476 5171 10 Ludwig-Leone, E. Night loops (2014; arr.

Meijer, Antoine). Lavinia Meijer, hp; Arthur Antoine, elec.

Sony G0100035642352 9 Ravel, M. Suite from Mother Goose (1908-10; transcr. Walter). Claire Désert, pf; Moraguès Quintet.

Le Chant du Monde LDC2781116 15 Miyagi, M. Spring sea (1929; arr. McGuire).

Riley Lee, shakuhachi; Marshall McGuire, hp.

ABC 465 757-2 7 MacDowell, E. Woodland sketches, op 51 (1896; arr.). Vivian Rivkin, pf.

BMG Records MCD 80086 19 Falla, M. de Four Spanish pieces (1909; arr.

E. Grigoryan). Slava Grigoryan; gui; Leonard Grigoryan, gui.

ABC 476 6088 16 10:30 CONCERT HALL Prepared by Paul Hopwood Schubert, F. Overture to The magic harp, D644 (1820). Staatskapelle Dresden/Willi Boskovsky.

EMI 1 66445 2 10 Punto, G. Horn concerto no 6 in E flat. Barry Tuckwell, hn; Academy of St Martin in the Fields/Neville Marriner.

EMI 5 69395 2 14

Falla, M. de Final dance, from The threecornered hat (1919). West Australian SO/ Jorge Mester.

ABC 438 198-2 7 Fauré, G. Pavane, op 50 (1887).

Renaissance Singers; Ulster O/Yan Pascal Tortelier.

Chandos CHAN 8952 5

Garcîa Lorca, F. Sevillanas del siglo XVII, from 13 Old Spanish songs. Teresa Berganza, mezz; Narciso Yepes, gui.

DG 435 848-2 3

Bach, C.P.E. Flute sonata in B flat, Wq125 (1738). Konrad Hünteler, fl; Anner Bijlsma, vc; Jacques Ogg, fp.

MD+G L 3284/85 10

Granados, E. Zambra, from 12 Spanish dances, op 37 no 11 (1892-1900; arr.).

Saffire.

ABC 476 701-2 7

Janitsch, J. Quartet in F. Barthold Kuijken, fl; Paul Dombrecht, ob; Janneke van der Meer, vn; Richte van der Meer, vc; Johan Huys, hpd.

Accent ACC 10006 14

14:00 THE MIGHTY FIVE Prepared by Jacky Ternisien Cui, C. Miniature suite, op 20 (1882). Hong Kong PO/Kenneth Schermerhorn.

LP Marco Polo 6.220308 14 Balakirev, M. Symphonic poem: Russia (1864-69). Russian State SO/Igor Golovschin.

Naxos 8.553246 16 Rimsky-Korsakov, N. Quintet in B flat (1876). Hans Reznicek, fl; Leopold Wlach, cl; Karl Öhlberger, bn; Gottfried von Freiberg, hn; Roland Raupenstrauch, pf.

Westminster RC 8808678121735 30 Mussorgsky, M. Excerpts from The nursery (1872). Aage Haughland, bass; Poul Rosenbaum, pf.

Chandos CHAN 9336-8 15

12:00 A JAZZ HOUR with Barry O’Sullivan

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

13:00 SPANISH DANCES B TO Z Prepared by Stephen Wilson

19:00 FRIDAY JAZZ SESSION with Christopher Waterhouse

German, E. Bolero (1883). Andrew Long, vn; Ian Buckle, pf.

Naxos 8.573407 6

20:00 EVENINGS WITH THE ORCHESTRA Prepared by Chris Blower

NOVEMBER 2019

Tchaikovsky, P. Violin concerto in D, op 35 (1878). Jane Peters, vn; Australian Youth O/ Christoph Eschenbach.

ABC 426 210-2 35

Casals, P. Sardana (1927). Sheku KannehMason, vc; Guy Johnston, vc.

Decca 483 2948 6

Borodin, A. Symphony no 1 in E flat (186267). Bolshoi Theatre Symphonic O/Mark Ermler.

Brilliant Classics 94410 37

Boccherini, L. Introduction and fandango.

Aquarelle Guitar Quartet.

Chandos CHAN 10609 6

Wagner, R. The Ring without words (185076; arr. Leinsdorf). Sydney Youth O/Alexander Briger.

Fine Music concert recording 43

22:00 BAROQUE AND BEFORE ‘It’s Prussian blue; it fades’ Frederick II. Sulle più belle piante, from Il rè pastore (1747). Jochen Kowalski, ct; Berlin CO/Max Pommer.

Capriccio 10 113 7

Tchaikovsky, P. Manfred symphony, op 58 (1885). Philharmonia O/Riccardo Muti.

EMI 7673142 58

Sullivan - Lecuona. Cachuca, from The gondoliers (c1889); Malagueña (c1928).

Marilyn Schock, castanets; Susannah Lin, pf.

Fine Music recording 4

36

Palomo, L. The flamenco stage. Pepe Romero, gui; Seville RSO/Rafael Frühbeck de Burgos.

Naxos 8.557135 7

Lovelock, W. Overture for a cheerful occasion (1979). Queensland Youth O/John Curro.

Grevillea GRV100 6 Mozart, W. Double concerto in E flat, K365 (1779). Elizabeth Powell, pf; Nikolai Evrov, pf; SBS Youth O/Matthew Krel.

SBS Music SBS 0007-2 27

Graun, C. Overture; Qual’ un giomo il suol Tebano; Basta, amici, fin qui ... Sopportar non devo in pace, from Cleopatra e Cesare (1742). Lynne Dawson, sop; Elisabeth Scholl, sop; Maria-Cristina Kiehr, sop; Iris Vermillion, mezz; Robert Gambill, ten; Klaus Häger, bar; RIAS Chamber Choir; Concerto Cologne/ René Jacobs.

Harmonia Mundi HMC 901561/63 15 Bach, C.P.E. Duetto in C, Wq73 (c1745).

Alda Stuurop, vn; Anneke Uittenbosch, hpd.

Globe GLO 6001 14 Quantz, J. Flute concerto in G. Rachel Brown, fl; Hanover Band/Roy Goodman.

Sony 09026 61903-2 16 Graun, C. A tanti piani miei, from Armida (1751). Julia Lezheva, sop; Concerto Cologne/Mikhail Antonenko.

Decca 483 1518 5 Bach, J.S. Trio sonata in C minor, from Musikalische Opfer, BWV1079 (1747). Wilbert Hazelzet, fl; Reinhard Goebel, vn; Charles Medlam, bass viol; Henk Bouman, hpd.

Archiv 479 5858 18 The public’s enthusiasm for the poems of Lord Byron generated a number of musical works, among them RimskyKorsakov’s Antar, Schumann’s Overture to Manfred, Berlioz’ Harold in Italy and Tchaikovsky’s Manfred symphony.

Byron’s poem, Manfred with its romantic hero, contains supernatural elements and is a typical example of gothic fiction.

Its drama translates well into music.

Saturday 30 November 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SATURDAY MORNING MUSIC 9:00 WHAT’S ON IN MUSIC Our weekly guide to musical events in and around Sydney 9:05 THE PIANO ALONE Prepared by Jennifer Foong Handel, G. Chaconne in G, HWV435 (pub.

1733). Murray Perahia, pf.

Sony SK 62785 8 Respighi, O. Passacaglia. Sandro Ivo Bartoli, pf.

Brilliant Classics 9417 9 Ropartz, J. La chanson de Marguerite: caprice valse, op 5 (1886). Stephanie McCallum, pf.

Toccata TOCC 0326 5 Bach, J.S. Suite no 6 in D minor, BWV811, English (bef. 1725). Angela Hewitt, pf.

DG 429 975-2 26 10:00 MUSIC OF THE DANCE Prepared by Paul Cooke Rameau, J-P. Suite from Les Indes galantes. O of La Chapelle Royale/Philippe Herreweghe.

Harmonia Mundi HMP390808 15

16:00 COURT MUSICIAN Prepared by Anne Irish

22:00 SATURDAY NIGHT AT HOME Prepared by Chris Blower

Kuhlau, F. Overture to William Shakespeare (1826). Odense SO/Eduard Serov.

Unicorn-Kanchana DKP(CD)9132 10

Lalo, E. Symphonie espagnole, op 21 (1873).

Anne-Sophie Mutter, vn; French NO/Seiji Ozawa.

EMI CDC 7 47318 2 33

Introduction and rondo concertante, op 98 (1830).

Peter-Lukas Graf, fl; Zsuzsanna Sirokay, pf.

Jecklin 577-2 9 Sonatina in F, op 55 no 4 (pub. 1823). Jenö Jandó, pf.

Naxos 8.570710 8 Piano concerto in C, op 7 (c1811). Amalie Malling, pf; Danish National RSO/Michael Schönwandt.

Chandos CHAN 9699 33 Flute trio in G, op 119 (1831). Jean-Pierre Rampal, fl; Claudi Arimany, fl; John Steele Ritter, pf.

Delos DE 3212 16 Suite from Elverhøj, op 100 (1828). Odense SO/Othmar Maga.

