Fine Music October Magazine

OCTOBER 2019

MAGAZINE

ADVENTUROUS AND INNOVATIVE States of Chaos: 2020 Associate Artists-in-Residence

ANNIVERSARIES OF ICONIC WORKS Schubert’s Trout Quintet 200 Brahms’ Alto Rhapsody 150 Elgar’s Cello Concerto 100

FRENCH STYLE, ITALIAN ENERGY Clérambault: Master of the organ and the cantata

Contents VOL 46 No 10

2 A Rhapsodic Wedding Gift A Final Masterpiece 3 Adventurous and Innovative 4 ‘Very Musical Music’ 5 Schubert’s Much-Loved Quintet 6 Music for a United City 7 Operas with a Literary Theme 9 Program Guide and Composer List 40 Pioneer of Early Opera 41 French Style, Italian Energy 42 What’s On in Music 43 Musical Families 44 Musical Oddities 45 Tribute to Art Blakey 46 CD Reviews 47 Opera Singer and Broadcaster: Celeste Haworth 48 Notes from the Editor

THIS MONTH @ FINE MUSIC As the magazine goes to print this month, we are preparing to deliver our annual Celebration of Fine Music, an evening of celebration and fine music, which will include performances by our Artists-in-Residence, The Marais Project, and States of Chaos, our 2020 Associate Artists-in-Residence.

Celebration of Fine Music is also when we announce the recipient of our Stefan Kruger Scholarship. I know that, given the publication date of this magazine, it is safe to announce this year’s recipient as young composer, Harry Sdraulig.

The judging panel was extremely impressed with the quality of the 13 applications submitted this year. After careful consideration three finalists were interviewed and the winning application entitled The Chamber Works of Harry Sdraulig: A Digital Album by Harry Sdraulig was selected.

The aim of Harry’s project is to record and release a full-length digital album of chamber music comprising four existing works, two upcoming commissions, and a major new work composed specifically for the Stefan Kruger Scholarship, utilising nine of Sydney’s most celebrated professional musicians.

The album of seven works will be recorded using our studio and engineers (in accordance with the $5,000 value of the scholarship), whilst the $10,000 cash component will cover the musicians’ fees and expenses, album production and distribution costs. The major new work will officially be supported by the Stefan Kruger Scholarship and will be for solo violin and piano, with the premiere recording provided by Sydney Symphony Orchestra Associate Concertmaster Harry Bennetts.

We are proud to play such an important role in encouraging young musicians and music lovers in their ambitions to become professional musicians or broadcasters. We are excited to support Harry with this project in 2020 and we look forward to sharing his progress with you through the coming year.

Rebecca Beare Fine Music General Manager

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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 OCTOBER 2019

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A RHAPSODIC WEDDING GIFT BRIAN DRUMMOND DELVES INTO THE COMPOSER’S ANGUISH the pain of this egoist, consumed by self-pity and his own merit? Only in the final section is the male chorus heard. Here the key tends towards the bright C major. In music highly reminiscent of Brahms’ A German Requiem, soloist, chorus and orchestra plead to the Father of Love to reveal to the thirsting wanderer the ‘thousand springs next to him’.

The announcement of the marriage of Julie, daughter of Clara and Robert Schumann, came as a shock to the reserved and socially awkward Brahms, who was emotionally close to Clara. Since the tragic death of Robert 13 years earlier, Brahms had been supporting the Schumann household. Now aged 34 and with his fame increasing, he may well have been considering his future prospects regarding Julie, the prettiest of the Schumann daughters.

Although possibly disappointed, Brahms composed the Alto rhapsody as a gift for Julie on the occasion of her marriage in 1869.

The text of the Alto rhapsody provides some clues, particularly when one considers Brahms’ deeply romantic nature. The basis for the text is the poem Harzreise im Winter (Winter journey in the Harz) written by Goethe after climbing the highest peak of the Harz mountains in mid-winter. In the poem, the ascent of the mountain becomes an allegory for the struggle towards a higher existence where the seeker will learn his fate. Would he remain one of life’s unfortunates or would he be redeemed by love?

Johannes Brahms

Image source: Alamy

The dense opening section of the Rhapsody, in the key of C minor, refers to the pain of the wanderer as he searches for life’s meaning, summed up by the words ‘the wasteland engulfs him’. The second section is an aria where the contralto soloist asks who will heal

On seeing the score for the first time, Clara Schumann wrote that she believed the Rhapsody was a personal expression of Brahms’ deep anguish. She wished he would try to alleviate his state of mind by opening himself to others, rather than maintaining his gruff exterior. As for Brahms, he often stated that his only real form of self-expression was his music! The first performance of the Rhapsody was a dress rehearsal on 6 October 1869 for the Karlsruhe season’s first orchestral subscription concert of 1869.

Exactly 150 years later, a program dedicated to the Alto Rhapsody will be heard, along with other music played at its first performance, at 1pm on Sunday 6 October.

A FINAL MASTERPIECE RAJ GOPALAKRISHNAN LOOKS AT A CELLO CONCERTO critic chastising the orchestra for making a ‘lamentable … exhibition of itself’. The loudest and rapturous response was reserved for Skryabin’s The poem of ecstasy, which one critic observed, ‘hats and handkerchiefs were waved in a demonstration that is rarely seen in our concert halls’.

“There is in it ample melodic inspiration ... The adagio is of compelling beauty, the principal theme being of the kind that lingers in the memory.” — The Globe, 28 October 1919 In March 1918, a war-weary and seriously ill Edward Elgar underwent a risky and unavoidable tonsillectomy. The operation was successful, but it left the aging composer weakened and in great agony. On 22 March, as a new barrage of unrelenting gunfire claimed more lives on the Western Front, Elgar, still recuperating in hospital, asked a nurse for a pencil and paper. Amid this backdrop of intense public and private suffering, he wrote down what would become the melancholic opening theme of his first, and only, cello concerto.

The work was completed during the northern summer of 1919 with the assistance of Felix Salmond, a cellist who had given the first performances of Elgar’s String quartet and Piano quintet earlier in the year. The concerto’s premiere was set for 27 October 1919 at the Queen’s Hall, London, with Salmond as soloist and Elgar conducting. The rest of the concert 2

OCTOBER 2019

Despite the lacklustre performance, critics recognised the concerto’s inherent artistic qualities and warmly praised the work, singling out the poignant adagio. Scored for a reduced orchestra, the 60-bar movement is the beating heart of the concerto.

Edward Elgar

Image source: Alamy

consisted of orchestral works conducted by Albert Coates, his first as principal conductor of the London Symphony Orchestra.

Keen to make an impression, Coates took up most of the orchestra’s rehearsal schedule, depriving Elgar and the performers of valuable time for the new work. Unsurprisingly, the performance was a flop, with The Observer’s

It would take another 46 years for the public to wholly embrace the work. In 1965, the first stereo studio recording of the concerto, featuring a 20-year-old Jacqueline du Pré as soloist, lit up the charts and remains one of the most celebrated recordings.

The Cello concerto in E minor, op 85 was Elgar’s final major composition. Finis. R.I.P. appears on the last page of the score, perhaps foreshadowing the end of an era.

The program Elgar’s Cello Concerto can be heard on Thursday 24 October at 2pm.

ADVENTUROUS AND INNOVATIVE NICKY GLUCH PROFILES STATES OF CHAOS

States of Chaos (l to r): Ed Rodrigues, Casey Golden, Bill Williams

There is something comforting about eponymy.

Call yourself the Casey Golden Trio and a thousand possible sounds are evoked until an audience hears you play and then whatever you play must sound like you. There is also something detracting about eponymy. It can only place one ‘you’ front and centre and if, as with the Casey Golden Trio, you are made up of three complementary strands, a pianist, a bassist and a drummer, each essential to shaping the ensemble’s sound, then there is something honourable about shrugging off the eponymy and claiming a new identity.

However, there is also something risky and daring.

Fine Music subscribers, meet your Associate Artists-in-Residence for 2020. As States of Chaos, the trio has been reborn and things are about to get improvisatory in the Founders’ Studio. Casey Golden is the pianist, back in Australia after two years leading ensembles in London. The bassist is Bill Williams, who studied the double bass at the Australian National University before going on to tour as a jazz, blues and rock musician. The drummer is Ed Rodrigues, a graduate of the same university. He was recognised as one of the ‘Next Generation’ of Australian Jazz Drummers

by Drumscene Magazine in 2014 and now teaches at the University of Western Sydney.

What unites the three men is an interest in classical idiom and in fusing this with a decade of experience on the Sydney Jazz scene. For this reason alone, Fine Music seems the perfect base: a radio station and network of classical and jazz lovers with the facilities for both. As Golden explains, in what is a city unfortunately scant of rehearsal space, finding one with a concert-grade piano is an even greater challenge. I spoke with him shortly after he’d visited the Founders’ Studio which

had exceeded his expectations, not least for the Kawai Shigeru grand piano waiting to be played.

In Golden’s words States of Chaos is ‘an improvising instrumental trio’. “Nothing else is set in stone.” While the name is meant to be more tantalising than evocative, chaos and the trio seem a perfect fit. On the one hand, there is the Greek term χάος referring to the void state preceding the creation of the cosmos, alluding perhaps to that moment before any composition/improvisation can begin. Then there is the mathematical definition where chaos theory states that within an apparently random system, there are underlying patterns, feedback loops and principles of self-organisation that must occur. Is that not improvisation itself, where the potential for something new relies on an internal organisation, the pianist, bassist and drummer each knowing their roles and how best to play off one another?

Establishing these patterns, however, takes time and that is why States of Chaos is so grateful for the support that Fine Music can provide. Golden describes how he, Williams and Rodrigues have a backlog of ideas, emerging from the years they spent playing together in 2010-16 as well as from their own, more personal, experiences. Being Associate Artists-in-Residence permits them the time to explore.

States of Chaos is a burgeoning idea and the hope is that after a year of testing and trying things out, the trio’s place on the Jazz scene will be forged. On this point, I ask Golden how his time in London made him reflect on the Sydney scene. Golden’s answer is considered. While he concedes that there is ‘heaps going on in London’ his experience

made him appreciate how much actually does go on in Sydney, considering its size and relative isolation. Golden feels that it is time to acknowledge that we have our own, rich, musical culture with a lot of creativity emerging from regional areas. We have to move on, he says, from the perception that one hasn’t made the ‘big-time’ if based in Australia. If States of Chaos can contribute anything, it’s a commitment to this city, this country because the ensembles and the music scene reciprocally strengthen each other.

It is this ambition that requires bravery, and it is programs such as Fine Music’s Artistsin-Residence that are here to nurture. The goal of States of Chaos for 2020 is to ‘put a bunch of music out there’ by ‘recording original music’ and becoming ‘a bit more adventurous with what we perform’. Within the Founders’ Studio, both aims are easily achieved. Aside from being a recording studio, the space is often filled with small audiences for Fine Music’s live-to-air broadcasts. It’s the perfect setting in which to be experimental, cosy yet professional, the risks feeling bounded by the space.

It will be exciting, for all of us, to see what emerges. The Casey Golden Trio had a clear sense of purpose. It brought together three, strong-minded composer/performers eager to explore the potentials of their combination. They recorded, performed, became established and then pressed pause.

Now, rather than simply re-starting with a new name, the group wants to move beyond. The musicians are rolling the dice of possibility, embracing chance and disorder to confront that which often frightens us, the States of Chaos that permit invention.

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‘VERY MUSICAL MUSIC’ PAUL COOKE INVESTIGATES AN UNSUNG COMPOSER George Dyson is not a person whose name will be familiar to many today but he undoubtedly played a significant role in British musical life during the first half of the 20th century, as composer, organist, teacher, writer and administrator.

he encouraged Malcolm Arnold and the guitarist Julian Bream, as well as other alumni.

In 1924 he had begun teaching at Winchester College, and the atmosphere and opportunities afforded him there seemed to encourage his creativity.

He produced a succession of His first teaching appointment choral works which were tuneful, was at the Royal Naval College, vigorous and often majestic, Osborne, but he realised that he including In honour of the city would need a degree in music to and The Canterbury pilgrims, progress further. He composed regarded as his major work. Other the Choral Symphony for his choral works followed, but so did doctorate from Oxford, conferred Bodleian Library, Oxford Image source: Alamy his most ambitious orchestral in 1917, but the work was only recently discovered at the Bodleian Library Dyson was born in Halifax, Yorkshire, in work, the Symphony in G, notable for its brass while Paul Spicer was researching a biography 1883 to a working class family, his father a passages, and his lyrical Violin concerto. of Dyson. The symphony is scored for solo, blacksmith who worked in an industrial forge. Dyson knew that modern trends were chorus and orchestra, and its text, taken from At 16 he won a scholarship to the Royal ‘outside the vocabulary of what I want to say’.

Psalm 107, tells of the expulsion of the Jews College of Music, where he was a student of Christopher Palmer responded: “...you don’t from Israel and their subsequent homecoming. Stanford and was considerably influenced by have to be original to compose interesting or It was praised at the time as a ‘mature him and Parry. worthwhile music. Dyson’s is above all very work … demonstrating both his mastery of He taught at a succession of private schools musical music.” orchestration and his love of the sea’. These and at the Royal College of Music in London, Dyson’s Choral symphony, his Violin concerto attributes, together with the quality of his choral where he was director from 1937 until his and an excerpt from The Canterbury pilgrims writing and his command of large structures, retirement in 1952. He kept the college open can be heard at 2pm on Thursday 10 can be seen in later works such as St Paul’s and functioning during the Second World War; October. voyage to Melita.

SCHUBERT’S MUCH-LOVED QUINTET ANNE-LOUISE LUCCARINI TRACES THE TROUT According to the chronological catalogue compiled by Otto Erich Deutsch, Franz Schubert composed the Forellenquintett, D667 in ?Autumn 1819.

As Professor Deutsch devoted half of the 20th century to his magisterial documentary study of Schubert, a question mark is not to be taken lightly, and this one in particular has caused a quantity of very scholarly ink to flow.

alone in a mansion on the square.

There being no professional music in Steyr, he made a virtue and a pleasure of offering high class musical entertainments in his two beautiful music rooms, using available resources that included his instrument collection and the latest published scores. On learning the identity of Koller’s house guest, he would have lost no time in inviting the splendid baritone and his tubby, bespectacled accompanist to perform.

The paper trail begins with A newsy letter to Vienna dated 19 an exuberant letter dated 13 August tells of a side trip to visit July 1819. Schubert and his mutual friends in Linz. It ends friend Johann Michael Vogl ‘Farewell, then, until the middle had just arrived in Steyr, Upper of September’, and punctually on Austria, with their valises and 14 September we find Schubert a bulging music case. For and Vogl in Steyr, bags packed, Vogl, a celebrated operatic writing the customary aphorisms in baritone, it was a sentimental Stadler’s sister’s autograph book. journey to his birthplace, but Perhaps it had been during one for the 22-year-old Franz Peter of the last concerts that they had Schubert it was his first holiday: performed the song Die Forelle freedom, alpine meadows, (The Trout), which so enchanted the ore-bearing mountains of Paumgartner that he challenged Styria and Carinthia. (“The Schubert to compose variations countryside around Steyr is on the melody as a quintet, using inconceivably beautiful.”) It was the same unusual configuration the charm of the picturesque Franz Schubert Image source: Alamy (violin, viola, cello, double bass and old market town itself, where two rivers met and the muted roar of the his fellow iron merchants throughout the piano) as a Hummel work played earlier in rapids could be heard day and night; it was emergency. The Koller household, where the evening. Schubert picked up the gauntlet, music and carefree laughter, old friends and Schubert and Vogl took their meals, was a made a start, and took the quintet to Vienna new. (“Where I’m staying, there are eight girls, place of kindness and trust, where friendships where everything indicates that he completed nearly all of them pretty. As you see, there’s grew and deepened. Dedicated to Josefine it in the warmth of recent memory. It is all there: von Koller, the A major piano sonata (D664), the vivacity of that opening greeting, the gaiety plenty to do.”) introspective, graceful, a little wistful, is like the of the piano arpeggio response, the brilliant It should perhaps be explained that the young continuation of an interrupted conversation. and tender dialogue in the second and third ladies in question were the daughters of two One can imagine her playing it in her later movements describing Schubert’s friends, families living in the dignified residence of the years and remembering that halcyon summer including Paumgartner and his beloved cello. district magistrate, an uncle of one of Schubert’s of 1819. closest school friends, Albert Stadler, who was So, the question mark? Here’s the rub: the now a fledgling solicitor. The host had kindly Pepi’s sonata must have been written around moved the piano into Schubert’s second-floor the end of July, because hot on its heels original score has never been found, only the room, but he and Stadler seem to have spent comes D666, a festive cantata (‘words by parts in Stadler’s hand. more time in another house further down the Stadler, music by me’) in honour of Vogl’s 51st Stadler claimed 40 years later that he had town square, where Vogl was lodging with a birthday on 10 August. Stadler played, the copied the parts in Vienna and thought he had wealthy iron merchant named Joseph von text praising Vogl was sung by the ensemble sent them on, but could not remember clearly.

Koller. Koller’s daughter Josefine, known including Schubert, and the extended solos, However, as Vogl and Schubert both stayed by the Viennese diminutive ‘Pepi’, was ‘very naming as many of Vogl’s famous roles as with Paumgartner in 1823, we may reasonably pretty, plays capitally, and is going to sing could be made to fit into four strophes, were sung by Pepi and a local tenor. We learn that presume that he had eventually received several of my songs’. ‘people were thoroughly pleased’ so the tribute his Forellenquintett; a teasingly whimsical Aged 19, Pepi, raised by an exceptional to the local hero may have been public, which re-imagining with a reprieve for the trout. father, had lived through three Napoleonic Schubert was always original. brings us to Silvester Paumgartner. occupations. At considerable personal risk her father had used his fluent French to negotiate Paumgartner, Deputy Director of the We celebrate 200 years since the composition better terms with the occupying forces, and Federation of Iron Miners, was a passionate of the Trout Quintet in Sunday Special at 3 pm privately subsidised the town council and music-lover and amateur cellist, who lived on 6 October.

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MUSIC FOR A UNITED CITY ELAINE SIVERSEN FINDS A YEARNING FOR PEACE “Oh, that I had wings like a dove!

For then would I fly away and be at rest. / Lo, then I would wander far off and remain in the wilderness; / I would hasten my escape from the windy storm and tempest.” — from Psalm 55 Zoltán Kodály’s Psalmus hungaricus encapsulates two and a half millennia of political distress in his oratorio setting based on a free Hungarian translation of Psalm 55 by the 16th century poet, preacher and translator Mihály Vég. A parallel is drawn between the sorrows and Budapest on the Danube yearnings for peace of King David and the oppression of the Magyars under Buda, Pest and Óbuda (Old Buda) into one Ottoman occupation from 1541 to 1699, as city albeit divided by the Danube River. In a well as the suffering and distress during and move reminiscent of the ceremonial music of after World War I and the partition of historical the Baroque and Classical eras, Kodály set a Hungary in 1920 when 70 per cent of its sacred text for a secular occasion. territory was lost leaving many Hungarians in Much of the text of this expressive work ‘foreign’ countries. focuses on ‘martial bombast and defiance’ with Paradoxically Psalmus hungaricus was pleas for God to thwart and afflict the enemy. composed for a joyful occasion: the 50th However it also has rhapsodic moments such anniversary in 1923 of the unification of as the tenor solos: a yearning for relief from

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suffering in Oh, that I had the wings of a dove and But reassure my heart which combines fervour and tenderness. Psalm 55 also expresses thankfulness and unity: He hath delivered my soul in peace from the battle that was against me; for there were many with me. After all the tumult, the work ends with a hushed prayer.

Unfortunately this happy, longedfor peace lasted less than 20 more years.

The first performance conducted

by Ernö Dohnányi, included an overture by the conductor and a suite by Béla Bartók. Psalmus hungaricus was hailed as a masterpiece, a work typical of the man who incorporated the flavour of Hungary into many of his compositions. Even though Psalmus hungaricus does not include folk melodies, it has folklike motifs with plagal cadences that ‘combine to make this music an intense national experience for generations of Hungarians’.

Psalmus hungaricus and works by other Hungarians can be heard on 3 October at 2pm.

OPERAS WITH A LITERARY THEME NICKY GLUCH ASKS IS IT REALLY ‘BASED ON …’

The Sorrows foreshadows Romantic ideals, sympathising with the sensitive man who falls victim to love’s follies. Although it touched the men of the age, some of whom would even dress like Werther, Goethe came to distance himself from it. Perhaps that was merely maturity, for the story still rings true for anyone suffering first love, and although the novel ends on a somewhat bitter tone, the opera, while no happier, at least delivers a romantic, if ill-fated, finale.

Scene from Die Frau ohne Schatten

Image source: Alamy

My sister and I, given no choice but to love books (our Grandma was a librarian), used to play a game where we’d propose how we’d turn the books that we had read into a film. To imagine a story beyond the page necessitated that the book had caught, and kept, our attention but even at a tender age we understood that literary merit was not enough.

There had to be something within the drama, something about the characters or plot, that cried for the visual while being robust enough to survive a medium that relies on far fewer words.

binds the story: the Lady of the Lake (Elena) is betrothed to one man, in love with another and loved by a third, and it is said that musically Rossini honours these interweaving strands.

Phillip Gossett writes: “Rossini brings all the tunes together contrapuntally … for what is certainly the most exhilarating moment in all his opera. Whether or not it is true to Scott, it is clearly motivated by an intense desire to capture the spirit of Scott, and this desire draws Rossini down compositional paths he has never taken before.” Is that not the gift of inspiration?

To adapt a book into a film is one thing, for as spoken word the author’s lines may be retained. More complex is how to retain the essence of a story while turning it into song.

The question may be asked, how loosely can a librettist make use of a literary work for opera for it to be deemed to be ‘based on …’?

Celebrating its 100th anniversary, Strauss’ Die Frau ohne Schatten (The woman without a shadow) treats its origin material quite differently. The libretto was written by Strauss’ long-time collaborator, Hugo von Hofmannsthal, with the initial inspiration coming from Goethe’s The Conversation of German Immigrants. Over its five-year genesis the plot evolved, Hofmannsthal adding the idea of two couples (not an uncommon trope in opera): an emperor and empress and a dyer and his wife.

In October, listeners to At the Opera are encouraged to investigate the origins of the operas’ plots. Perhaps, as I have been, you will find yourself entranced with Walter Scott’s original words, or wonder how Goethe’s The Conversation of German Immigrants unfolded before Hugo von Hofmannsthal intervened.

October 2019 marks 200 years since the premiere of Rossini’s La donna del lago (The Lady of the Lake). The libretto, by Andrea Leone Tottola, is based on the French translation of Walter Scott’s narrative poem of the same title. It is disputed as to whether the opera’s commissioner or Rossini himself chose to use Scott’s work, but the more romantic version is that Rossini, on being introduced to the poem, was so struck by it that he immediately requested a copy, contacted Tottola, and so the life of the opera began.

La donna del lago remains quite faithful to Scott’s poem. The principal characters remain the same (their names merely italianised) and the plot unfolds with little alteration. Love

As is to be expected, things become tangled between these couples from their different classes and, in this case, worlds (the real and the spirit). The story is conceived as a fairy-tale, with a somewhat moralistic message that love becomes blessed through the birth of children. Listen for the chorus of ‘Unborn Children’ towards the end of Act I. These children haunt the poor dyer’s wife, emerging not before her eyes but as voices from her frying pan!

Finally to Mozart and The marriage of Figaro which was the composer’s first collaboration with the librettist Lorenzo Da Ponte (they would go on to write Don Giovanni and Così fan tutte). Beaumarchais’ play was banned in Vienna for its political dissidence, and a threat had been made that its successful performance, even with censoring, was unlikely. The success of the opera is thus owed to Da Ponte. In his wisdom, he removed any trace of politics and instead inserted an aria against unfaithful wives. Seems that was just the thing to please the Emperor, for the libretto was approved, Mozart was allowed to write the music, and Figaro was born.

Based on …; there’s always a story behind it!

Giaochino Rossini

Staying truer to Goethe’s words is Massenet’s opera, Werther. The epistolary novel The Sorrows of Young Werther, which made Goethe’s name, was adapted by Édouard Blau, Paul Milliet and Georges Hartmann.

Image source: Alamy

Enjoy the diverse stories as you listen to these four operas when they are broadcast at 8pm on each Wednesday in October.

OCTOBER 2019

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MORNING TEA & BISCUITS OCTOBER 14 RIDE LIKE A GIRL

DONNA TARTT’S PULITZER PRIZE WINNING NOVEL STARS NICOLE KIDMAN

THE GOLDFINCH FROM OCT 3

ALL TIX

$12

OCTOBER 30 AT 10:30AM

PAVAROTTI

RENEE ZELLWEGER

JUDY

FROM OCT 10

..........

ABOMINABLE UGLY DOLLS

SCHOOL

ANGRY BIRDS 2

..........

DORA AND THE LOST CITY OF GOLD

HOLIDAYS

PAW PATROL

ROBERT DE NIRO JOAQUIN PHOENIX

JOKER FROM OCT 3

A DELIRIOUS AND ROMANTIC ROCK N’ROLL PARABLE FEATURING THE MUSIC OF BRUCE SPRINGSTEEN

BLINDED BY THE LIGHT FROM OCT 24

SORCERER OCT 11 WILLOW OCT 13 SPEED OCT 18 NIGHT BREED OCT 25 THE CRAFT OCT 31 GALAXY QUEST NOV 15 BARAKA NOV 17 DIEHARD DEC 13 HOME ALONE DEC 15

FISHERMAN'S FRIENDS PLUS! ON STAGE! THE SEA CHANTIES CONCERT SING-A-LONG

SEASON FROM NOV 21

KRISTEN BELL JONATHAN GROFF EVAN RACHEL WOOD

FROZEN 2 FROM NOV 28

DAISY RIDLEY DOMHNALL GLEESON LUPITA NYONG'O

STAR WARS: THE RISE OF SKYWALKER FROM DEC 19

Tuesday 1 October 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 Chopin, F. Variations on Là ci darem la mano, from Mozart’s Don Giovanni (1827).