Unicorn-Kanchana DKP(CD)9132 33 18:00 THE MAGIC OF STAGE AND SCREEN Prepared by Sue Jowell Operettas 19:00 THE ITALIAN SYMPHONY Prepared by Chris Blower

McGuire, E. Dance suite for two. Rachel Spencer, vn; Duncan Strachan, vc.

Delphian DCD34153 11

Rota, N. Excerpts from The godfather, part II (1972). Cinema Italiano soloists & O. Recording Arts AG 5X060 23

Chabrier, E. Three romantic waltzes (1883).

Toulouse Capitole O/Michel Plasson.

EMI 7 54004 2 15

Symphony no 1 in G (1936-39). Norrköping SO/Ole Kristian Ruud.

BIS CD-970 32

Anon. Dance: Balletto celeste giglio, from Caroso’s Nobilità di dame. Broadside Band/ Jeremy Barlow.

Hyperion CDA66244 5

20:00 THE LIFE OF A COMPOSER Johann Baptist Vanhal Prepared by Jacky Ternisien

Grieg, E. Symphonic dances, op 64 (1896/98). Bergen PO/Ole Kristian Ruud.

BIS CD-1740/42 34 11:30 ON PARADE Prepared by Chris Blower Holst, G. Mars, from The planets (1914-16; arr. Reed, McAlister). United States Air Force Band/Larry H. Lang.

Naxos 8.573405 8 Sullivan, A. Overture to Iolanthe. Black Dyke Mills Band.

Music Digital CD6249 8 Weinberger, J. Polka and fugue, from Schwanda the bagpiper (1927; arr. Bainum).

The President’s Own United States Marine Band/Michael Colburn.

Naxos 8.570243 8 12:00 FINE MUSIC LIVE Jazz and classical music brought to you live from the Founders’ Studio

Vanhal, J. Double bass concerto in D (arr.

Boldoczki). Gábor Boldoczki, flugelhorn; Prague PO/Emmanuel Villaume.

Sony 88985443362 16 Flute quartet in C, op 7 no 6 (1779-80). Uwe Grodd, fl; Janaki String Trio.

Naxos 8.570234 20 Missa pastoralis in G (c1782). Mary Enid Haines, sop; Nina Scott Stoddart, sop; Colin Ainsworth, ten; Steven Pitkanen, bar; Tower Voices; Aradia Ensemble/Uwe Grodd.

Naxos 8.555080 34 Sinfonia in C, Comista (c1775-78). Nicolaus Esterházy Sinfonia/Uwe Grodd.

Naxos 8.554341 14 Sonata no 1 in B flat. Annerös Hulliger, Philip Swanton, org.

Schwann 3-1047-2 6 Symphony in E minor (1771-73). Camerata Schweiz/Howard Griffiths. cpo 777 612-2 20

Arriaga, J. String quartet no 2 in A (1821-22).

Chilingirian Quartet.

CRD 33123 29 Glazunov, A. Ballet: Les ruses de l’amour, op 61 (1900). Mikhail Chernyakhobsky, vn; Victor Simon, vc; USSR RSO/Algis Ziuraitis.

Melodiya MA 3010 52 It is said that Elverhøj (Elves’ Hill) is the first true work of Danish national romanticism. Written by Friedrich Kuhlau to celebrate a royal wedding, it is a work in praise of the absolute monarch, a concept very prevalent in Europe at the time. Kuhlau, born in Lower Saxony, fled the German states in 1804 when he was 24 to avoid conscription into Napoleon’s army. He had made his debut as a pianist in that year after studying in Hamburg. Throughout his life he was known mainly as a concert pianist, piano teacher and composer of Danish opera. After becoming a Danish citizen, he came to occupy a pivotal role in the musical period of the early 19th century known as the Danish Golden Age. He had known Beethoven personally and Copenhagen audiences were introduced to many of Beethoven’s works through Kuhlau’s concerts.

Beethoven was a strong influence on Kuhlau’s compositions, particularly his Opus 7 Piano Concerto which bears strong similarities to Beethoven’s First Piano Concerto. Kuhlau was a prolific composer leaving more than 200 published works in most genres. Many more unpublished manuscripts were lost when his house burned down. He died the following year after the effects of the fire caused a lung problem.

The opera Elverhøj, which includes Danish and Swedish folk melodies, is probably Kuhlau’s best known work and his Singspiel, Lulu, was also very successful. They are only two of his numerous works that he wrote for the stage which included incidental music for some Shakespeare plays. His flute music earned him the nickname of the ‘Beethoven of the flute’ although he never palyed the flute. They and his piano pieces are the most often recorded of his music.

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The following composers have works of at least five minutes on the November dates listed Adams, J. b1947 9 Albéniz, I. 1860-1909 10 Alfvén, H. 1872-1960 3,8 Alkan, C-V. 1813-1888 3 Allegri, G. 1582-1652 22 Alwyn, W. 1905-1985 2,18 Archduke Rudolph of Austria.

1788-1831 1 Arriaga, J. 1806-1826 24,30 Atterberg, K. 1887-1974 18

Butterworth, G. 1885-1916 27 Franck, C. 1822-1890 26 Buxtehude, D. 1637-1707 15,24 Frederick II. 1712-1786 1,29 Byrd, W. 1543-1623 6 German, E. 1862-1936 29 Caldara, A. c1670-1736 1 Gershwin, G. 1898-1937 Campra, A. 1660-1744 16 1,17,25 Carvalho, J. de Sousa Gibbons, C. 1615-1676 19 1745-1798 4 Giuliani, M. 1781-1829 3,17 Casals, P. 1876-1973 29 Glass, P. b1937 13 Casella, A. 1883-1959 9,14 Glazunov, A. 1865-1936 23,30 Castelnuovo-Tedesco, M. Glinka, M. 1804-1857 2,4,27 1895-1968 17,24 Gluck, C. 1714-1787 7 Bacewicz, G. 1909-1969 21 Cavalli, F. 1602-1676 2 Goldmark, K. 1830-1915 6,17 Bach, C.P.E. 1714-1788 Chabrier, E. 1841-1894 8,30 Górecki, H. b1933 17 1,2,7,12,19,26,29 Chaminade, C. 1857-1944 7 Gormley, A. b1943 1 Bach, H. 1615-1692 22 Gossec, F-J. 1734-1829 16 Bach, J. Christian 1735-1782 17 Charlton, R. b1955 26 Charpentier, G. 1860-1956 10 Gottschalk, L. 1829-1869 16 Bach, J.S. 1685-1750 Charpentier, M-A. 1635-1704 Gould, M. 1913-1996 9 3,8,9,10,15,19,22,26,28,29,30 13,15 Gould, T. b1940 18 Baermann, C. 1810-1885 5 Granados, E. 1867-1916 29 Baermann, H. 1784-1847 5,10 Cherubini, L. 1760-1842 2 Chopin, F. 1810-1849 Graun, C. 1704-1759 29 Bagdasarjanz, U. b1934 4 5,10,15,26 Greenwood, J. b1971 2 Baguer, C. 1768-1808 18 Clementi, M. 1752-1832 16,24 Grieg, E. 1843-1907 11,23,30 Bainton, E. 1880-1956 3 Coleridge-Taylor, S. Grofé, F. 1892-1972 20 Balakirev, M. 1837-1910 1875-1912 12 Grusin, D. b1934 2 1,20,29 Coles, C. 1888-1918 3 Gubaidulina, S. b1931 17 Banister, J. d c1735 27 Copland, A. 1900-1990 19 Guilmant, A. 1837-1911 17 Bantock, G. 1868-1946 20 Costa, L. 1879-1960 4 Barber, S. 1910-1981 9,21 Handel, G. 1685-1759 Couperin, F. 1668-1733 20 Barrios Mangoré, A. 8,10,15,16,19,20,26,30 Cramer, J. 1771-1858 17 1885-1944 18 Harle, J. b1956 17 Crane, L. b1961 24 Baston, J. fl 1711-1733 27 Harris, W. 1883-1973 17 Crusell, B. 1775-1838 22 Beach, A. 1867-1944 12 Hasse, J. 1699-1783 10,20,25 Cui, C. 1835-1918 29 Beck, F. 1734-1809 10 Haydn, J. 1732-1809 1,5,6,7,10, Beethoven, L. 1770-1827 1,2, d’Indy, V. 1851-1931 11,20,24 15,17,19,22,24,26,28 3,4,5,7,10,12,14,15,17,19,21,2 Danzi, F. 1763-1826 6,14,21,26 Hertel, J. 1727-1789 7 3,24,26,28 Debussy, C. 1862-1918 Hindson, M. b1968 11 Bellini, V. 1801-1835 23 2,9,12,17,19,20,22,24,28 Hoàng, T. b1956 26 Ben-Haim, P. 1897-1984 5,21 Decius, N. 1485-1541 6 Holland, D. 1913-2000 7 Benjamin, A. 1893-1960 25 Holst, G. 1874-1934 2,28,30 Bennett, Richard. 1936-2012 13 Delius, F. 1862-1934 18,20,28 Dench, C. b1953 3 Hovhaness, A. 1911-2000 12 Bériot, C-A. de 1802-1870 16 Dieupart, C. c1667-c1740 26 Hummel, J. 1778-1837 2,3,9,10 Berlioz, H. 1803-1869 6 Dillon, J. b1950 3 Hyde, M. 1913-2005 15 Bernhard, C. 1628-1692 22 Bernstein, L. 1918-1990 12,18 Dohnányi, E. 1877-1960 2,8,12 Ibert, J. 1890-1962 10,20 Donizetti, G. 1797-1848 3,23,27 Berwald, F. 1796-1868 8,24 Isaac, H. c1450-1517 14 Dorman, A. b1975 10 Beving, J. b1976 17 Dove, J. b1959 24 Jacob, G. 1895-1984 13,18 Biber, H. 1644-1704 1 Dowland, J. c1563-1626 6 Janitsch, J. 1708-1763 29 Bliss, A. 1891-1975 21 Dubois, T. 1837-1924 3 Jenkins, K. b1944 20 Bloch, E. 1880-1959 2,4,12 Dubugnon, R. b1968 4 Jommelli, N. 1714-1774 3,20 Blow, J. 1649-1708 27 Duruflé, M. 1902-1986 22 Jongen, J. 1873-1953 16 Boccherini, L. 1743-1805 Dvorák, A. 1841-1904 7,12,21,29 Kancheli, G. b1935 17 5,8,19,21,26,28 Bogdanovic, D. b1955 10 Kats-Chernin, E. b1957 12,23 Böhm, T. 1794-1881 28 Eberl, A. 1765-1807 24 Keane, R. b1948 1 Boïeldieu, A. 1775-1834 14,27 Eberlin, J. 1702-1762 3 Keller, A. b1973 24 Borodin, A. 1833-1887 4,12,29 Edwards, R. b1943 10 Khachaturian, A. 1903-1978 11 Bottesini, G. 1821-1889 27 Elgar, E. 1857-1934 21,22,27 Knopfler, M. b1949 23 Boyce, W. 1711-1779 7,27 Ellard, F. 19th c 26 Kodály, Z. 1882-1967 2 Boyle, M. 1902-1976 17 Enescu, G. 1881-1955 6 Koechlin, C. 1867-1950 Bozza, E. 1905-1991 11 Ernst, H. 1814-1865 27 5,7,12,19 Brahms, J. 1833-1897 Falla, M. de 1876-1946 7,8,29 Kokkonen, J. 1921-1996 22 5,7,10,11,12,15,19,23,28 Korngold, E. 1897-1957 21,27 Farina, C. c1600-c1640 23 Braunfels, W. 1882-1954 21 Kozeluch, L. 1747-1818 24 Farnon, R. 1917-2005 13 Bridge, F. 1879-1941 2 Kraus, J.M. 1756-1792 19 Farrenc, L. 1804-1875 17 Britten, B. 1913-1976 Kreisler, F. 1875-1962 18 Fauré, G. 1845-1924 3,10,19,21,25 Kuhlau, F. 1786-1832 14,30 7,8,10,18,26,29 Brotons, S. b1959 8 Kuula, T. 1883-1918 22 Ferneyhough, B. b1943 3 Brouwer, M. b1940 13 Bruch, M. 1838-1920 11,18,27 Fibich, Z. 1850-1900 11 Lalo, E. 1823-1892 30 Field, J. 1782-1837 28 Bruckner, A. 1824-1896 14,16 Langgaard, R. 1893-1962 5 Finzi, G. 1901-1956 24 Brumby, C. 1933-2018 13 Langgaard, S. 1852-1914 5 th Ford, A. b1957 19 Burda, E. 20 c 12 Lanner, J. 1801-1843 28