Daniil Trifonov, pf.

DG 479 7518 17 Haydn, J. Keyboard trio in C minor, Hob. XV:13 (1789). Beaux Arts Trio.

Philips 454 098-2 18 Schubert, F. Fantasy in F minor, D940 (1828). Paul Lewis, Steven Osborne, pf.

Hyperion CDA67665 18 Mahler, A. In meines Vaters Garten (pub.

1911); Waldseligkeit (pub.1915); Ekstase (pub. 1924). Isabel Lippitz, sop; Barbara Heller, pf. cpo 999 018-2 12 Fauré, G. Ballade, op 19 (1880). Sophia Gülbadamova, pf.

Danacord DACO 729 15 10:30 CONCERT HALL Prepared by Anne Irish Strauss, R. First suite of waltzes from Der Rosenkavalier (1911). Royal Concertgebouw O/Eugen Jochum.

DG 480 0478 11 Beethoven, L. Triple concerto in C, op 56 (1803-04). David Oistrakh, vn; Mstislav Rostropovich, vc; Sviatoslav Richter, pf; Berlin PO/Herbert von Karajan.

EMI 5 66902 2 36 Dvorák, A. Symphony no 8 in G, op 88 (1889). London SO/Antal Dorati.

Mercury 478 5092 34

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

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

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

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

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

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

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

EMI 5 56656 2 10 14:00 MUSICAL FAMILIES In-laws Prepared by Jennifer Foong Chaminade, C. Concertstück in C sharp minor, op 40 (1888). Danny Driver, pf; BBC Scottish SO/Rebecca Miller.

Hyperion CDA68130 15

CONTINUING PROGRAM SERIES Musical Families prepared by Jennifer Foong: Tuesdays 1, 15 at 2pm The London Proms prepared by Ron Walledge: Fridays 4, 18 at 2.30pm A New Life on These Shores prepared by Frank Morrison: Tuesdays 8, 22 at 2pm A Musical Caravan prepared by Frank Morrison: Fridays 11, 25 at 2pm Evenings with the Orchestra, Music from the New World prepared by David Brett: Friday 18 at 8pm Come to the Opera prepared by Derek Parker: Saturday 19 at 1pm Sunday Special, The Baroque Secular Cantata prepared by Rex Burgess: Sunday 27 at 3pm Live Broadcast: Young Virtuoso Award State Finals: Sunday 13 at 2pm

Moszkowski, M. Suite, op 71. Ilya Gringolts, vn; Alexandr Bulov, vn; Irina Ryumina, pf.

BIS CD-1016 20 Étude in A flat, op 72 no 11. Vladimir Horowitz, pf.

Sony 88697419402 1 Chaminade, C. Sombrero. Anne Sofie von Otter, mezz; Bengt Forsberg, pf.

DG 471 331-2 2 Pierrette, op 41. Stephen Hough, pf.

Hyperion CDA67043 2 Piano trio no 1 in G minor, op 11 (1881).

Tzigane Piano Trio.

ASV DCA 965 23 Flute concertino, op 107 (1902). Sharon Bezaly, fl; The Hague PO/Neeme Järvi.

BIS 1679 7 Moszkowski, M. Piano concerto in E, op 59 (1898). Piers Lane, pf; BBC Scottish SO/ Jerzy Maksymiuk.

Hyperion CDA66452 37 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 Alkan, C-V. Concert sonata in E, op 47 (1856).

Yvan Chiffoleau, vc; Olivier Gardon, pf.

Timpani IC 1013 32 Bliss, A. Clarinet quintet (1931). Janet Hilton, cl; Lindsay String Quartet.

Chandos CHAN 8683 29 Haydn, J. Piano trio in A, Hob.XV:18 (1794).

Erich Höbarth, vn; Christophe Coin, vc; Patrick Cohen, fp.

Harmonia Mundi HMC 901314 19 Mendelssohn, F. String quartet in D, op 44 no 1 (1838). Coull String Quartet.

Hyperion CDS 44051/53 31 This month, you will see a huge change in the Program Guide. Although we are still enhancing our main articles with images there will no longer be images relating to composers or performers in particular programs. Many faces have become familiar over the years and it’s time for a change of direction. Your Editor and Robert Gilchrist have been busy writing. We trust that you will enjoy reading the shorter articles and many extra snippets of information about more works and composers than we’ve been able to fit in before.

OCTOBER 2019

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Wednesday 2 October 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 Smetana, B. Macbeth and the witches (1859). Tamara Anna Cislowska, pf.

ABC 476 6301 10 Verdi, G. Ballet music from Macbeth (1847/64-65). BBC PO/Edward Downes.

Chandos CHAN 9510 11 Chorus of the Scottish refugees, from Macbeth. Opera Queensland Ch; Queensland SO/Johannes Fritzsch.

ABC 480 7518 6 Strauss, R. Tone poem: Macbeth, op 23 (1888/91). Seattle SO/Gerard Schwarz.

Naxos 8.571219 19 Walton, W. Macbeth: fanfare and march (1941-42; arr. Palmer). Academy of St Martin in the Fields/Neville Marriner.

Chandos CHAN 8841 6 Arnold, S. Incidental music to Macbeth (1778). Toronto Camerata/Kevin Mallon.

Naxos 8.557484 18 Shostakovich, D. Passacaglia, from Lady Macbeth of Mtsensk, op 29 (1934; transcr.

Shostakovich). Alexander Naoumenko, db; Hervé Désarbre, org.

Le Chant du Monde LDC 7781124 8 10:30 CONCERT HALL Prepared by Elaine Siversen Dvorák, A. Suite in A, op 98b, American (1895). Janácek PO/Dennis Burkh.

Centaur CRC 2121 22 Khachaturian, A. Violin concerto in D minor (1940). Mikhail Simonyan, vn; London SO/ Kristjan Järvi.

DG 477 9827 38 Saint-Saëns, C. Symphony no 2 in A minor, op 55 (1859). Vienna SO/Georges Prêtre.

Erato 2292-45695-2 23 12:00 JAZZ SKETCHES with Robert Vale World-wide contemporary jazz including contributions from Australian artists and those from culturally emerging nations 13:00 OPERA IN CONCERT Prepared by Giovanna Grech Borodin, A. Overture to Prince Igor (1887; reconstr. Glazunov). Royal Liverpool PO/ Charles Mackerras.

Virgin VC 7 91174-2 11 10

OCTOBER 2019

Massenet, J. Je suis seul, from Manon (1884). David Hobson, ten; Tasmanian SO/ Marco Guidarini.

ABC 461 677-2 5

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

Bizet, G. Leila! Leila! from The pearl fishers (1863). Yvonne Kenny, sop; Philharmonia O/ David Parry.

Chandos CHAN 3035 8

The stars of American jazz from bebop on, mainly small group low temperature jazz

Meyerbeer, G. Quand l’heure sonnera, from Dinorah (1867). Jerry Hadley, ten; Thomas Hampson, bar; Welsh National Opera O/Carlo Rizzi.

Teldec 9031-73283-2 7 Rossini, G. Ballet music, from William Tell (1829). New Philharmonia O/Charles Mackerras.

EMI CDM 1 66417 2 9 Donizetti, G. Tu che a Dio spiegasti l’ali, from Lucia di Lammermoor (1835). Luciano Pavarotti, ten; Nicolai Ghiaurov, bass; Royal Opera House Ch & O/Richard Bonynge.

Decca 417 638-2 5 Verdi, G. Figlia! Mio padre, from Rigoletto (1851). Cheryl Barker, sop; Jeannie Marsh, mezz; Peter Coleman-Wright, bar; Tasmanian SO/Martin André.

ABC 465 699-2 8 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 SHOSTAKOVICH EXPLORED Part 1 Prepared by Michael Morton-Evans Shostakovich, D. Scherzo in F sharp minor, op 1 (1919). USSR Ministry of Culture SO/ Gennady Rozhdestvensky.

LP Melodiya C 10 19103 004 5 Five preludes, from Eight preludes, op 2 (1919-21). Boris Petrushansky, pf.

Stradivarius STR 33727 7 Theme and variations, op 3 (1922). London SO/Leon Botstein.

Telarc 80642 16 Three fantastic dances, op 5 (1922). Eileen Joyce, pf.

Pearl GEMM 9022 4 Piano trio in C minor, op 8 no 1 (1923). Trio Wanderer.

Harmonia Mundi HMG 501825 12 Symphony no 1 in F minor, op 10, mvt 1 (1924-25). Royal Liverpool PO/Vasily Petrenko.

Naxos 8.572396 8

19:00 JAZZ STARS AND STRIPES with Peter Mitchell

20:00 AT THE OPERA Prepared by James Nightingale Massenet, J. Werther. Opera in four acts.

Libretto by Édouard Blau, Pauk Milliet and Georges Hartmann. First performed Vienna, 1892.

Decca 478 3434 2:11 WERTHER: Jose Carreras, ten CHARLOTTE: Frederica von Stade, sop SOPHIE: Isobel Buchanan, sop ALBERT: Thomas Allen, bar Children of the Royal Opera House; Royal Opera House O/Colin Davis.

Synopsis at finemusicfm.com/Opera 22:30 BLURRY LINES Prepared by Mariko Yata Richter, M. Autumn 1-3, after Vivaldi’s The four seasons (2012). Daniel Hope, vn; Konzerthaus CO/André de Ridder.

DG 481 0044 11 Dorman, A. Piano sonata no 1, Classical (1998). Eliran Avni, pf.

Naxos 8.579001 15 Loussier, J. Concerto no 1 for violin, percussion and orchestra (1987-88). Piotr Iwicki, perc; Polish Philharmonic CO/Adam Kostecki, vn & dir.

Naxos 8.573200 24 Khan, U. Madhoushi (1951; arr. Khan).

Shujaat Khan, voice, sitar; Silk Road Ensemble/Yo-Yo Ma. Sony 88875181012 10 Messiaen, O. Mode de valeurs et d’intensités (1949). Stephanie McCallum, pf.

ABC 456 668-2 6 Escaich, T. Baroque song for orchestra (2007). Lyon Opera O/Alexandre Bloch.

Sony 88985430192 17 The plays of William Shakespeare have inspired many composers to write music that is either intended as incidental music to the plays or as concert works depicting the atmosphere of the plays.

Many have been attracted to Macbeth and its story of the supernatural, multiple murders, paranoia, guilt and insanity.

Over the centuries many a leader has been corrupted by a lust for power and this is epitomised in the story of the 11th century Scottish general Macbeth who, with his wife, murders King Duncan and seizes the throne.

Thursday 3 October 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Simon Moore

12:00 JAZZ, PURE AND SIMPLE with Maureen Meers

19:00 THE NEW JAZZ STANDARD with Frank Presley

Covering the many aspects of jazz from Swing to Mainstream, with the Great American Songbook making regular appearances

20:00 THE WORLD OF A SYMPHONY Prepared by Chris Blower

13:00 IBERIAN CLASSICISM AND ROMANTICISM Prepared by Anabela Pina

9:00 DIVERSIONS IN FINE MUSIC The instruments: strings Prepared by Paul Cooke Walters, G. Little suite for flute and harp (1960s). Adam Walker, fl; Sally Pryce, hp.

Toccata TOCC 0090 11 Brahms, J. Andante, from Piano concerto no 2 in B flat, op 83 (1878-81). Maurizio Pollini, pf; Robert Scheiwein, vc; Vienna PO/Claudio Abbado.

DG 479 0913 13 Devienne, F. Trio in C for flute, viola and cello (c1790). Sara Ligas, fl; Salavatore Rea, va; Vladimiro Atzeni, vc.

Brilliant Classics 95686 14 Caplet, A. Divertissement à la française (1924); Divertissement à l’espagnole (1924).

Laurence Cabel, hp.

Harmonia Mundi HMC 901417 10 Sibelius, J. Four pieces for cello and piano, op 78 (1915-17). Torleif Thedéen, vc; Folke Gräsbeck, pf.

BIS CD817 12

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

Naxos 8.557207 7 Boccherini, L. Guitar quintet no 4 in D, Fandango (1798). Le Concert des Nations/ Jordi Savall.

Alia Vox AV9845 22 Bomtempo, J. Symphony no 1 in E flat, op 11 (1809). Algarve O/Álvaro Cassuto.

Naxos 8.557163 25 14:00 HUNGARIAN PSALM Prepared by Frank Morrison Goldmark, K. Overture: In the Spring, op 36 (1888). Irish National SO/Stephen Gunzenhauser.

Naxos 8.550745 10 Dohnányi, E. Ruralia hungarica, op 32b (1924). West Australian SO/Jorge Mester.

ABC 438 197-2 24

Boccherini, L. Guitar quintet no 5 in D. Eros Roselli, gui; La Magnifica Comunità.

Brilliant Classics 94386 20

Liszt, F. Hungarian rhapsody no 1 in F minor (1846-85). London SO/Antal Dorati.

Mercury 432 015-2 11

10:30 CONCERT HALL Prepared by Frank Morrison

Kodály, Z. Psalmus hungaricus, op 13 (1923). Endre Rösler, ten; Budapest Ch; Hungarian National PO/Zoltán Kodály.

Philips 426 102-2 24

Bax, A. Festival overture (1909/18). London PO/Bryden Thomson.

Chandos CHAN 8586 16 Krommer, F. Oboe concerto in F, op 37 (1803). Sarah Francis, ob; London Mozart Players/Howard Shelley.

Hyperion CDA 66411 22 Schmidt, F. Symphony no 1 in E (1896-99).

Detroit SO/Neeme Järvi.

Chandos CHAN 9357 45

Rózsa, M. Hungarian nocturne, op 28 (1964).

New Zealand SO/James Sedares.

Koch 3-7191-2H1 10 Bartók, B. Music for strings, percussion and celesta (1936). Budapest FO/Iván Fischer.

Philips 416 831-2 29 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm

Holbrooke, J. Prelude: The bells, op 50 (1903). Czecho-Slovak RSO/Adrian Leaper.

Marco Polo 8.223446 11 Bantock, G. In a dream I spake; Bridal song (1900-07). Susan Bickley, mezz; Royal PO/ Vernon Handley.

Hyperion CDA66899 9 Cowen, F. The butterfly’s ball (1901). BBC Welsh NO/Rumon Gamba.

Chandos CHAN 10797 12 Bantock, G. Pagan poem (1950). Kenneth Smith, fl; Paul Rhodes, pf.

ASV DCA 862 5 Delius, F. Brigg Fair: an English rhapsody (1907). BBC SO/Andrew Davis.

Teldec 4509-90845-2 17 Parry, H. Four songs, from English lyrics, set 6 (1880s). Stephen Varcoe, bar; Clifford Benson, pf.

Hyperion CDA67044 8 German, E. Nocturne (1882); Pastorale (1895). Andrew Long, vn; Ian Buckle, pf.

Naxos 8.573407 10 Bantock, G. A Hebridean symphony (1915).

Royal PO/Vernon Handley.

Hyperion CDA66450 35 22:00 FEATURING PIERS LANE Prepared by Paul Cooke Stanford, C. Villiers Four Irish dances: March jig; Slow dance; Leprechaun’s dance; Reel.

Hyperion CDA67279 15 Schubert, F. Violin sonata no 1 in D, D384 (1816). Tasmin Little, vn.

Chandos CHAN 10850(2) 12 Piers Lane, pf (2 above) 22:30 ULTIMA THULE Ambient and atmospheric music

THE IBERIAN CONNECTION

The Iberian Peninsula has produced some outstanding composers and nurtured others who have moved there from their native countries including Domenico Scarlatti who lived in both Portugal and Spain serving the royal households. Luigi Boccherini took up residence in Spain and absorbed many influences of Spanish dance and rhythm into his compositions. His use of the guitar in his quintets helped to popularise the instrument in other countries.

Juan Arriaga was destined to be a major influence in Spanish music but he died ten days before his 20th birthday. Like Wolfgang

Mozart he was a child prodigy and a brilliant composer from a young age. After his death he was nicknamed ‘the Spanish Mozart’ not only because of this but also because he was born 50 years after Mozart on exactly the same day, 27 January. A native of Bilbao, he went to Paris to study at the Conservatoire with Luigi Cherubini and others. On hearing Arriaga’s Stabat Mater, Cherubini exclaimed, ‘Amazing!

You are music itself.’. Other works were highly praised including his three string quintets, written when he was 16 and containing elements of Spanish melody and rhythm. They are deemed to be his best works.

Portuguese composer João Domingos Bomtempo excelled as classical pianist, composer and pedagogue. His virtuoso career began in Paris and led him to London but, after 12 years, he returned to Lisbon where he became the music teacher of Queen Maria II and first Director of the National Conservatory. His two known symphonies are the first to be composed by a Portuguese musician. He also composed concertos, sonatas, variations and fantasies for piano. His masterpiece, also his largest work, is the Requiem in memory of Luis de Camões, a 16th century epic poet.

OCTOBER 2019

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Friday 4 October 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 Respighi, O. Chaconne for violin, organ and strings, after Tomaso Vitali (1908). Ingolf Turban, vn; English CO/Marcello Viotti.

Claves 50-9017 14 Busoni, F. Fantasia after Johann Sebastian Bach (1909). John Buttrick, pf.

Jecklin JD 623-2 15 Bantock, G. Old English suite, after Gibbons, Dowland, Bull, Farnaby, Byrd (1909). CzechoSlovak State PO/Adrian Leaper.

Naxos 8.555473 15 Fossa, F. de Grand duet no 8 in G, on themes from Haydn’s String quartet, Hob.III:23. Jukka Savijoki, gui; Erik Stenstadvoid, gui. apex 0927 49444 2 18 Stravinsky, I. Suite after Pergolesi (1925).

Ray Chen, vn; Timothy Young, pf.

Melba MR 301128 18 10:30 CONCERT HALL Prepared by Jennifer Foong Benjamin, A. Overture to an Italian comedy (1937). Sydney SO/Joseph Post.

ABC 442 374-2 6 Bennett, W. Sterndale Piano concerto no 5 in F minor (1835; ed. Bush). Malcolm Binns, pf; Philharmonia O/Nicholas Braithwaite.

Lyrita SRCD 205 33 Liszt, F. Symphony on Dante’s Divine Comedy (1855-56). Schola of London Oratory School; London SO/Leon Botstein.

Telarc 80613 42

12:00 A JAZZ HOUR with Barry O’Sullivan

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

13:00 ROMANTIC CHAMBER Prepared by Paul Hopwood

19:00 FRIDAY JAZZ SESSION with Christopher Waterhouse

Brahms, J. Piano quartet no 1 in G minor, op 25 (1861; arr. Schoenberg). London SO/ Geoffrey Simon.

Cala CACD 1006 40

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

Rachmaninov, S. Piano trio élégïaque no 1 in G minor (1892). Moscow Rachmaninov Trio.

Hyperion CDA67178 13

20:00 EVENINGS WITH THE ORCHESTRA Prepared by Robert Small

Moscheles, I. Septet in D, op 88 (1832).

Walter Hermann, cl; Christoph Moinian, hn; Mayumi Shimizu, vn; Jaap Zeijl, va; Christoph Groth, vc; Volker Donandt, db; Caroline Weichert, pf.

Koch Schwann 3-1178-2 29

Symphony no 2 in C, op 61 (1845-46). 39

14:30 THE LONDON PROMS September 1900 Prepared by Ron Walledge Beethoven, L. Overture to Egmont, op 84 (1810). Berlin PO/Herbert von Karajan.

DG 445 112-2 8 Berlioz, H. Overture to Benvenuto Cellini, op 23 (1836-38). Montreal SO/Charles Dutoit.

Decca 452 480-2 10 Saint-Saëns, C. Havanaise in E, op 83 (1887). Tapiola Sinfonietta/Jean-Jacques Kantorow.

BIS CD-860 8 Beethoven, L. Symphony no 3 in E flat, op 55, Eroica (1803). Scottish CO/Charles Mackerras.

Hyperion CDS44301/5 47 Verdi, G. Triumphal march and ballet, from Aïda (1871). Rome Opera O/Georg Solti.

Decca 478 3705 6

Schumann, R. Overture to Manfred, op 115 (1848-49). 12 O Mozart/Claudio Abbado (2 above) DG 479 1061 Chopin, F. Piano concerto no 1 in E minor, op 11 (1830). Daniil Trifonov, pf; Mahler CO/ Mikhael Pletnev.

DG 479 7518 43 Mozart, W. Serenade no 13 in G, K525, Eine kleine Nachtmusik (1787). Academy of St Martin in the Fields/Neville Marriner.

EMI CDM 1 66423 2 17 22:00 BAROQUE AND BEFORE Goldberg variations in transcription Prepared by Susan Foulcher Bach, J.S. Aria; Variations 1 to 15, from Goldberg variations, BWV988 (1741; arr.

Boothby for six viols). Fretwork.

Harmonia Mundi HMX 2908744 44 Variations 16 to 31; Aria da capo, from Goldberg variations (1741; arr. Ayerza for recorder quintet). Seldom Sene.

Brilliant Classics 95591 39 Dufay, G. Six isorhythmic motets. Huelgas Ensemble/Paul van Nevel.

Harmonia Mundi HMG 50 24

SYMPHONIC POEM TO SYMPHONY The creation of the symphonic poem by Franz Liszt was the result of his great interest in art and literature. His 13 symphonic poems covered a wide range of subjects including historical and national themes, mythology and philosophical ideas. The symphonic poem is not a description following the scenario step by step but a work in which Liszt describes the general atmosphere and the colour of his theme. It is said that his Grand Mass of 1855 is an inspired symphonic poem with chorus.

The choral music of Liszt is rarely heard but several larger works are outstanding, among them the oratorios The legend of St Elizabeth, Christus, Messe de gran, the Hungarian Coronation Mass and an imposing setting of Psalm 13. In exploring some of the 12

OCTOBER 2019

smaller choral works one finds gems such as Chor der Engel (Angel’s chorus) where the delightful accompaniment is by the harp.

The influences of Gregorian plainchant and of the Renaissance composers Giovanni da Palestrina and Roland de Lassus are evident in his religiously-inspired compositions.

Likewise his organ music owes much to his admiration of Johann Sebastian Bach and one work in particular, Fugue on the name BACH, is a tribute to the great master while another unpublished work, The organ, is a symphonic poem for organ on lines from Johann Gottfried Herder’s poem.

The atmosphere and colour of the symphonic poem comes to the fore in the two great symphonies, the Dante and the Faust both

of which include choral movements. These are two of the great masterpieces of the Romantic era.

The Symphony on Dante’s Divine Comedy is based on Dante Alighieri’s journey through Hell and Purgatory, as depicted in The Divine Comedy. Some critics prefer to call it a work comprising two descriptive symphonic poems. When Liszt began work on the symphony, he intended its performance to be accompanied by a slide show depicting scenes from The Divine Comedy and he also planned to use a wind machine to simulate the winds of Hell. These grand plans did not eventuate when the symphony was completed ten years later and the first performance was a conventional affair.

Saturday 5 October 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 Debussy, C. L’îsle joyeuse (1904). Pascal Rogé, pf.

Decca 478 5644 6 Bach, J.S. Suite no 2 in A minor, BWV807, English (bef. 1725). Ivo Pogorelich, pf.

DG 479 4350 29 Granados, E. Valses poéticos (1887). Luis Fernando Pérez, pf.

Mirare MIR 138 14 10:00 MUSIC OF THE DANCE Prepared by Chris Blower Ponchielli, A. Dance of the hours, from La Gioconda (1876). Vienna PO/Gustavo Dudamel.

DG 476 4717 10 Madetoja, L. Suite from Okon Fuoko, op 58a (1930). Iceland SO/Petri Sakari.

Chandos CHAN 9036 14 Debussy, C. Two dances for harp and string orchestra (1904). Gnessin Pedagogical Institue of Music CO/Oleg Agarkov.

LP Melodiya C10 20931 005 10 Tubin, E. Suite on Estonian dances (1974).

Mark Lubotsky, vn; Gothenburg SO/Neeme Jarvi.

BIS CD-286 17

Holst, G. Mars, from The planets. Summit Brass.

Summit DCD-171 8 Lehár, F. Gold and silver waltz (1902).

Stanshawe (Bristol) Band/W. B. Hargreaves.

LP Decca SB 322 5 Coates, T. Columbian national potpourri: Hail Columbia; The Star Spangled Banner; Yankee doodle. Allentown Band/Ronald Demkee.

AMP 2B 229 7 Stoeckart, J. Eye-level. Yorkshire Imperial Metals Band/Trevor Walmsley.

LP Astor GGS 1477 2 12:00 URBAN JAZZ LOUNGE with Leita Hutchings 13:00 LOUIS-NICOLAS CLÉRAMBAULT Prepared by Paul Cooke Clérambault, L-N. Caprice sur les grands jeux (c1710). Michael Dudman, org.

Walsingham 3 WAL 8023 2 2 Chaconne, from Simphonia V. Soloists of Le Concert Spirituel.

Naxos 8.553743 5 Excerpts from Le triomphe d’Iris (1706).

Claire Geoffroy-Dechaume, mezz; Jacques Bona, bass-bar; Le Concert Spirituel/Hervé Niquet.

Naxos 8.554455 9 Suite in C minor (1704). Andreas Staier, hpd.

Harmonia Mundi HMC 902143 12

Lambert, C. Ballet: Romeo and Juliet (192525). English CO/Norman Del Mar. Lyrita SRCD.215 30

Cantata: Orphée (pub. 1710). Rachel Yakar, sop; Wilbert Hazelet, fl; Reinhard Goebel, vn; Charles Medlam, bass viol; Alan Curtis, hpd.

Archiv 437085-2 18

11:30 ON PARADE Music that’s band Prepared by Owen Fisher

Trio sonata for two violins and continuo: La magnifique. Music’s Re-creation.

Meridian CDE 84182 11

McCartney, P. Yesterday. Yorkshire Imperial Metals Band/Trevor Walmsley.

LP Astor GGS 1477 3

Suite on the second tone (1710). Gillian Weir, org.