Pelecis, G. b1947 17 Pepusch, J. 1667-1752 10 Pergolesi, G. 1710-1736 24 Peterson-Berger, W. 18671942 8 Piazzolla, A. 1922-1992 1,21 Pierné, G. 1863-1937 1 Platti, G. 1700-1763 1 Pleyel, I. 1757-1831 2 Popper, D. 1843-1913 27 Poulenc, F. 1899-1963 16,17,25,27 Prokofiev, S. 1891-1953 6,8,11,23,25,27 Punto, G. 1746-1803 29 Purcell, H. 1659-1695 MacDowell, E. 1860-1908 12,29 10,15,27,28 Madetoja, L. 1887-1947 22 Puts, K. b1972 28 Mageau, M. b1934 26 Quantz, J. 1697-1773 29 Mahler, A. 1879-1964 14 Rachmaninov, S. 1873-1943 Mahler, G. 1860-1911 2,9,11,15,18,24 7,14,15,16 Rameau, J-P. 1683-1764 2,9,30 Mancini, H. 1924-1994 2 Rangström, T. 1884-1947 18 Mantegazzi, G. 1889-1958 16 Rautavaara, E. 1928-2016 22 Marais, M. 1656-1728 19 Ravel, M. 1875-1937 Marcus, B. b1952 24 1,9,13,28,29 Marenzio, L. 1533-1599 25 Reicha, A. 1770-1836 28 Marks, B. 20th c 2 Martin, F. 1890-1974 4 Respighi, O. 1879-1936 18,30 Martinu, B. 1890-1959 4,26 Richter, F. 1709-1789 7,17 Martucci, G. 1856-1909 23 Rimsky-Korsakov, N. 1844Massaino, T. fl 1550-1609 1 1908 21,29 Massenet, J. 1842-1912 16 Rode, P. 1774-1830 3 McGuire, E. b1948 7,30 Rodrigo, J. 1901-1999 22,24 Meder, J.V. 1649-1719 10 Rogg, L. b1936 4 Medtner, N. 1880-1951 26 Roman, J. 1694-1758 8 Mendelssohn, F. 1809-1847 Ropartz, J. 1864-1955 30 2,18,21,25 Rossi, L. c1597-1653 25 Mercadante, S. 1795-1870 Rossini, G. 1792-1868 21,23 6,11,13,18,20,23,24,27 Mertz, J. 1806-1856 13 Rota, N. 1911-1979 30 Meyer, L. 1807-1869 19 Roussel, A. 1869-1937 3,8,25 Milhaud, D. 1892-1974 1,18,26 Rubbra, E. 1901-1986 23 Mills, R. b1949 10 Saint-Saëns, C. 1835-1921 Miyagi, M. 1894-1956 29 2,7,24 Moeran, E.J. 1894-1950 28 Sakamoto, R. b1952 17 Mondonville, J-J. de 1711Salieri, A. 1750-1825 9 1772 7 Sammartini, G. 1693-1750 7 Monteverdi, C. 1567-1643 25 Satie, E. 1866-1925 5,8,17 Moore, K. b1979 3 Scarlatti, A. 1659-1725 25 Moscheles, I. 1794-1870 23 Schickele, P. b1935 1 Moszkowski, M. 1854-1925 23 Schmelzer, J. c1620-1680 Mozart, F. 1791-1844 24 20,22 Mozart, L. 1719-1787 1,3,14 Schmidt, Heather. b1975 12,18* Mozart, W. 1756-1791 2,3,7,8,1 Schnittelbach, N. 1633-1667 22 7,20,21,22,23,24,25,26,29 Schobert, J. 1740-1767 5 Muffat, G. 1653-1704 1 Schoeck, O. 1886-1957 4 Mussorgsky, M. 1839-1881 Schubert, F. 1797-1828 16,28,29 3,5,8,9,10,23,29 Schulhoff, E. 1894-1942 11 Nardini, P. 1720-1793 21 Schuman, W. 1910-1992 13 Newman, M. b1962 13 Schumann, R. 1810-1856 Nielsen, C. 1865-1931 4,8,11,12,14,21,28 1,15,20,22,28 Schütz, H. 1585-1672 15 Orff, C. 1895-1982 3 Sculthorpe, P. 1929-2014 21,23 Pachelbel, J. 1653-1706 3 Shostakovich, D. 1906-1975 6 Paganini, N. 1782-1840 6 Sibelius, J. 1865-1957 5,22 Palmgren, S. 1878-1951 22 Simpson, R. 1921-1997 23 Palomo, L. b1938 29 Skryabin, A. 1872-1915 15 Pandolfi Mealli, G. fl1660-69 22 Smalley, R. b1943 12 Pärt, A. b1935 17 Smetana, B. 1824-1884 Pasculli, A. 1842-1924 27 13,14,21,27

Larsson, L-E. 1908-1986 8 Leclair, J-M. 1697-1764 28 Legnani, L. 1790-1877 21 Lehár, F. 1870-1948 9,16,26 Lehmann, W. b1929 12 Leopold I of Austria. 16401705 1 Liebermann, L. b1961 4 Liszt, F. 1811-1886 4,5,8,17,28 Locke, M. c1621-1677 27 Loesser, F. 1910-1969 9 Lovelock, W. 1899-1986 29 Ludwig-Leone, E. 20th c 29 Lully, J-B. 1632-1687 10,13 Lutoslawski, W. 1913-1994 8

Söderman, A. 1832-1876 8 Sor, F. 1778-1839 2,24 Spohr, L. 1784-1859 8 Stamitz, C. 1745-1801 21 Stamitz, J. 1717-1757 17 Stanford, C. Villiers 1852-1924 17 Stenhammar, W. 1871-1927 8 Sternefeld, D. 1905-1986 15 Stokowski, L. 1882-1977 28 Strauss, J. II 1825-1899 2,23,28 Strauss, R. 1864-1949 9,15,16,21,24,25 Stravinsky, I. 1882-1971 1,15,24,25,26 Styne, J. 1905-1994 9 Sullivan, A. 1842-1900 9,20,24,30 Suppé, F. 1819-1895 2 Szymanowski, K. 1882-1937 5 Tailleferre, G. 1892-1983 2 Tarrega, F. 1852-1909 10 Tavener, J. b1944 17 Tchaikovsky, P. 1840-1893 6,7,14,20,21,29 Telemann, G. 1681-1767 3,9,10,14,21 Thalberg, S. 1812-1871 22 Thomas, A. 1811-1896 6 Tippett, M. 1905-1998 25 Tognetti, R. b1965 23 Triebensee, J. 1772-1846 21 Trifonov, D. b1991 10 Valentini, Giuseppe.

1583-1649 22 Vali, R. b1952 5 Vanerovsky, F. d 1834 28 Vanhal, J. 1739-1813 30 Vaughan Williams, R. 1872-1958 1,13,19,20 Verdi, G. 1813-1901 2,4,16,17,27 Vianna da Motta, J. 1868-1948 4 Vierne, L. 1870-1937 12,22 Villa-Lobos, H. 1887-1959 12 Vines, N. b1976 24 Viotti, G. 1755-1824 10 Vivaldi, A. 1678-1741 3,7,15,19,20,22 Vorísek, J. 1791-1825 23 Wagner, R. 1813-1883 4,7,14,16,20,25,28,29 Walton, W. 1902-1983 1,6 Warlock, P. 1894-1930 28 Waxman, F. 1906-1962 13,21 Weber, C.M. 1786-1826 6,10,28 Weinberger, J. 1896-1967 30 Westlake, N. b1958 18 Wikmanson, J. 1753-1800 8 Williams, N. 20th c 2 Williamson, M. 1931-2003 10 Wolf-Ferrari, E. 1876-1948 11 Wranitzky, P. 1756-1808 27 Xenakis, I. 1922-2001 3 Yeston, M. b1945 23 Ysaÿe, E. 1858-1931 16 Zelenka, J. 1679-1745 2,3 Zelenski, W. 1837-1921 26

Key Music duration is shown after the record and citation Ch & O: Chorus & Orchestra CO: Chamber Orchestra FO: Festival Orchestra NO: National Orchestra NSO: National Symphony Orchestra PO: Philharmonic Orchestra RO: Radio Orchestra RSO: Radio Symphony

Orchestra RTO: Radio & Television Orchestra RTV SO: Radio and Television Symphony Orchestra SO: Symphony Orchestra TO: Theatre Orchestra alto: male alto ban: bandoneon

bar: baritone bshn: basset horn bass: bass bn: bassoon bass bar: bass baritone cl: clarinet clvd: clavichord cont: contralto cora: cor anglais ct: counter-tenor

db: double bass dbn: double bassoon did: didjeridu elec: electronic fl: flute fp: fortepiano gui: guitar hn: french horn hp: harp hpd: harpsichord

mand: mandolin mar: marimba mezz: mezzo-soprano narr: narrator ob: oboe org: organ perc: percussion pf: piano picc: piccolo rec: recorder

sax: saxophone sop: soprano tb: trombone ten: tenor timp: timpani tpt: trumpet treb: treble voice va: viola vc: cello vn: violin

CASANOVA: THE CULTURED LOVER DEREK PARKER DESCRIBES A MAN OF CONTRASTS Emphasis on Giacomo Casanova’s reputation as ‘the great lover’ has turned him into a much less interesting character than he really was: a man who could converse on equal terms with Goethe, Voltaire, Mozart and Benjamin Franklin, and who could discuss international affairs with Catherine the Great and Frederick of Prussia. Just as Samuel Pepys told his diary, ‘music and women I cannot but give way to, whatever my business is’, Casanova might have written the same sentence at the beginning of his enormous autobiography.

been offered a contract as prima donna at the San Carlo Opera House in Naples, she put Casanova’s offer of marriage on hold (for life, as it turned out).

Music and the theatre were lifetime interests, unsurprisingly, since he was the son of an actor and dancer Gaetano Casanova and his beautiful actress wife Zanetta Farussi, both extremely popular on the stage of the Teatro San Samuele in Venice. The year after Giacomo’s birth they went to London on a tour with an acting company, leaving Portrait of Giacomo Girolamo Casanova (1725-1798) him with his grandmother and setting the pattern for his childhood. a result of various nefarious adventures he When he was sent to school in Padua, he was taught the violin by a fellow boarder. This was of no special account in his life until at 21, after a tumultuous and unsatisfactory career in the army and a gambling spree, he found himself destitute: “What was to become of me? One must live, and I turned fiddler. Dr Gossi had taught me well enough to enable me to scrape on the violin and … I secured an engagement at the San Samuele … I became a menial journeyman of a sublime art in which, if he who excels is admired, the mediocrity is rightly despised.” He didn’t go out of his way to improve the reputation of his fellow musicians, and after the final chord of Vivaldi’s latest piece they would all go off about the city playing practical jokes, such as setting free the gondolas tied up outside private houses, sending them forth to make their way out to the lagoon.

Apart from his work in the theatre pit, Casanova played in a band accompanying dancing at Venetian balls during the carnival season. As

became solvent again and was able to resume his usual happy habit of spending most of his leisure evenings at the opera, a passion which lasted his lifetime. His other passion, for the ladies, was intermingled with music in fascinating and unexpected ways.

At Ancona on his way back to Venice after spending some time at the Vatican, the landlord of the inn where he put up suggested that, if he was interested in good music, he should go to the opera. There he was entranced by the singing of a young castrato, Bellino, who was so pretty that Casanova felt sure he must be a woman. Women were not allowed on the stage in the Papal States and it was not unknown for some to pass themselves off as castrati in order to make a living. Casanova was so captivated by Bellino’s beauty that he was determined to discover the truth. A long game of cat and mouse was played until the young girl was finally wooed into surrender.

However, Teresa Bellino decided to sing only where she could appear as a woman. Having

Image: Alamy

Another passionate and lasting affair was with a woman we only know as Henriette. Once again music was a shared pleasure. He fell for her at first sight, and easily wooed her from her current lover. She proved to be devoted to music and they went to the opera every evening. He gave her a harpsichord which she would only play when he was absent. One evening when they were at a dinner party a young man played the cello; Henriette unexpectedly took it and played a concerto with mastery, to everyone’s astonishment. He might have settled down with her but she left him one morning before he was awake, leaving a message scratched on the window pane: ‘Tu oublieras aussi Henriette’ (You will forget Henriette, too). He never did.

Sadly, while Casanova gives many descriptions of evenings at the opera and at concerts, he rarely mentions composers or works by name but we should be grateful for the minute details he gave of 18th century European life, at every level of society: what it was like to go to the opera or to concerts; how audiences behaved; how overwhelming a part music played in the life of the time. As a final thought, we can surmise that Casanova probably contributed to the final pages of the libretto of Mozart’s Don Giovanni as manuscripts exist which seem to support the story. As far as we know the Devil never called for him, although certainly some of the many husbands and lovers he cuckolded would not have been surprised.

Derek Parker’s biography of Casanova came out in 2002. His Conversations with Casanova was published this year. He now brings you Casanova’s Musical Europe at 1pm on 7 and 21 November.

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MUSICAL FAMILIES ELIZABETH HILL LOOKS AT FATHERS AND SONS Orlando Gibbons was an English composer of the Elizabethan and early Jacobean periods, and the last great composer of the polyphonic style.

Although he was probably taught by his elder brother or his father, he nevertheless became proficient enough to be appointed

by King James I as a Gentleman of the Chapel Royal, where he served as an organist. He was later appointed organist at Westminster Abbey, a position he held for the two years prior to his death at the age of 41.

this tone that influenced many clarinettists and composers of his day. He composed several works but he is remembered mainly as the clarinettist who inspired and first championed Weber’s two clarinet concertos and concertino. The success was overwhelming. Weber wrote to a friend: “The whole orchestra went crazy, and demands concertos from me. They are even writing to the King and the board of musical directors...”.

His lifetime coincided with the time when English music dominated the continent.

With a career that spanned the end of the Renaissance and the beginning of the Baroque, Gibbons paved the way for a future generation of English composers.