Argo 460 185-2 21

14:30 SATURDAY MATINEEE Deborah Handel, G. Oratorio: Deborah, HWV51 (1733).

Yvonne Kenny, sop; Susan Gritton, sop; Catherine Denley, mezz; James Bowman, ct; Michael George, bass; Choir of New College, Oxford; Choir of Salisbury Cathedral; King’s Consort/Robert King.

Hyperion CDA66841/2 2:20 17:00 SOCIETY SPOT Folk Federation of NSW 18:00 THE MAGIC OF STAGE AND SCREEN Prepared by Adam Bowen Herrmann, B. The seventh voyage of Sinbad (1958). Columbia Studio O/Bernard Herrmann.

Prometheus XP166 6 Kilar, W. The ninth gate (1999). City of Prague Ch & PO/Stepan Konicek.

Silva Screen FilmCD 321 8 Hisaishi, J. Howl’s moving castle (2005). O/ Joe Hisaishi.

KO Records 88009 15 Doyle, P. Harry Potter and the goblet of fire (2005). O/Patrick Doyle.

Warner Bros 9362496312 11 Herrmann, B. White witch doctor (1953).

National PO/Charles Gerhardt.

RCA Victor G080707 12 19:00 THE AMERICAN SYMPHONY Prepared by Chris Blower Barber, S. Adagio for strings, op 11a (1936).

Australian CO/Richard Tognetti.

Sony SK 48252 9 Ives, C. Symphony no 1 (1896-98). National SO of Ireland/James Sinclair.

Naxos 8.559175 46 20:00 THE LIFE OF A COMPOSER Prepared by James Nightingale Bach, J. Christian Overture to Adriano in Siria (1765). Academy of Ancient Music/ Simon Standage.

Chandos CHAN 0540 7 continued next page »

HANDEL’S SECOND ORATORIO Deborah was Handel’s second oratorio in the English language with its libretto based on Biblical stories found in the Book of Judges.

After the Israelites have been subjugated for 20 years by the Canaanites, the prophetess Deborah foretells the death of the Canaanite army commander at the hands of an Israelite woman, and the victory of the Israelites over the Canaanites. The premiere at the King’s Theatre in London in 1733 was a huge success and the work was revived by Handel in subsequent years. In the work he reused popular sections of previous compositions

and composed large choruses and employed grand orchestral effects, including trumpets and drums, which greatly pleased the audience.

After the success of his first oratorio, Esther, the previous year, Handel recognised that ‘sacred drama’ had great potential. Being quite the impressario, he doubled the price of admission to Deborah which caused some criticism but did not deter the audience. One witness to the first performances noted its magnificence with ‘near 100 performers, among whom about 25 singers’ while another

remarked ‘it is excessive noisy, a vast number of voices and instruments, who all perform at a time’.

In BBC Magazine Top 1000 CDS Guide we read: “Deborah contains some of the most glorious music Handel ever wrote. Even if many of the numbers have been recycled from earlier works, the invention is still staggering … everyone can revel in the sumptuous scoring and the sheer vitality and humanity of the piece.”

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Saturday 5 October Bach, J.S. Harpsichord concerto no 5 in F minor, BWV1056 (1735-40). English CO/ Raymond Leppard, hpd & dir.

Philips 422 497-2 11 Bach, C.P.E. Trio sonata in B flat, Wq158 (c1754). London Baroque/Charles Medlam.

Harmonia Mundi HMA1951511 14 Bach, J. Christian No, che non ha la sorte; Vo solcando un mar crudele, from Artaserse (c1760). Bejun Mehta, ct; Akademie für Alte Musik, Berlin/René Jacobs.

Harmonia Mundi HMC 902172 9 Concerto in E flat, op 7 no 5. London Baroque.

Harmonia Mundi HMX 2908601.30 16 Mozart, W. Keyboard concerto in D after J.C. Bach, K107 no 1 (1770). Ronald Brautigam, fp; Cologne Academy/Michael Alexander Willens.

BIS BIS-2084 12 Bach, J. Christian Magnificat (1760). Joanne Lunn, sop; Elena Biscuola, cont; Georg Poplutz, ten; Thomas E. Bauer, bass; South German Chamber Choir; Concerto Cologne/ Gerhard Jenemann.

Carus 83.347 11 Piano sonata in G, op 17 no 1 (c1779).

Alberto Nosè, pf.

Naxos 8.570361 12 Symphony in G minor, op 6 no 6 (1769).

Academy of Ancient Music/Simon Standage.

Chandos CHAN 0540 15 22:00 SATURDAY NIGHT AT HOME Prepared by Krystal Li Martinu, B. Sonatina (1930). Krysia Osostowicz, vn; Ernst Kovacic, vn; Susan Tomes, pf.

Hyperion CDD22039 13 Fibich, Z. Idyll at twilight, op 39 (1893).

Czech National SO/Marek Stilec.

Naxos 8.573157 16 Smetana, B. String quartet no 1 in E minor, From my life (1880). Talich Quartet.

Calliope CAL 3332 27 Dussek, J. Concerto in E flat, op 15 (1789).

Roberta Alessandrini, hp; Mantua O/Vittorio Parisi.

Naxos 8.553622 25 Suk, J. Fairy tale, op 16 (1899-1900). Czech PO/Jirí Bélohlávek.

Chandos CHAN 9640 30 The Lento section of the symphonic poem At twilight, also known as Idyll at twilight, by Zdenek Fibich is well-known as Poème in D flat in the arrangment for piano, and also for violin and piano. The music of Fibich espouses German romanticism differing from the nationalism of his Bohemian contemporaries.

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OCTOBER 2019

Sunday 6 October 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SUNDAY MORNING MUSIC with Terry McMullen 9:00 MUSICA SACRA Prepared by Stephen Matthews Févin, A. de Missa Ave Maria. Brabant Ensemble/Stephen Rice.

Hyperion CDA 68265 33 Telemann, G. Cantata for the Sunday Exaudi.

Telemann CO, Michaelstein/Ludger Remy. cpo 999 542-2 19 10:00 THE CLASSICAL ERA Prepared by Rex Burgess Mozart, W. Double concerto in C, K299 (1778). Jane Rutter, fl; Louise Johnson, hp; Sydney Bach O/Richard Bonynge.

ABC 476 6475 29 Beethoven, L. Quintet in E flat for winds and piano, op 16 (1796). Emma Scholl, fl; Shefali Pryor, ob; David Rowden, cl; Matthew Ockended, bn; Euan Harvey, hn.

Fine Music concert recording 25 Haydn, J. Divertimento in G for baryton, horns and strings, Hob.X:12 (c1775).

Members of Haydn Sinfonietta/Manfred Huss.

BIS CD-1796/98 13 Boccherini, L. Aria accademica no 3 (178692). Sandra Pastrana, sop; O dell’Istituto Superiore di Studi; Musicali Luigi Boccerini di Lucca/GianPaolo Mazzoli.

Brilliant Classics 95280 13 Cherubini, L. Symphony in D (1815). London SO/Charles Mackerras.

Carlton Classics 15656 91372 30 12:00 CLASSIC JAZZ AND RAGTIME with Maureen Meers The early days of jazz and ragtime as recorded during the first 30 years of the 20th century 13:00 WORLD MUSIC: Whirled Wide Showcases diverse music from cultures around the world, both traditional and modern, featuring musicians from all corners of the globe, including Australia 14:00 A RHAPSODIC WEDDING GIFT Prepared by Brian Drummond

op 52 (1869). Swiss RT Ch; Martha Argerich, pf; Diego Fasolis, cond.

DG 477 9884 7 Poco allegro, from String sextet no 2 in G (1864-65). Emily Sun, vn; Cindy Guo, vn; Kristy Nguyen, va; Susi Kwon, va; Lucy Comack, vc; Gillian Madden, vc.

Music Films MFCD001 7 Hungarian dances (1869): no 2 in D minor; no 3 in F; no 4 in F minor; no 5 in F sharp minor.

Duo Crommelynck, pf.

Claves 50-8710 11 Minuets I and II, from Serenade for orchestra no 1 in D, op 11 (1858). Queensland SO/ Patrick Thomas.

ABC 476 4564 4 Alto rhapsody, op 53 (1869). Janet Baker, mezz; London Symphony Ch; City of London Sinfonia/Richard Hickox.

Virgin VC 7 91123-2 14 15:00 SUNDAY SPECIAL Schubert’s Trout: celebrating 200 years Prepared by Di Cox Weber, C.M. Clarinet quintet in B flat, op 34 (1813-15). Alan Hacker, cl; members of Music Party.

L’Oiseau-Lyre 444 167-2 29 Tchaikovsky, P. Souvenir of a beloved place, op 42 (1878; arr. Parhamovsky). Maxim Vengerov, vn; Vag Papian, pf; Virtuosi.

EMI 5 57164 2 18 Czerny, C. Brilliant fantasy no 1, after Schubert, op 339 (c1836). Andrew Clark, hn; Geoffrey Govier, fp.

Helios CDH55074 17 Schubert, F. The trout, D550 (c1817-20).

Bryn Terfel, bass-bar; Malcolm Martineau, pf.

DG 449 190-2 2 Piano quintet in A, D667, Trout (1819) Members of Nash Ensemble.

IMP PCD 868 45 17:00 HOSANNA Prepared by Stephen Matthews Hymns: Christ is made the sure foundation.

Choir of York Minster/Robert Sharp.

Regent REGCD439 3 Wesley, S.S. Thou wilt keep him in perfect peace. Christopher Robinson, cond.

Naxos 8.570318 4

Brahms, J. Rondo alla zingarese, from Piano quartet no 1 in G minor, op 25 (1861). Gidon Kremer, vn; Yuri Bashmet, va; Mischa Maisky, vc; Martha Argerich, pf.

DG 477 9523 8 Ein kleiner, hübscher Vogel nahm; Wohl schön bewandt; Wenn so lind dein Augen mir; Am Donaustrande, from Liebeslieder-Walzer,

Stanford, C. Villiers Psalm 150. Graham Ross, cond.

Harmonia Mundi HMM902270 2 Choir of Clare College, Cambridge (2 above) Bach, J.S. Cantata, BWV102, mvt 1: Herr, deine Augen sehen nach dem Glauben. 6 Cantata, BWV80, mvt 1: Ein feste Burg ist unser Gott. 6

Sunday 6 October Bach Collegium, Japan/Masaaki Suzuki (2 above) BIS CD-1951 Stainer, J. I saw the Lord. Choir of Clare College, Cambridge/Graham Ross.

Harmonia Mundi HMM 902270 6 Wesley, S.S. Choral song. James Vivian, org.

Signum Classics SIGCD 302 3 Meinardus, L. Excerpts from Luther in Worms. Rheinische Kantorei; Concerto Köln/ Hermann Max. cpo 777 540-2 13 Elgar, E. The spirit of the Lord is upon me.

Choir of Clare College, Cambridge; Dimitri Ensemble/Graham Ross.

Harmonia Mundi HMU 907623 8 18:00 SMALL FORCES Prepared by Rex Burgess Bach, J.S. Trio sonata in G, BWV525 (c1730). Members of Sydney Consort.

Sydney Consort SC004 10 Brahms, J. Violin sonata no 2 in A, op 100 (1886). Dene Olding, vn; Max Olding, pf.

ABC 432 699-2 21 Saint-Saëns, C. Oboe sonata in D, op 166 (1921). Gareth Hulse, ob; Ian Brown, pf.

Hyperion CDA67431/2 11 Messiaen, O. Le merle noir (1951).

Emmanuel Pahud, fl; Eric Le Sage, pf.

EMI 5 56488 2 6 19:00 SUNDAY NIGHT CONCERT Prepared by Paul Cooke Busoni, F. Two studies for Doktor Faust, op 51 (1918-19). Hong Kong PO/Samuel Wong.

Naxos 8.555373 19 Saint-Georges, J. Violin concerto no 10 in G (c1777). Qian Zhou, vn; Toronto Camerata/ Kevin Mallon.

Naxos 8.557322 24 Rubinstein, A. Symphony no 5 in G minor, op 107 (1880). George Enescu PO/Horia Andreescu.

Naxos 8.557005 39 20:30 NEW HORIZONS Prepared by Calogero Panvino Barrett, R. Tract (1984-96). Ian Pace, pf.

NMC D066 31 Xenakis, I. Tetras (1983). Arditti String Quartet.

Disques Montaigne 782005 15 Fox, C. IliK-relliK. Ian Pace, pf.

NMC D066 15 Ligeti, G. Piano concerto (1985-86).

Pierre-Laurent Aimard, pf; Ensemble InterContemporain/Pierre Boulez.

DG 439 808-2 23 22:00 JAZZ AFTER HOURS

Monday 7 October 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: 1813 Prepared by Chris Blower Paganini, N. Variations on Süssmayr’s La streghe, op 8 (1813). Salvatore Accardo, vn; London PO/Charles Dutoit.

DG 423 717-2 10 Rossini, G. Oh! patria! .. Di tanti palpiti, from Tancredi (1813). Cecilia Bartoli, mezz; Vienna Volksoper O/Giuseppe Patanè.

Decca 425 430-2 8 Field, J. Piano sonata in B (1813). Miceál O’Rourke, pf.

Chandos CHAN 8787 13 Schubert, F. String quartet no 5 in B, D68 (1813). Melos Quartet.

DG 419 879-2 14 Lhoyer, A. de Air varié et dialogue in G (1813). Jørgen Skogmo, gui; Jens Franke, gui; Tim Pells, gui; Oskar Werninge, gui.

Naxos 8.573575 13 Meyerbeer, G. Clarinet quintet in E flat (1813). Dieter Klöcker, cl; Berlin Philharmonia Quartet.

Orfeo C 213 901 A 21 10:30 CONCERT HALL Prepared by Paul Hopwood Schumann, R. Overture to Manfred, op 115 (1848-49). Bavarian RSO/Rafael Kubelik.

Sony SBK 48 270 12 Chopin, F. Piano concerto no 2 in F minor, op 21 (1830). Daniel Barenboim, pf; Staatskapelle Berlin/Andris Nelsons.

DG 477 9520 32 Mozart, W. Symphony no 41 in C, K551, Jupiter (1788). Academy of Ancient Music/ Christopher Hogwood.

L’Oiseau-Lyre 421 085-2 38

12:00 SWING SESSIONS with John Buchanan Featuring bands of the 1930s swing era and the dance bands of the 1920s taken from radio broadcasts, transcriptions and recording sessions 13:00 BEETHOVEN ARRANGED Prepared by Stephen Wilson Beethoven, L. String quintet in A, Kreutzer (1802-03; arr. from Violin sonata no 9, op 47).

L’Archibudelli.

Sony SK 48076 36 Piano concerto in D, op 61a (1806; arr.

Beethoven from Violin concerto). English CO/ Daniel Barenboim.

DG 429 179-2 45 Notturno, op 42 (1796). Nobuko Imai, va; Roger Vignoles, pf.

Chandos CHAN 8664 29 15:00 MUSICA DA CAMERA Gluck, C. Minuet and Dance of the blessed spirits, from Orpheus and Eurydice (1774; arr.). Canterbury Belles.

Move MCD 063 6 Beethoven, L. Sonata no 8 in G, op 30 no 3 (1801-02). Ida Haendel, vn; Noel MewtonWood, pf.

ABC 461 900-2 14 Schubert, F. Gretchen at the spinning wheel, D118 (1814; arr.). Genevieve Lacey, rec; Karin Schaupp, gui.

ABC 476 5249 4 Spohr, L. Quintet in C minor, op 52 (1820).

John Wion, fl; Arthur Bloom, cl; Donald MacCourt, bn; Howard Howard, hn; Mary Louise Boehm, pf.

LP Turnabout TV-S 34506 28 16:00 FINE MUSIC HOLIDAY including Arts Calendar at 5.00pm 19:00 JAZZ PULSE with Chris Wetherall 20:00 STORMY MONDAY with Austin Harrison and Garth Sundberg 22:00 THE AUSTRALIAN JAZZ SCENE with Susan Gai Dowling and Peter Nelson

While Beethoven’s Violin concerto in D was composed in 1806 after he had been recognised as a leading composer, it was not a success at its first performance due to the lack of rehearsal by the violinist Franz Clement. The concerto was composed for a benefit concert for Clement as thanks for his assistance with the composition of Fidelio.

The problem was not Clement’s fault because Beethoven completed the concerto so close to the concert that Clement had to sight-read his way through it. The concerto languished until 1844 when it was revived with astounding success by the 12-year-old Joseph Joachim. Perhaps due to this initial failure, Muzio Clementi requested Beethoven to recast it as a piano concerto. The composer wrote cadenzas for the piano version and these were added later to the violin work, now one of the most popular of concertos.

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Tuesday 8 October 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 Mendelssohn, Fanny. Piano sonata in C minor (1824). Heather Schmidt, pf.

Naxos 8.570825 14 Bach, C.P.E. Trio sonata in A, Wq146 (1731/47). Ensemble of the Classic Era. ABC 456 365-2 12 Hummel, J. Variations on a theme from Gluck’s Armide, op 57 (c1811). Howard Shelley, pf.

Chandos CHAN 9807 10 Bach, J.S. Fantasia in G, BWV572 (170817). Gillian Weir, org.

Argo 460 185-2 9 Schumann, R. Five songs, op 40 (1840).

Mauro Peter, ten; Helmut Deutsch, pf.

Sony 88985338492 11 Baermann, H. Air varié, op 12 no 2. Dario Zingales, cl; Florian Podgoreanu, pf.

Brilliant Classics 95785 9 Schulhoff, E. Six ironies for piano four hands, op 34. Margaret Babinsky, Maria Lettberg, pf.

Capriccio C7297 13 10:30 CONCERT HALL Prepared by Giovanna Grech Tchaikovsky, P. Fantasy overture: Hamlet, op 67a (1888). SO of Russia/Veronika Dudarova.

Olympia OCD 512 A&B 21 Debussy, C. Children’s corner suite (190608; orch. Caplet). French National RTO/Jean Martinon.

EMI CDM 1 66432 2 18

13:00 SYDNEY SYMPHONY 2019 Produced by Andrew Bukenya

0:00 CONTEMPORARY COLLECTIVE

What’s on in concerts during the next month 14:00 A NEW LIFE ON THESE SHORES Prepared by Frank Morrison

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

Abbott, C. Flute concerto no 1 (1966). James Galway, fl; Sydney SO/Louis Frémaux.

LP RCA VRL1 7373 18

9:00 DIVERSIONS IN FINE MUSIC Inspired by literature Prepared by Jacky Ternisien

Lemond, R. Illusion. Ray Lemond, pf.

MBS 34 4 Gross, E. Quartet for mandolin and string trio, op 148 (1986). Donald Hazelwood, vn; Peter Pfuhl, va; Algimantis Motiekaitis, vc; Paul Hooper, mand.

Jade JADCD 1023 30 Grigoryan, E. Kolobok (1999). Slava Grigoryan, gui; Leonard Grigoryan, gui.

ABC 472 824-2 12 Moore, K. Broken rosary (2010). Anna McMichael, vn; Tamara Anna Cislowska, pf.

Tall Poppies TP228 6 Chopin, F. Polonaise no 7 in A flat, op 61, Polonaise-fantasie (pub. 1846). Elizabeth Powell, pf. 15 Mozart, W. Divertimento in D, K251 (1776).

Josef Hanic, ob; Robert Johnson, hn; Casey Rippon, hn; Marina Marsden, vn; Jennifer Curl, va; Andrew Raciti, db. 22 Fine Music concert recordings (2 above) 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm 19:00 THE JAZZ BEAT with Lloyd Capps 20:00 RECENT RELEASES with James Nightingale 22:00 CHAMBER SOIRÉE Prepared by Mariko Yata Handel, G. Violin sonata in F, op 1 no 2 (c1722).

Andrew Manze, vn; Richard Egarr, hpd.

Harmonia Mundi HMX 2907259 14 Mozart, W. Serenade no 11 in E flat, K375 (1781). Netherlands Wind Ensemble.

Chandos CHAN 9284 24

Sibelius, J. Symphony no 4 in A minor, op 63 (1911). Danish National RSO/Leif Segerstam.

Chandos CHAN 8943 40

Brahms, J. Piano quartet no 1 in G, op 25 (1856-61). Ironwood.

ABC 481 4686 41

12:00 JAZZ RHYTHM with Jeannie McInnes

Kodály, Z. Cello sonata, op 8 (1915). Natalie Clein, vc.

Hyperion CDA67829 34

Bach’s suites for solo cello set the benchmark and few composers since have attempted to compose in this genre. Perhaps the next major work for unaccompanied cello, almost 200 years later, has been Zoltán Kodály’s Cello sonata, op 8 of 1915. Although it was a challenge to follow in Bach’s footsteps, it draws on his interest in the music of Debussy and there are hints of the style of his friend Béla Bartók and the sounds and inflections of Hungarian folk music. The third movement engulfs one in the world of this folk music.

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OCTOBER 2019

Wednesday 9 October 3:00 CLASSICAL TILL DAWN

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

Erato 3984-26129-2 9 Massenet, J. Ah! tout est bien, O souverain, from Le Cid (1885); Source délicieuse, from Polyeucte (1864). Rolando Villazón, ten; French Radio PO/Evelino Pidò.

Virgin 5 45719 2 9 Cherubini, L. Overture to Médée (1797). San Remo SO/Piero Bellugi.

Naxos 8.557908 8 Massenet, J. No more torments; Weep, my eyes, from Le Cid (1885). Rosamund Illing, sop; Australian Opera and Ballet O/Richard Bonynge.

Melba 301080 8 Dukas, P. Overture: Polyeucte (1891). BBC PO/Yan Pascal Tortelier.

Chandos CHAN 241-32 15 Verdi, G. Qual notte ... Qui, qui sostiamo, from Attila (1846). Carlo Bergonzi, ten; Ambrosian Singers; Royal PO/Lamberto Gardelli.

LP Philips 6747 193 13 Lalliet, T. Fantasy on Massenet’s Le Cid. Bert Lucarelli, ob; Susan Jolles, hp.

Price-Less D 21062 14 10:30 CONCERT HALL Prepared by Elaine Siversen Brumby, C. Masques (1977). Queensland SO/Colin Brumby.

Jade JADCD 1043 27 Casella, A. Scarlattiana, op 44 (1926). Martin Roscoe, pf; BBC PO/Gianandrea Noseda.

Chandos CHAN 10605 27 Schubert, F. Symphony no 5 in B flat, D485 (1816). Academy of St Martin in the Fields/ Neville Marriner.

Philips 410 045-2 28 12:00 JAZZ SKETCHES with Robert Vale 13:00 OPERA IN CONCERT Prepared by Giovanna Grech Cimarosa, D. Overture to Il matrimonio segreto (1792). Royal Scottish NO/Lance Friedel.

Naxos 8.573418 7 Bizet, G. Habanera: L’amour est un oiseau

Wednesday 9 October rebelle, from Carmen (1873-74). Maria Callas, sop; French National RO/Georges Prêtre.

EMI CDM 1 66424 2 4 Borodin, A. My tortured soul, from Prince Igor (1887). Bryn Terfel, bass-bar; Metropolitan Opera O/James Levine.

DG 445 866-2 8

Kto eto, kto, kto stuchit? from Lady Macbeth of Mtsensk, op 29 (1934). Galina Vishnevskaya, sop; Nicolai Gedda, ten; London PO/Mstislav Rostropovich.

EMI 5 62829 2 3 Adagio, from Lady Macbeth of Mtsensk.

Emerson String Quartet.

DG 463 284-2 5

Catalani, A. Né mai dunque avrò pace? from La Wally (1892). Renée Fleming, sop; Milan Symphony Ch & O/Marco Armiliato.

Decca 478 1533 3

Excerpts from The limpid stream, op 39a (1945; transcr. Shostakovich). Alexander Naoumenko, db; Hervé Désarbre, org.

Le Chant du Monde LDC 7781124 5

Strauss, R. First waltz sequence, from Der Rosenkavalier, op 59 (1911). Scottish NO/ Neeme Järvi.

Chandos CHAN 8834 12

Jazz suite no 1 (1934). Royal Concertgebouw O/Riccardo Chailly.

Decca 433 702-2 8

Puccini, G. And the stars were shining, from Tosca (1900). Franco Corelli, ten; Academy of St Cecilia O/Lorin Maazel.

ABC 480 6177 3 Rimsky-Korsakov, N. Suite from The snow maiden (1898). USSR SO; USSR Bolshoi TO/ Yevgeny Svetlanov.

Gramzapis GCD 00185 13

16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm 19:00 JAZZ STARS AND STRIPES with Peter Mitchell 20:00 AT THE OPERA Prepared by Elaine Siversen

Shostakovich, D. Symphony no 2, op 14, To October, mvt 2 (1927). London PO/Bernard Haitink.

Decca 425 064-2 8 Excerpts from The nose. Mariinsky Theatre Soloists, Ch & O/Valery Gergiev.

Mariinsky MAR0501 8 Waltz; Polka, from The age of gold, op 22 (1929-30). Aglika Genova, pf; Liuben Dimitrov, pf. cpo 999 599-2 3 Excerpts from The bolt, op 27 (1933; transcr.

Shostakovich). Alexander Naoumenko, db; Hervé Désarbre, org.

Le Chant du Monde LDC 7781124 5 Concerto for piano, trumpet and strings, op 35, mvt 4 (1933). John Taber, tpt; Michael Houstoun, pf; New Zealand SO/Christopher Lyndon-Gee. Naxos 8.553126 7

0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Simon Moore 9:00 DIVERSIONS IN FINE MUSIC The instruments: Strings Prepared by Chris Blower Finzi, G. Introit in F, op 6 (1925-7). Lesley Hatfield, vn; Northern Sinfonia/Howard Griffiths.

Naxos 8.553566 8 Bach, J.S. Fugue in C, BWV952 (1720); Fugue in C, BWV953 (c1723). Laura Vaughan, va da gamba; Elizabeth Anderson, hpd.

Move MD 3396 4 Beethoven, L. Romances (arr. MüllerSchott): no 1 in G, op 40 (1802); no 2 in F, op 50 (1798). Daniel Müller-Schott, vc; Australian CO/Richard Tognetti.