He helped to pioneer new scorings and approaches in consort music and, largely due to his influence, organ Orlando Gibbons Modern Illustration from an accompaniment became standard in engraving Image: Alamy consort works. Well known for his secular and sacred polyphonic vocal works and also Charles II reinstated him as a Gentleman and for his keyboard works (of which about 45 Organist of the Chapel Royal, and he resumed compositions survive), he was dubbed the his post at Westminster Abbey. He played a ‘English Palestrina’. Canadian pianist Glenn substantial role in the rebirth of English music, Gould championed his music and named with his compositions described as ‘bold, solid him as his favourite composer, comparing and strong, but desultory and not without a his keyboard music to that of Beethoven little of the baroque’. He is also credited with and Webern. The modern music critic John nurturing several great Restoration composers Rockwell claimed that the oeuvre of Gibbons including John Blow and, most significantly, ‘all attested not merely to a significant figure Henry Purcell. in music’s past but to a composer who can still Like Orlando Gibbons, the German virtuoso speak directly to the present’. clarinet player, Heinrich Baermann, straddled Writing exclusively for the English Church, two eras: he was among the last generation he left a substantial volume of sacred choral of players who could secure appointments music, and by the age of 29 he had published as court musicians and was one of the keyboard music in Parthenia, the most first successful travelling virtuosos who prestigious publication of keyboard music of established the clarinet as an expressive the time. Several of his compositions have romantic instrument, playing to great acclaim been declared ‘of such masterful quality as to in Europe and England. be unsurpassed by anything until the era of As a 20-year-old he came to the attention of Bach’. His writing shows a mastery of three- the Berlin court, and Prince Louis Ferdinand and four-part counterpoint with the occasional of Prussia enabled him to pursue his training hint at atonality that would reappear in the in Berlin under the guidance of Franz Tausch.

20th century with Schoenberg and Webern.

Baermann played in the court orchestra of Christopher Gibbons, the only surviving child of Orlando, became one of the foremost composers and keyboard players of his generation. When church music was suppressed during the English Civil War, Gibbons made his living primarily as a music teacher and as a composer of incidental music for the restricted theatres of Commonwealth London. When the monarchy was restored in 1660, Church music again flourished and 40

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Munich from 1807 until his retirement in 1834, when his son Carl succeeded him.

At the time of his rise to fame the clarinet was undergoing a series of developments that would allow for greater agility and flexibility in playing. Moreover, Baermann’s familiarity with both the German and French style of playing gave him a tone that was smoother and richer than that of many of his contemporaries, and his playing was particularly expressive. It was

Although he was a virtuoso musician who performed across Europe with his father, Carl Baermann is probably better known as a pedagogue and composer. His contributions to improving the mechanics of the clarinet, and his compositions and writings have helped shape clarinet history.

He was a prolific composer of performance pieces, including concertos, fantasias and divertimentos, and arrangements of Schubert songs. He worked with woodwind maker Georg Ottensteiner to produce the Baermann model clarinet, of which the modern German clarinet is a direct descendant, and his Complete School for the Clarinet, a manual that discusses his concept of tone production and technique, is one of the leading methods for teaching clarinet that is still used today.

Danish pianist, composer and philosopher, Siegfried Langgaard, has been referred to as a ‘tragically misplaced talent’. He had been a pupil of Niels Gade and J.P.E. Hartmann at the Royal Academy of Music in Copenhagen and, on Gade’s recommendation, studied under Franz Liszt in Weimar in the summers of 1878 and 1879. However, like many others who lacked the temperament for public performance, he abandoned his career as a concert pianist and turned to teaching, taking up a post at the Royal Academy. During this time he produced a small opus of works consisting almost exclusively of songs and pieces for the piano, with his Piano Concerto being described as a ‘powerful, heroic work’.

In 1901 he published his ideas on the philosophy of music in a short monograph entitled A Brief Note on the Misson of Music.

In the years before his death he expanded his ideas to fill three large manuscripts totalling over 2,000 pages. His ideas reflect the influence of Liszt’s and Wagner’s thoughts about art and religion, mixed with theosophical ideas and the inspiration of symbolism.

His view of the world seen through the philosophy of music seems to have been taken over by his son Rued, although

Rued’s music sometimes went in completely different directions. Described as ‘probably the oddest loner in Danish music’ Rued was a child prodigy, who at the age of 11, made his debut in Copenhagen as organist and organ improviser, amazing the public and the composer Grieg.

unrecognised as a composer.

British cellist, William Pleeth, has said that he never intended to follow in the family tradition, and as a young boy had entertained the idea of becoming a cook, an actor or a barrister.

He was born into a musical family of PolishJewish origin, many generations of whom were members of the Warsaw Philharmonic Orchestra. At the age of seven William heard a cellist playing in a cafe, liked the sound of the cello and took a few lessons with him.

Showing prodigious talent he attended the London Cello School, and at 13 was the youngest student ever to be accepted to study in Leipzig with the great Julius Klengel (a friend of Brahms and who numbered Piatigorsky and Feuermann among his pupils). William made his Leipzig debut at 15 to rave reviews, and after a number of BBC broadcasts on his return to London, enjoyed a highly successful solo career.

Danish composer Rued Langgaard. August 1951

During t h e Second World War he served in the same regiment as the composer Edmund Rubbra with whom he developed a lifelong friendship. Rubbra wrote his Cello sonata in G minor for Pleeth and his wife Margaret Good, and his Soliloquy for cello and orchestra for Pleeth. Among the other composers who wrote pieces for him were Gordon Jacob, Mathias Seiber and Benjamin Frankel.

Pleeth soon became disenchanted with the endless travelling associated with a solo career and in 1952 he formed the Allegri String Quartet, which went on to achieve international renown.

Pleeth was also a professor of cello at the Guildhall School of Music and Drama

in London from 1948 to 1978. From 1977 he was a visiting professor at the Yehudi Menuhin School and the Royal College of Music. Students flocked to him from all over the world, the most famous being Jacqueline du Pré whom he taught for seven years.

Apart from du Pré, his best known pupils were Robert Cohen and his own son Anthony who specialises in baroque cello.

Anthony studied with his father at the Guildhall School, winning the gold medal in 1966. He was the founder of the Galliard Trio, with which he performed until it disbanded in 1972. His first record, released in 1976, established him as England’s foremost exponent of the baroque cello, both as soloist and as Principal Cello of the English Concert and the Academy of Ancient Music. However, his musical interests are not limited to period performance.

He plays modern cello, and the Pleeth Cello Octet celebrated the centenary of Villa Lobos with a highly acclaimed recording of the composer’s ensemble music. During the late 1980s Anthony Pleeth became increasingly in demand as principal cello on film and television soundtracks working for many important British, European and Hollywood composers.

He was appointed Professor of Cello at the Guildhall School of Music and Drama in 1969 and at the Royal College of Music in 1986.

The music of the composers and the artistry of the musicians can be enjoyed in Musical Families at 2pm on Tuesdays 5 and 19 November.

Image: Alamy

He was inspired by the works of the great Romantic composers at a time dominated by modernism in Denmark. Writing in a late Romantic style and influenced by Wagner and Richard Strauss, he produced about 400 works spanning multiple genres, including solo music for the organ and piano, chamber music, 16 symphonies, and an opera. His music, described as ‘convoluted’ and ‘esoteric’ with ‘deep quasi-religious and apocalyptic overtones’, only became recognised some 15 years after his death.

When he was 20, his first symphony was performed by the Berlin Philharmonic Orchestra during a concert devoted solely to his works. Despite his success in Germany, he never gained popularity in Denmark: his music, which was influenced by religion and symbolism, was at odds with the antiRomantic state of music in Denmark at the time. In 1940, after experiencing rejection in his compositions and in his attempts to be appointed as an organist, he took an appointment as cathedral organist in Ribe, far from the centre of Danish musical life. He died in Ribe just before his 59th birthday, still

Hilary Finzi (2nd right) and Piers du Pré (right), the sister and brother of cellist Jacqueline du Pré, with their sister’s former tutor William Pleeth (left) and Norwegian cellist Truls Mørk, at the unveiling of a plaque to commemorate the life and works of Ms du Pré at her former home in Hampstead, North London. Image: Alamy NOVEMBER 2019

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A FIDDLE IN EXCHANGE FOR RICHES ELAINE SIVERSEN OUTLINES A DEVILISH WORK The three actors fill the roles of the soldier, the devil and a narrator who binds the whole together and who also takes on roles of minor characters. A dancer plays the non-speaking role of the princess. While the visual aspect of the work may be lost in a radio broadcast, both the music and the narrative are so rhythmic the mind can create the scene.

The Russian folk tale, The Runaway Soldier and the Devil, can be found in a collection of stories compiled by Alexander Afanasyev. Its narrative of the soldier who trades his fiddle to the devil in return for unlimited riches was the inspiration for a theatrical work, L’histoire du soldat (The soldier’s tale). Written by Igor Stravinsky to a French libretto by the Swiss writer C.F. Ramuz, its cast comprised three actors and one or more dancers accompanied by a septet of clarinet, bassoon, cornet (often replaced by a trumpet), trombone, violin, double bass and percussion.

Due to its constantly changing time signatures, the work is often performed with a conductor.