Orfeo C 080 031 A 14 Schumann, R. Märchenbilder, op 113 (1851).

Paul Coletti, va; Leslie Howard, pf.

Hyperion CDA66946 16

14:00 IN CONVERSATION with Michael Morton-Evans 15:00 SHOSTAKOVICH EXPLORED Part 2 Prepared by Michael Morton-Evans

Thursday 10 October

Strauss, R. Die Frau ohne Schatten.

Opera in three acts. Libretto by Hugo von Hofmannsthal. First performed Vienna, 10 October 1919.

EMPEROR: Plácido Domingo, ten EMPRESS: Julia Varády, sop NURSE: Reinhild Runkel, mezz SPIRIT MESSENGER: Albert Dohmen, bar BARAK: José van Dam, bar BARAK’s WIFE: Hildegard Behrens, sop Vienna PO/Georg Solti.

Decca 478 3704 3:15 Synopsis at finemusicfm.com/Opera 23:30 HAYDN FOR KEYBOARD Prepared by Paul Hopwood Haydn, J. Keyboard sonata no 54 in G, Hob. XVI:40 (1784). Geoffrey Lancaster, fp.

Tall Poppies TP 216 13 Piano trio in E flat, Hob.XV:29 (bef. 1797).

Yuuko Shiokawa, vn; Boris Pergamenshikov, vc; András Schiff, pf.

Decca 444 862-2 17

Shostakovich’s opera Lady Macbeth of Mtsensk tells the story of a lonely woman in 19th century Russia who falls in love with one of her husband’s workers and is driven to murder. It was successful on both popular and official levels but it became a source of denunciation of the composer’s music by the Communist Party in early 1936, the criticism being about the morality of the sympathetic portrayal of the murderess. At the time, the composer justified this sympathetic portrayal in Soviet terms, saying she was a victim of the circumstances of oppressive, pre-revolutionary Russia.

Spohr, L. Sonata in C minor (c1805). Sophie Langdon, vn; Hugh Webb, hp.

Naxos 8.555364 16 Schubert, F. Sonata in A minor, D821, Arpeggione (1823; arr. Duka) Norbert Duka, db; Phillip Moll, pf.

Naxos 8.572187 22 10:30 CONCERT HALL Prepared by Jennifer Foong Kozeluch, L. Sinfonia in G (1787). Jirina Dvoráková, hpd; Czech Chamber PO/Marek Stilec.

Naxos 8.573872 20 Strauss, R. Violin concerto in D minor, op 8 (1880-82). James Ehnes, vn; Christopher Moore, va; Daniel Müller-Schott, vc; Melbourne SO/Andrew Davis.

ABC 481 7471 31 Gade, N. Symphony no 1 in C minor, op 5 (1840). Stockholm Sinfonietta/Neeme Järvi.

BIS CD-339 32 12:00 JAZZ, PURE AND SIMPLE with Maureen Meers 13:00 CLASSICAL CHAMBER Prepared by Paul Hopwood 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 OCTOBER 2019

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Thursday 10 October Arriaga, J. String quartet no 1 in D minor (1821-22). Chilingirian Quartet.

CRD 33123 30 14:00 GEORGE DYSON’S CHORAL SYMPHONY Prepared by Paul Cooke Dyson, G. At the Tabard Inn, from The Canterbury pilgrims (1931). London SO/ Richard Hickox.

Chandos CHAN 241-43 12 Violin concerto (1941). Lydia Mordkovitch, vn; City of London Sinfonia/Richard Hickox.

Chandos CHAN 9369 43 Rhapsody no 1 (1905). Divertimenti.

Helios CDH55045 10 Choral symphony (1910). Elizabeth Watts, sop; Caitlin Hulcup, mezz; Joshua Ellicott, ten; Roderick Williams, bar; Bach Choir; Bournemouth SO/David Hill.

Naxos 8.573770 44 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 Rimsky-Korsakov, N. Sadko, musical picture, op 5 (1898). Moscow SO/Igor Golovschin.

Naxos 8.553858 12 Glinka, M. Dances in Naina’s castle, from Ruslan and Ludmila (1842).

Melodiya SUCD 10-00166 15

0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Annabelle Drumm 9:00 DIVERSIONS IN FINE MUSIC Something borrowed Prepared by Chris Blower Tartini, G. Concerto in D, D53 (arr. Wallace, Wright). Alison Balsom, tpt; Scottish Ensemble/Jonathan Morton.

Warner 4 56094 2 10 Schubert, F. Waltzes (c1818, arr. Prokofiev 1946-47). Geoffrey Saba, pf.

Carnegie Concerts CC016 10 Stravinsky, I. Suite italienne (1932; arr. Rife).

Eleonora Turovsky, vn; Yuli Turovsky, vc.

Chandos CHAN 8652 19 Holst, G. St Paul’s suite, op 29 no 2 (191213; arr. Walsh). Guitar Trek.

ABC 432 698-2 13 Purcell, H. Dido’s lament (arr. Chindamo).

Zoë Black, vn; Joe Chindamo, pf.

Mo’OzArt MOZ001 7 Haydn, J. Symphony in G, Hob.I:92, Oxford (1789; arr. Triebensee). Amphion Wind Octet.

Accent ACC 24232 20 10:30 CONCERT HALL Prepared by Jacky Ternisien Fasch, J. Overture grosso in D. Tempesta di Mare.

Chandos CHAN 0751 25

Balakirev, M. Suite for orchestra (1901-08).

Melodiya MELCD 1001877 16

Wolf, H. Symphonic poem: Penthesilea (1883-85). Paris O/Daniel Barenboim.

Apex 0927-49582-2 26

USSR SO/Yevgeny Svetlanov (2 above) Tchaikovsky, P. Excerpts from The seasons, op 37b (1875-78). Ilona Prunyi, pf.

Naxos 8.550233 15

Mendelssohn, F. Double concerto in E (1823). Güher Pekinel, pf; Süher Pekinel, pf; Philharmonia O/Neville Marriner.

Chandos CHAN 9711 29

Respighi, O. Three Botticelli pictures (1927).

Bournemouth Sinfonietta/Tamás Vásáry.

Chandos CHAN 8913 19

12:00 A JAZZ HOUR with Barry O’Sullivan

Rimsky-Korsakov, N. Symphony no 2, op 9, Antar (1868/97). Philharmonia O/Yondani Butt.

ASV DCA 1024 31 22:00 FEATURING PIERS LANE Prepared by Paul Cooke Ireland, J. Ballerina (1949).

Hyperion CDA67967 5 Schubert, F. Violin sonata no 2 in A minor, D385 (1816). Tasmin Little, vn.

Chandos CHAN 10850(2) 22 Piers Lane, pf (2 above) 22:30 ULTIMA THULE 18

Friday 11 October

OCTOBER 2019

Vaughan Williams, R. Six studies in English folksong (1926). Lindsay String Quartet.

Chandos CHAN 8683 9 Dowland, J. Can she excuse my wrongs? (pub. 1597). Alfred Deller, ct; Robert Spencer, lute.

Harmonia Mundi HMC 90245 4 Stanford, C. Villiers Fantasy no 1 in G minor (c1921). Thea King, cl; Britten String Quartet.

Hyperion CDA66479 12 Arne, T. Overture no 1 in E minor (pub.

1751). Academy of Ancient Music/Christopher Hogwood.

L’Oiseau-Lyre 436 859-2 8 Bridge, F. There’s a willow (1928; arr.

Britten). Louise Williams, va; David Owen Norris, pf.

ASV DCA 1064 10 Elgar, E. Cello concerto in E minor, op 85 (1919). Jacqueline du Pré, vc; Philadelphia O/ Daniel Barenboim.

Sony SB2K 63247 31 15:00 RECOLLECTIONS Prepared by Elaine Siversen Glinka, M. Spanish overture no 2: Memory of a summer night in Madrid (1851). Armenian PO/Loris Tjeknavorian.

ASV DCA 1075 10 Smetana, B. Souvenirs of Bohemia in the form of polkas, op 12 (1859-60). András Schiff, pf.

Teldec 3984-21261-2 9 Tchaikovsky, P. String sextet in D minor, op 70, Souvenir de Florence (1890/91-92). Yuri Bashmet, va; Natalia Gutman, vc; Borodin String Quartet.

EMI 7 49775 2 34 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm 19:00 FRIDAY JAZZ SESSION with Christopher Waterhouse

14:00 A MUSICAL CARAVAN Prepared by Frank Morrison

20:00 EVENINGS WITH THE ORCHESTRA Music of France Prepared by Frank Morrison

Finzi, G. Eclogue, op 10 (c1949). Piers Lane, pf; Royal Liverpool PO/Vernon Handley.

EMI 5 65742 2 10

Berlioz, H. Overture: Roman carnival, op 9 (1844). Philharmonia O/Herbert von Karajan.

EMI CDM 1 66434 2 9

Walton, W. Cantico del sole (1973-74). Finzi Singers/Paul Spicer.

Chandos CHAN 9222 6

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

Chandos CHAN 8952 17

Purcell, H. Chaconne, from Sonata no 6 in G minor (1697). Academy of the Begynhof, Amsterdam.

Globe GLO 5029 6

Franck, C. Symphonic variations (1885). Jorge Bolet, pf; Concertgebouw O/Riccardo Chailly.

Decca 421 714-2 17

Sullivan, A. Overture to The Mikado (1885).

Royal Ballet Sinfonia/Andrew Penny.

Naxos 8.554165 8

Poulenc, F. Two marches and an intermezzo (1937). Southwest German RSO/Marcello Viotti.

Claves 50-9111 5

Friday 11 October Milhaud, D. Ballet: Le boeuf sur le toit, op 58 (1919). Ulster O/Yan Pascal Tortelier.

Chandos CHAN 9023 16 Debussy, C. Prélude à l’après-midi d’un faune (1892). London SO/Valery Gergiev.

LSO Live SACD LSO0692 12 Saint-Saëns, C. Symphony no 1 in E flat, op 2 (1853). French RTO/Jean Martinon.

Brilliant Classics 94360 31 22:00 BAROQUE AND BEFORE Prepared by Andrew Dziedzic Bach, J.S. Lutheran Mass in G minor, BWV235 (1735). Bach Collegium Japan/Masaaki Suzuki.

BIS 2081 25 Jerúsalem, I. Mass in D. Chanticleer; Chanticleer Sinfonia/Joseph Jennings.

Teldec 4509-93333-2 20 Roman, J. Swedish Mass. Hillevi Martinpelto, sop; Anne-Sofie von Otter, mezz; Mikael Samuelson, bass; Stockholm (Adolf Fredrik) Bach Choir; Drottningholm Baroque Ensemble/Anders Öhrwall.

Proprius PRCD 9920 46 Monteverdi, C. Mass for four voices (1650).

The Sixteen; Margaret Phillips, org; Harry Christophers, cond.

Hyperion CDA66214 22 Most of Johann Sebastian Bach’s sacred music, comprising hundreds of cantatas, motets, Passions, oratorios, chorale settings and sacred songs, was set to German texts. Many incorporated one or more melodies associated with Lutheran hymns. However, he also composed works with Latin text although these were few in number and mainly date from his time in Leipzig.

These were early days of the Reformation, and although the traditional forms of worship were greatly altered, the Latin Mass was still part of the Lutheran church service. Bach also continued to compose in Latin for the Catholic court in Dresden. The Mass in Lutheran practice was mainly comprised of the Kyrie and Gloria sections which came to be known as the ‘Lutheran Mass’ to distinguish it from the full Catholic Mass. Even Bach’s most famous Mass in B minor began in this form but he later expanded it into a complete setting for the Roman rite.

Bach wrote four Lutheran Masses but they feature almost no material that can be ascribed as Lutheran and are almost entirely made up of movements borrowed from his own cantatas. His choices, obviously reflecting his own favourite pieces, ensure that these short Masses have a particular beauty and perhaps provide a window into the composer’s soul.

Saturday 12 October 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SATURDAY MORNING MUSIC with Stephen Wilson 9:00 WHAT’S ON IN MUSIC Our weekly guide to musical events in and around Sydney 9:05 THE PIANO ALONE Prepared by Katy Rogers-Davies Chopin, F. Nocturne no 17 in B, op 62 no 1.

Stephen Kovacevich, pf.

Philips 456 880-2 8 Schumann, R. Night visions, op 23 (1839).

Wilhelm Kempff, pf.

DG 435 045-2 17 Palmgren, S. Night in May. Simon Tedeschi, pf.

Sony SK89233 4 Ravel, M. Gaspard de la nuit (1908). Martha Argerich, pf.

DG 479 5978 18 10:00 MUSIC OF THE DANCE Prepared by Katy Rogers-Davies Shostakovich, D. Excerpts from Ballet suite no 2 (1951; arr. Atovmyan). David Pereira, vc; David Bollard, pf.

Tall Poppies TP078 8 Glière, R. Suite from The red poppy, op 25 (1927). New Jersey SO/Zdenek Macal.

Delos DE 3178 27 Khachaturian, A. Armenian dances.

Eastman Wind Ensemble/Frederick Fennell.