It was Ernest Ansermet who wielded the baton at its premiere in Lausanne on 28 September 1918. Stravinsky dedicated the work to Swiss philanthropist Werner Reinhart, the principal underwriter of the performance. Reinhart continued to sponsor Stravinsky’s work in 1919 with a series of chamber concerts where Stravinsky was given the opportunity to present his most recent works in this genre. As a further honour for Reinhart, a fine amateur

Igor Stravinsky, portrait by Albert Gartmann Image: Alamy

clarinettist, Stravinsky arranged five pieces from The soldier’s tale into a concert suite for clarinet, violin and piano. It premiered on 8 November in one of the Lausanne chamber concerts. Many other arrangements have been made since for various small combinations of instruments as well as for orchestra.

Our program begins with the whole theatrical work and ends with the orchestral arrangement of the suite. The complete work, conducted at a ‘cracking’ pace by Leopold Stokowski, will be heard in an English translation narrated

by French actress and librettist Madeleine Milhaud, wife of the composer Darius. The soldier is played by Jean-Pierre Aumont, the noted French actor who had a very successful career on stage in France and in Hollywood.

Martial Singher, who plays the scheming devil, was a baritone who sang leading roles such as (coincidentally) Mephistopheles in prominent opera houses. It’s an all-star cast!

Sunday Special has a centenary tribute to The soldier’s tale at 3pm on 17 November.

A MUSICAL LIFE IN BRIEF PAMELA NEWLING PROFILES MIRIAM HYDE Sonata in F minor and Liszt’s Sonata in B minor. She was a soloist in her Piano concerto no 2 with the Sydney Symphony and she continued to perform from memory.

In 1932, when it was rare for women to be recognised as composers, 19-year-old Australian pianist and composer Miriam Hyde began three years’ study at London’s Royal College of Music enabled by an Adelaide Elder Conservatorium Scholarship. A highlight for this young pianist during this time was meeting Rachmaninov and shaking his hand.

While in London she excelled as a pianist and performed as soloist with the major London orchestras, including the BBC. Composition was nominally her second study and yet she composed a wide variety of music: piano solos and duets; concertos and overtures; orchestral and chamber music; and choral works. Both of her piano concertos were written at this time. However, Australian and international recognition and respect as a composer came after years of hard work.

Returning to Adelaide in 1936, Miriam wrote much of the incidental music for South Australia’s Centenary pageant, including Fantasia on Waltzing Matilda. Shortly after, she settled in Sydney and gave recitals in capital cities and regional centres, and broadcast extensively on ABC Radio and 2MBS-FM. She gave concerts for charities, 42

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In 1997, aged 84, she travelled to London to give a concert of her major works at the Royal College of Music, some 62 years after her studies there. In that same year, the eminent pianist James Muir, with his Sydney Chamber Players, paid Miriam a great compliment by recording much of her unpublished chamber music on two CDs. In later years, far from retiring, she performed her Fantasy romantic with the Strathfield Symphony Orchestra and, at the age of 89, her Piano concerto no 2 in C sharp minor.

Miriam Hyde Photo courtesy Wirripang

conducted workshops in country towns for students preparing for piano examinations and gave master classes featuring her own compositions.

She celebrated her 80th birthday with recitals in Sydney, Perth, Adelaide and Ingham that featured two monumental sonatas: Brahms’

On her 90th birthday, the ABC presented a celebratory concert at the Eugene Goossens Hall, with performances by outstanding musicians of some of her piano solos, chamber works and songs.

Miriam Hyde continued to perform, compose and educate until her death in 2005 at the age of 92.

Some of Miriam Hyde’s music can be heard at 1pm on Friday 15 November.

WHAT’S ON IN MUSIC THE AUSTRALIAN HAYDN ENSEMBLE PRESENTS MIDORI AND MOZART Sunday 24 November at 2.30pm Verbrugghen Hall, Sydney Conservatorium of Music Tickets $35-$85 www.australianhaydn.com.au 1800 334 388 The daring and virtuosic Bavarian-Japanese violinist, Midori Seiler makes her Australian debut leading a program of Mozart and Haydn.

SYDNEY SINGS Amy Moore (soprano), Simon Lobelson (baritone), Sydney University Graduate Choir and the Sydney Sings guest choir and Orchestra/Christopher Bowen OAM Sunday, 10 November at 3pm Sydney Town Hall Bookings: https://www.trybooking.com/eventlist/ sydneyunigraduatechoir, or at the door from 2.15pm Tickets: $55 Adults; $45 Full Pensioners (not NSW Seniors Card); $25 Full time students and children under 16 years Christopher Bowen conducts a combined choir of 200 voices to present the Brahms sacred work, A German Requiem. The choir and soloists will be accompanied by a full orchestra of professional musicians. The concert will also include a performance of Brahms’ Tragic overture. The richly immersive sound of the Sydney Town Hall provides a perfect setting for this performance.

THE 30TH ANNUAL GLEBE MUSIC FESTIVAL Friday 1 November to Sunday 24 November Various venues in Glebe Tickets will be available at the door for all performances.

Visit www.glebemusicfestival. com for more details.

The 30th Annual Glebe Music Festival again brings international and local musical artists together in iconic venues in Sydney’s inner western suburb of Glebe. From concerts of soul and blues to perfromances by exponents of the viola da gamba, there is something for everyone.

The ticket prices mean that the concerts are accessible to all.

<< Internationally acclaimed Bulgarian pianist Evgeny Genchev NOVEMBER 2019

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WHAT’S ON IN MUSIC ENJOY, LEARN, DISCUSS The role of musicians in elevating the status of a composer Presenter: Nena Beretin Sunday 17 November, 2.30pm 72-76 Chandos St, St Leonards Bookings: finemusicfm.com/ELD or 9439 4777 Tickets: $15 general or $5 for Fine Music subscribers and volunteers You are invited to stay for light refreshments after the talk.

During the 20th century composers actively pursued performers to form professional partnerships. It is widely acknowledged that the success of a composer’s work is dependent to a large extent on the talent and the virtuosic attributes of the musician (instrumentalist or singer) in the realisation of the performance. The teaming of a high-profile composer with a renowned performer most definitely ensures optimum press coverage.

The teams Nena will discuss include Pierre Bernac and Francis Poulenc, Benjamin Britten and Peter Pears, Edward Elgar and Yehudi Menuhin, John Cage and David Tudor, Luciano Berio and Cathy Berberian, as well as Philip Glass and Joan La Barbara.

The performers not only inspired these composers but also gave advice on technique. Nena proposes that, within the classical music scene, these established partnerships elevated the reputations of both the composers and

their respective performers. This presentation will include original recordings by the respective performers and written musical examples.

CD REVIEWS RETURN TO THE DANCE New Compositions for an Old Instrument Michelle Nelson, classical and electric guitars, ukelele, taropatch MOVE MCD 53 HHH½

Guitarist-composer Michelle Nelson has re-released a digitised album of her guitar works, inspired by the traditional association between guitars and dance. She is a musician committed to developing instrumental works that are contemporary, but also draw from traditional composition. This album reflects Spanish 17th century guitar style, incorporates 1970s rock influences and shows how digital music opens new doors. It includes the awardwinning The guitarist’s Bach, a homage to J.S. Bach in the style of his lute suites, created for the modern EADGBE guitar.

A professional musician since 1983, Michelle specialises in Classical guitar and in Rock and Blues styles on the electric guitar. Her favourite instruments are a beautiful custommade classical guitar by the master Australian craftsman Dan Kellaway and a trusty 1980s

SUMMER NIGHT CONCERT 2019 Yuja Wang, piano; Vienna PO/Gustavo Dudamel Sony 19075943542 HHHHH

Gustavo Dudamel returns to the gardens of Schönbrunn Palace with the Vienna Philharmonic in this glittering exposé that connects the old world of Europe with the new world of America. The program features wellknown selections from various European and American composers and continues a tradition that started in 2004.

The concert opened with Bernstein’s triumphant Overture to Candide quickly matched by the lilting Jubilee waltz of Johann Strauss II. The major work is Gershwin’s Rhapsody in blue performed by the fastrising Chinese superstar pianist, Yuja Wang.

Renowned for her dazzling technique, she delivers a breathtakingly refreshing account of Gershwin’s masterpiece. This rendition alone

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Ibanez RS530. Her guitar influences range from Jimmy Page, Agustin Barrios Mangoré and Carlo Domeniconi.

This album offers six works, each of which captures Michelle’s different areas of interest.

The first piece is a homage to the 18th century Spanish guitar and includes bongos and mark-tree chimes. Ice crystals is inspired by the inner world of ice and exudes creativity.

Platypus rag includes a double-strung ukulele and a related instrument called a taropatch.

Dances to the New World is a celebration of Jimmy Page, of Led Zeppelin fame. The music is well played and creative but in places I found it to be repetitive and somewhat uninspiring.

This is an album to play while driving to work or perhaps undertaking other mundane activities from which you may need distraction!

Robert Gilchrist is enough to warrant acquisition of this CD. After John Philip Sousa’s Stars and Stripes forever, the concert offers Barber’s solemn Adagio for strings as an intermezzo in the concert’s festive nature. This is the emotional highlight of the concert with some magnificent phrasing and melodic arching offered by Dudamel’s conducting. The concert quickly returns to the crowd-pleasing favourites including Sternenbanner-Marsch of Carl Michael Ziehrer and the finale of Dvorák’s New World Symphony.

Superbly balanced, brilliantly recorded and released on CD, DVD and Blu-Ray, this recording is tremendous entertainment.

Frank Shostakovich

CD REVIEWS COUNTERPART

Sean Foran and Stuart McCallum Sean Foran, piano; Stuart McCallum, guitar; Sam Vicary, bass; John Parker, drums NAIM Records HHH½

Jazz history is full of random reference points and, in this case, I couldn’t help but be reminded of the beautiful Metheny Mehldau duet The sound of water from the 2007 Nonesuch album Quartet. Of course Foran and McCallum, two highly accomplished artists, don’t need comparison with contemporary giants but I found this album just as compelling as Quartet. Pianist Sean Foran, off the back of his success with the trios Trichotomy (formerly Misinterprotato) and Berardi/Foran/Karlen, brings his unique pianistic expression, blurring the lines of the composed and the improvised.

Guitarist and composer Stuart McCallum from Manchester, however, might be the latest news to Australian audiences but fans of John Surman, Kenny Wheeler or Ari Hoenig might be already aware of his rise. The music is full of melodious momentum often reaching peaks

PHIL SLATER

The Dark Pattern Earshift Music EAR034 HHHH½

Here is an artistic work, a true ‘concept album’ as substantial and as vital as the environment from which it takes its inspiration. Multi-award winning trumpeter Phil Slater is regarded as Australia’s pre-eminent exponent of contemporary jazz trumpet. In this two-hour double-CD set of recordings, it’s as if Mother Nature is using Slater and company as her own medium for expression.

He is joined by long-term collaborators: pianist Matt McMahon, drummer Simon Barker, bassist Brett Hirst and saxophonist Matt Keegan. The compositions are tranceinducing, although stark and, at times, even bleak. Nevertheless, the improvisations wash over the music like a rapid stream over a bed of river stones, creating sounds that are vivid and captivating. The contrasts are amplified. Take Simon Barker’s shallow ringing

GROOVE

Andrew Dickeson, drums; Rodney Whitaker, double bass; Wayne Kelly, piano Independent HHHHH

You can’t help but groove along with this collection of solid well-worn jewels delivered by this trio. These songs are the equivalent of comfort food, served with style and delivered with the grace that they each deserve. From Thelonious Monk to Duke Ellington, Irving Berlin and Jerome Kern with an original by pianist Wayne Kelly, Mr Hank Jones, there’s a magical journey of melodies so ingrained in our jazz vocabulary they don’t need lyrics to convey their message. Old and new, each track flows with the musicians’ timing and sensibility in playing off each other, translating into three heartbeats as one.

where sustained climaxes are used like pivots for the next melodic projection. McCallum’s brand of ‘alternative jazz’ which seems to owe just as much to Debussy or electronica is tempered somewhat in this collaboration.

A gentleness washes over both artists as textures and lush soundscapes hold true.

On Quiet times, the pair is joined by John Parker brushing the drums and Sam Vicary bass. To describe this as restrained is inaccurate as there is nothing here that suggests tension. Piano and guitar are at ease allowing intricacies to rise to the surface. All nine pieces could be mistaken for throughcomposed compositions such is the artists’ willingness to allow the melodies to guide their improvisations.

Frank Presley

ride cymbal chiming against the resonance of his simmering sizzle cymbal.

Kind of dark blue, the title track The dark pattern is like an advanced modal exploration on three chords whereby Slater needn’t play any more than a single note while McMahon chooses the dark harmonies against Hirst’s leading bass notes. Keegan then searches introspectively before the ‘melody’ is re-stated

by Hirst while McMahon’s repeated dark arpeggios are sometimes akin to Bach but without climax. Meanwhile Barker’s sizzling cymbal provides the perfect backdrop for Slater to launch away from the pattern of the rhythm section and finish the piece like an unended story line left hanging at the end of a movie.

Frank Presley

Having said that, leader Andrew Dickeson on drums, takes advantage of appropriate opportunities to enter his own voice in his solos as does Kelly, superbly, especially on Take the Coltrane. He dances over lines, mastering the timing with intelligent restraint and a Midas touch. Bassist Whitaker is considered to be one of the leading performers and teachers of the jazz double bass in the United States. Just listen to his playing on How deep is the ocean and Creole love call and you’ll understand why. If you’re interested in hearing a pure jazz trio in all its glory, this is as good as it gets.

Barry O’Sullivan

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HOW TECHNOLOGY CHANGED JAZZ CHRIS WETHERALL CHARTS THE RECORDING JOURNEY paid to economies of scale in vinyl production runs and even sleeve economies were being scrutinised. Industry wisdom found that every run should be 10,000 to 15,000 and, by including night shifts, costs could be minimised by avoiding the need to restart the presses. Everything was considered.

While Columbia dominated the 12-inch LP market, the label had missed out on early opportunities in the 45rpm market, which RCA had introduced in 1949.

Although the 45rpm started out as a competitor to the LP by featuring multiple tracks on each disc, the format soon found its natural niche as a disc for single songs, particularly useful for the vast juke box market.

The history of recorded jazz can be traced back to 26 February 1917. On that Monday members of the Original Dixieland ‘Jass’ Band rode the freight elevator up to the 12th floor of 46 West 38th Street in New York where, just weeks earlier, the Victor Talking Machine Company had opened its new recording studio. After assembling their instruments, the all-white quintet from New Orleans played Dixieland Jass Band one-step and Livery stable blues into the long metal horn that served as a microphone back then. Weeks later when the songs were released on each side of a single 78rpm record, the band’s highly syncopated and somewhat frantic ‘Dixieland’ foxtrot became an overnight sensation.

For the next 30 years the technology of recorded jazz would change very little. The fidelity became much better but the sound was still tightly circumscribed. Until 1948 all jazz recordings were issued commercially on 10-inch 78rpm discs or shellacs, with just one song per side. You listened to these discs by placing them on a turntable spinning at 78 revolutions per minute (rpm). At this speed your gramophone’s needle could accurately reproduce the music embedded in the disc’s grooves. The relatively small number of grooves on the record meant that if it was played at the 78rpm speed, the stylus would reach the end of the disc in roughly three minutes. Three minutes of recording music was highly confining for all forms of music, but especially jazz. In 180 seconds a band had to 46

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begin, tell a story and finish; not easy.

Paradoxically, the introduction of the LP in 1948 was not jazz-driven as the chief factor behind its research and development was classical music. Most symphonic works, including concertos and many other classical works, ran for 30 minutes or longer and the same was true, and even more so, for opera.

In the 78rpm era a classical recording often required the release of six or more 78rpms.

The two big companies in the race to release 33⅓rpms were Columbia and Radio Corporation of America (RCA). Columbia became the first. Perhaps RCA was distracted by its number one priority, which was to be the first to produce the 45rpm single record crucially important in its drive to dominate the ‘pop’ market. In the meantime, in 1948, Columbia began releasing 10-inch LPs. It saw these as perfect for the jazz and ‘pop’ markets while the 12-inch that followed was more strategic in the classical market.

By the early 1950s Columbia was switching more and more material to the 12-inch format.

A lot of shellac discs were being transferred to LP by some of the smaller labels, such as Savoy, Prestige and Blue Note. Columbia realised the time had come to begin recording gigs with a clear 40-minute format.

This was accompanied by a push to lower manufacturing and copyright fees. The target retail price became $3.98. Research had come up with a marked consumer reluctance to break the $4.00 barrier. Attention was being

By focusing on the LP, record companies were investing heavily in the home listening market just when the suburbs were evolving and, at the same time, new media such as television and colour films were competing for the same market. As ‘bedroom’ communities sprang up around major cities and houses became more affordable, the living rooms of homes became a major target for record companies.

Nowhere was this more pronounced than in Southern California in the early 1950s with the 40-minute plus time slot for recording really letting jazz stretch out, and with West Coast Cool just around the corner.

The LP sales surge was triggered in part by the technological change, but also a general consumer boom linked to post-war prosperity.

Record sales remained strong through the 1960s and 1970s. The jazz base was firm in spite of challenges from rhythm and blues, rock, Elvis, Perry Como, the Beatles and others. For the vinyl album market a major hazard appeared in 1982. That year audio giants Sony and Phillips hit the consumer with an alternative to the LP. The compact disc had arrived!

Vinyls appeared to be heading the way of the dinosaurs under the CD onslaught. Turntables were tossed out with the vinyls. Ahead, however, was another twist to this story. CD sales declined 20% between 2000 and 2008 as the internet distribution of files began and the vinyl revival began, led by the DJ industry and developed by music fans. This year vinyls will outsell CDs for the first time since 1986.

Better get that turntable in from the garage.

A LIFE INFLUENCED BY MUSIC MONA OMAR TALKS TO ANNABELLE DRUMM choreographer, founder of a booking agency for performing artists, and as a creative business coach for professionals, in the arts, entertainment, advertising, media, and startup industries.

Annabelle discovered Fine Music as a listener in 2001 following her move to Australia from New Zealand and, when attending a Live from the Founders’ Studio broadcast, she was introduced to the studios and some of the volunteers. She fell in love with the atmosphere and ‘found it a welcome relief to find people who simply show up and work because of their shared passion for the music’.

In 2014 she joined Fine Music as a volunteer.

Responding to an on-air promotion for a world music presenter, Annabelle went in for an interview and ultimately declined the position.

It was then suggested that she could train as a classical music presenter, a position for which her childhood had prepared her. She was raised in a creative family: her father, a conductor and musician, and her mother, an artist and violinist. Annabelle’s childhood memories include sitting under the conductor’s desk and drawing the performers during ballet and orchestra rehearsals, leading to her discovery that ‘no matter where I am in the world, if I can hear classical music, I am home’.

Exposure to a wide range of musical styles led Annabelle to a wide appreciation of music so that she now enjoys listening to Renaissance as much as contemporary music.

This appreciation of many styles of music led to a long career in the creative arts industry where she has worked as a professional performing artist (commercial dancer, comic actor and television presenter) and

When asked about the most enjoyable aspects of her role as a presenter at Fine Music, she responded: “There’s the extrovert and the introvert in me, both of which are satisfied.

The introvert loves to dig deep into the library CDs to read about the performers, the music, the instruments, the venues where they are recorded while the extrovert loves to interview those in the business and give the pre-concert talks.”

The support of fellow volunteers is another aspect that Annabelle appreciates. “I am always grateful for the help I receive from the reception and library teams, the staff and the other volunteers who offer encouragement and new ideas to improve the quality of what I’m doing or to rescue me when things aren’t working as expected.”

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: Rebecca Beare; 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 NOVEMBER Rodrigo Azaola, Charles Barton, David Bearne, 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, Marc Cottee, Di Cox, George Cruickshank, Nick Dan, Jackson Day, Nev Dorrington, Susan Gai Dowling, Annabelle Drumm, Brian Drummond, Andrew Dziedzic, Rita Felton, Michael Field, Troy Fil, Owen Fisher, Jennifer Foong, Tom Forrester-Paton, Susan Foulcher, Carole Garland, David Garrett, Robert Gilchrist, Nicky Gluch, Joe Goddard, Albert Gormley, Giovanna Grech, Austin Harrison, Celeste Haworth, Ross Hayes, Gerald Holder, Paul Hopwood, Alexandra Horner, James Hunter, Leita Hutchings, Anne Irish, Sue Jowell, Peter Kurti, Ray Lemond, Ray Levis, Krystal Li, Christina Macguinness, Lachlan Mahoney, Linda Marr, Meg Matthews, Stephen Matthews, Neil McEwan, Jeannie McInnes, Terry McMullen, Maureen Meers, Camille Mercep, Peter Mitchell, Saufian Mokhtar, Simon Moore, Frank Morrison, Michael Morton-Evans, Richard Munge, Gerry Myerson, Peter Nelson, James Nightingale, David Ogilvie, Barry O’Sullivan, Calogero Panvino, Derek Parker, Keith Pettigrew, Anabela Pina, Peter Poole, Frank Presley, Karoline Ren, Katy Rogers-Davies, Darryl Rule, Marilyn Schock, Debbie Scholem, Georgina Sierra, Julie Simonds, Elaine Siversen, Robert Small, Garth Sundberg, Jacky Ternisien, Anna Tranter, Madilina Tresca, Robert Vale, Richard Verco, Ron Walledge, Christopher Waterhouse, Chris Wetherall, Stephen Wilson, Glenn Winfield, Chris Winner, Mariko Yata, Orli Zahava, Tom Zelinka, Iris Zeng PROGRAM SUBEDITORS Jan Akers, Chris Blower, Maureen Chaffey, Di Cox, Amal Fahd, Noelene Guillemot, Elaine Siversen, Teresa White LIBRARIANS Jan Akers, Rex Burgess, Maureen Chaffey, John Clayton, Di Cox, Helen Dignan, Lynden Dziedzic, Peter Goldner, Daniela Hartman, David Hilton, Dawn Jackson, Michael Marchbank, Phillip McGarn, Judy Miller, Rachel Miller, Helen Milthorpe, Susan Ping Kee, Mark Renton, Gary Russ, Daria Sosna, Jacky Ternisien, Andrew Treloar, Ricky Yu STATION OPERATIONS Transmitter: Max Benyon, John Shenstone; Studio operations: Roger Doyle, Robert Tregea; Live broadcasts and recordings: Jayson McBride; IT: Alice Roberts; Digitisation: John Xuereb STAFF General Manager: Rebecca Beare; Office Manager: Sharon Sullivan; Community Engagement Manager: Mona Omar; Studio and Production Manager: Joe Goddard; Executive Assistant: Eddie Bernasconi NOVEMBER 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) Mr Michael Ahrens, Family Frank Foundation, Prof Clive Kessler, Garrett Riggleman Trust, Mr Ron Walledge, Mr Cameron Williams, Anonymous 2

Diamond Patrons ($10,000 – $24,999) Mr Robert Albert, Mr J D O Burns, Mr Bernard Coles QC, Mrs Dorothy Curtis, Ms Jill Hickson Wran, Dr Janice Hirshorn, Mr Peter & Dr Linda Kurti, Mrs Patricia McAlary, Anonymous 4

Ruby Patrons ($5,000 – $9,999) Mrs Barbara Brady, Mr David Brett, Ms Janine Burrus, Mr Lloyd & Mrs Mary Jo Capps AM, Justice David Davies, Mr Francis Frank, Mr Ian & Mrs Pam McGaw, Ms Jeannie McInnes, Mrs Judith McKernan, Ms Nola Nettheim, Mr John Selby, Mr Anthony Strachan, Mr Stephen Wilson, Anonymous 5

Emerald Patrons ($2,500 – $4,999)

NOTE S FROM T H E E DI TOR

Mrs Halina Brett, Mrs Lorna Alison Carr, Mrs Margaret Epps, Prof Michael Field AM, Mr John Nowlan, Mrs Freda Hugenberger, Dr Peter Ingle,

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By the time that you reach this page, you will have noticed that we have reinstated the short synopses of the Wednesday night operas and Saturday afternoon operettas. These will still be available on the website for anyone who wishes to access them in that manner. Full synopses will continue to be given during the opera and operetta broadcasts.

Our major musical celebration is the 300th anniversary of Leopold Mozart’s birth with two programs plus an article written by an author who is in the process of writing a book about this influential composer. The opera theme for the month is Biblical Characters and it’s interesting to see how some plots stay close to the story and its characters while others are woven around invented

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Ms Sue Jowell, Mr Ian Juniper, Mrs Ros & Doug Keech, Mr Ray McDonald, 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 6

Gold Patrons ($1,000 – $2,499) Ms Jan Bowen AM, Dr Carolyn Currie, Mr David Jacobs, Mrs Barbara Johnson, Mr Reginald John Lamble AO, Mr Verdon Morcom, Mr Trevor Parkin, Mr Iain Thompson, Ms Caroline Wilkinson, Anonymous 4

Silver Patrons ($500 – $999) Mr Claus Blunck, Mr Colin Boston, Mr Robert Clark, Mrs T Cox, Mr David Cummins OAM, Ms Prudence Davenport, Prof C Deer, Mr Ian de Jersey, Mr Peter Dunn, Mr John Fairfax AO, Dr David Gorman, Mr Paul Hopwood, Ms Georgina Horton, R & M Juchau, Hon Mr Justice D Kirby, Mr Nicholas Korner, Jennifer Lewis, Dr Peter Lindberg, Mrs Meryll Macarthur, Mr M Madigan, Mrs E McKinnon, Mr Michael Morton-Evans OAM, Mr Julius Opit, Mr Andrew Patterson, Ms Susan Ping Kee, Dr Neil Radford, Mr J A Roberts, Ms Catherine Ruff, Mrs Ruth Staples, Mr John Stevenson, Mr Larry Turner, Dr Paul Wormell, Anonymous 24

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characters within the framework of the Biblical narrative. Another article discusses the oratorio by C.P.E. Bach, The Israelites in the desert, which premiered 250 years ago this month. In a 100th anniversary celebration, the Devil takes centre stage in The soldier’s tale by Stravinsky.

I was unaware of the musical style known as Spiritual Minimalism although I have enjoyed the music of Taverner, Pärt and Gorécki so I found this month’s article on the subject most informative as I trust you will also. Spiritual Minimalism and Casanova don’t exactly mix but they, along with our regular features, are part of the rich variety that we are offering in this edition.

In December we’ll begin celebrations through programming and articles for the 45th anniversary of 2MBS/Fine Music. I’m sure you’ll agree with us that it’s a fine achievement.

Elaine Siversen

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