Mercury 478 5092 6 Medtner, N. Forgotten motives, festive dance, op 38. Nikolai Medtner, reproducing pf.

Nimbus NI 8801 5 Rachmaninov, S. Symphonic dances, op 45 (1940). Sydney SO/Vladimir Ashkenazy.

Exton EXCL-00018 34 11:30 ON PARADE Vaughan Williams, R. Variations. Williams Fairey Band/Bryan Hurdley.

Chandos CHAN 4547 11 Holst, G. Second suite, op 28 no 2 (1911).

Central Band of the Royal Air Force/Duncan Stubbs.

Chandos CHAN 10847 12 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 Love on a big stage 14:30 SATURDAY MATINEE Operetta in the afternoon Prepared by Elaine Siversen Offenbach, J. Ba-ta-clan. Operetta in one act. Libretto by Ludovic Halévy. First performed Paris, 1855.

FÉ-NI-HAN (ANASTASE): Rémy Corazza, ten FÉ-AN-NICH-TON (VIRGINIE): Hugette Boulangeot, sop KÉ-KI-KA-KO (ALFRED): Raymond Amade, ten KO-KO-RI-KO: René Terrasson, bass NARRATOR: Jean Desailly Philippe Caillard Chorale; Jean-François Paillard O/Marcel Couraud.

LP Erato DUE 20240 40 Synopsis at finemusicfm.com/Opera Shostakovich, D. Cheryomushki. Operetta in three acts. Libretto by Vladimir Mass and Mikhail Chervinsky. First performed Moscow, 1959. Pimlico Opera Soloists & O/Wasfi Kani.

BBC Music BBCMM132 1:13 Synopsis at finemusicfm.com/Opera Shostakovich, D. Jazz suite no 2 (1938).

Russian State SO/Dmitri Yablonsky.

Naxos 8.555949 20 17:00 SOCIETY SPOT Organ Music Society of Sydney 18:00 THE MAGIC OF STAGE AND SCREEN Prepared by Maureen Meers Gershwin, G. Excerpts from Lady be good (1924). Danny Gardner, Patti Murin, voices.

Ghostlight Records 8-4491 18 Slade, J. Excerpts from Follow that girl (1960). Susan Hampshire, Peter Gilmore, Patricia Routledge, James Cairncross, voices.

Sepia 1156 12 Sondheim, S. Excerpts from Anyone can whistle (1964). Angela Lansbury, Lee Remick, Harry Guardino, voices; members of the original Broadway cast.

Columbia SK 86860 18 19:00 THE AMERICAN SYMPHONY Prepared by Chris Blower Grofé, F. Death Valley suite (1949).

Bournemouth SO/William Stromberg.

Naxos 8.559017 17 Hadley, H. Symphony no 4 in D minor, op 64 (1911). Ukraine NSO/John McLaughlin Williams.

Naxos 8.559064 38 OCTOBER 2019

19

Saturday 12 October 20:00 THE LIFE OF A COMPOSER Johann Albrechtsberger Prepared by Brian Drummond Albrechtsberger, J. Aria de Passione Domine: O Traurigkeit, O Herzeleid (ed.

Hanlon). Monica Groop, mezz; Christian Lindberg, tb; Ann Wallström, vn; Marit Bergman, vn; Olof Larsson, vc; Björn Gäfvert, org.

BIS CD-548 8 Harp concerto in C (1773). Elizabeth Hainen, hp; Bulgarian National RO/Rossen Milanov.

Avie AV 2221 20 Hummel, J. Grande serenade no 1, op 63 (c1814). Consortium Classicum.

LP Schwann VMS 1051 17 Albrechtsberger, J. Prelude and fugue.

Elizabeth Anderson, Douglas Lawrence, org.

Move MD 3180 6 Beethoven, L. Grosse fugue in B flat, op 133 (1825-26). Lindsay String Quartet.

ASV DCS 403 16 Albrechtsberger, J. Trombone concerto in B flat (1769). Northern Sinfonia/Alain Trudel, tb & dir.

Naxos 8.553831 17 Ries, F. Grand variations on Rule Britannia, op 116 (1817). Christopher Hinterhuber, pf; Royal Liverpool PO/Uwe Grodd.

Naxos 8.570440 16 Albrechtsberger, J. String quartet in D minor, op 21 no 2 (pub. c1798). Australian Haydn Ensemble.

Fine Music concert recording 6 22:00 SATURDAY NIGHT AT HOME Prepared by Gerald Holder Mendelssohn, F. Piano quartet no 1 in C minor, op 1 (1822). Bartholdy Piano Quartet.

Naxos 8.550966 31 Rimsky-Korsakov, N. Scheherazade, symphonic suite after 1001 Nights, op 35 (1888). David Nolan, vn; Philharmonia O/ Enrique Bátiz.

Naxos 8.553246 42 Beethoven, L. Septet in E flat minor, op 20 (1800). Octuor de France.

Caliope CAL 9384 41 Johann Albrechtsberger is best known as the teacher of Beethoven; the only one who could instill discipline in this gifted, but sometimes, wayward pupil. Haydn referred Beethoven to Albrechtsberger when he could make no headway with the young man. Albrechtsberger’s other pupils who were attracted by his fame as a theorist included Hummel, Moscheles, Weigl, Reicha and Franz Xaver Mozart.

20

OCTOBER 2019

Sunday 13 October 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SUNDAY MORNING MUSIC with Robert Small 9:00 MUSICA SACRA Prepared by Rex Burgess Charpentier, M-A. Te Deum (c1690). Les Arts Florissants/William Christie.

Harmonia Mundi HMG 501298 23 Bach, C.P.E. Heilig ist Gott, Wq217 (1776).

Wiebke Lehmkuhl, cont; RIAS Chamber Choir; Akademie für Alte Musik Berlin/HansChristoph Rademann.

Harmonia Mundi HMC 902167 8 Victoria, T. de Missa O magnum mysterium (pub. 1592). Choir of Westminster Cathedral/ David Hill.

Hyperion CDA66190 22 10:00 THE CLASSICAL ERA Prepared by Chris Blower Mozart, W. Pantomime: Pantalon und Colombine, K446 (1783; arr. Beyer). Academy of St Martin in the Fields/Neville Marriner.

Philips 464 940-2 28 Clementi, M. Piano sonata in E flat, op 9 no 3 (1783). Howard Shelley, pf.

Hyperion CDA67717 13 Spohr, L. Clarinet concerto no 3 in F minor, WoO19 (1821). Karl Leister, cl; Stuttgart RSO/Rafael Frühbeck de Burgos.

Orfeo C 088 201 A 28 Haydn, J. String quartet in F, op 3 no 5, Serenade. Kodály Quartet.

Naxos 8.555704 15 Eybler, J. Symphony no 1 in C (c1780).

Geneva CO/Michael Hofstetter. cpo 777 104-2 24 12:00 CLASSIC JAZZ AND RAGTIME with John Buchanan 13:00 WORLD MUSIC: Whirled Wide 14:00 00 FINE MUSIC YOUNG VIRTUOSO AWARD STATE FINALS From our Founders’ Studio at Fine Music, six highly accomplished young musicians will be performing live-to-air before a panel of judges. They have already achieved high awards in several categories of the Sydney Eisteddfod and today will be competing for the distinction of being the NSW winner of the Fine Music Young Virtuoso Award. The winner of today’s performance will then compete against the state winners from Queensland, Victoria, South Australia and the ACT in the National Finals on 24 November organised by 5MBS in Adelaide. This is a major stepping stone in the furthering of their careers.

The musicians in today’s competition are sopranos Michelle Ryan and Anna Stephens, pianists Calvin Abdiel and Leanne Yang Jin, saxophonist Justinn Lu and classical guitarist Sako Yakoub Dermenjian. Expect some outstanding performances from these ‘stars’ of the future.

17:00 HOSANNA Prepared by Meg Matthews Hymns: Come down O love divine; All my hope on God is founded; Lord for the years; King of glory. Choir of Wells Cathedral; Rupert Gough, org; Malcolm Archer, cond.

Hyperion CDP 12101 11 Zelenka, J. Psalm 113: When Israel went out of Egypt (c1725). Stuttgart Chamber Choir/ Frieder Bernius.

Carus 83.279 5 Schütz, H. Lord now lettest thou thy servant depart in peace. Peter Schreier, ten; Dresden Kreuzchor; Hans Otto, org; Rudolf Mauersberger, cond.

Berlin Classics 00 037 2 BC 5 Zelenka, J. Psalm 129/130: De profundis (c1725).

Stuttgart Chamber Choir/Frieder Bernius.

Carus 83.279 13 Saint-Saëns, C. Ave verum corpus; Tantum ergo. Rastatt Vocal Ensemble; Les Favorites; Romano Giefer, org; Holger Speck, cond.

Carus CV 83.352 8 Vaughan Williams, R. Sanctus; Osanna I; Benedictus; Osanna II; Agnus Dei, from Mass in G minor (1922). Choir of Christ Church Cathedral, Oxford/Stephen Darlington.

Nimbus NI 5083 10 18:00 SMALL FORCES Prepared by Paul Hopwood Dohnányi, E. Sextet in C for clarinet, horn, piano and string trio, op 37 (1935). Endymion Ensemble.

ASV DCA 943 30 Martinu, B. Piano quartet no 1 (1942).

Isabelle van Keulen, vn; Rainer Moog, va; Young-Chang Cho, vc; Daniel Adni, pf.

Naxos 8.553916 26 19:00 SUNDAY NIGHT CONCERT Prepared by Dan Bickel Vaughan Williams, R. The lark ascending (1914). Richard Tognetti, vn; Australian CO/ Roland Peelman.

ABC 481 4571 17 Wagner, R. Forest murmurs, from Siegfried (1856-71). Philadelphia O/Eugene Ormandy.

RCA Victrola VD87819 9 Dvorák, A. The wood dove, op 110 (1896).

Bavarian RSO/Rafael Kubelik.

DG 469 550-2 19

Sunday 13 October Rautavaara, E. Cantus arcticus, concerto for birds and orchestra, op 61 (1972). Lahti SO/ Osmo Vänskä.

BIS CD-1038 17 Respighi, O. The birds (1927). London SO/ István Kertész.

Decca 478 6420 20 20:30 NEW HORIZONS Prepared by Krystal Li Tawadros, Joseph. Seafarer, from Concerto of the greater sea (2012). Christopher Moore, va; Joseph Tawadros, oud; James Tawadros, req, bendir; Matt McMahon, pf.

ABC 476 4745 6 Say, F. Violin sonata, op 7 (1996). Patricia Kopatchinskaja, vn; Fazil Say, pf. naïve V5146 13 Serebrier, J. Flute concerto with tango (2008). Sharon Bezaly, fl; Australian CO/ Richard Tognetti.

BIS CD-1789 22 Vali, R. Deylámán (1995). George Mgrdichian, oud; Boston Modern O Project/ Gil Rose.

Naxos 8.557224 20 Sitsky, L. Kundalini: the serpent fire (1982).

Simone de Haan, tb; Graeme Leak, perc; Carl Vine, keyboard.

Canberra School of Music CSM 13 20 22:00 JAZZ AFTER HOURS In 1783 Wolfgang Mozart wrote music to accompany a pantomime. Of the 15 sections only five have survived. In the Grove Dictionary of Music and Musicians, the work is not named but an arrangement

by Ferdinand Beyer of the extant sections names it as Columbine und Pantalon, characters of the Commedia dell’Arte.

Columbina, a servant with an impudent character, uses various disguises to play tricks on Harlequin and Pantalone, keeping the audience highly entertained.

Dressed in a patched dress, she carries a tambourine which she uses to ward off the amorous advances of Pantalone.

Columbina usually aids her mistress in meeting with the one whom she loves.

Pantalone’s character is one of exceptional greed with money his main objective. He has a high opinion of his own intelligence but is the butt for every conceivable trick. He is often the father of one of the lovers whom Columbina is assisting and believes that his status allows him to meddle in the affairs of others.

Mozart’s pantomime music can be heard today at 10am (see previous page).

Monday 14 October 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: 1889 Prepared by Anne Irish Strauss, J. II The emperor waltz, op 437 (1889). Vienna PO/Mariss Jansons.

Sony 88875174772 11 Glass, L. Cello sonata in F, op 5 (1889).

Henrik Brendstrup, vc; Christina Bjorkoe, pf. cpo 999 548-2 19 Satie, E. Gnossienne no 5 (1889; arr.

Loussier). Jacques Loussier Trio.

Telarc 83431 4 Sinding, C. Suite in A minor, op 10 (1889).

Itzhak Perlman, vn; Pittsburg SO/André Previn.

EMI 5 66060 2 12 Dvorák, A. At the old castle, op 85 no 3 (1889). Tamara Anna Cislowska, pf.

ABC 476 6301 5 Nielsen, C. Little suite, op 1 (1888/89).

Danish National RSO/Ulf Schirmer.

Decca 452 486-2 16 Debussy, C. Petite suite (1889). Katia Labèque, Marielle Labèque, pf.

Decca 478 3691 11 10:30 CONCERT HALL Prepared by Derek Parker Mendelssohn, F. Overture: Calm sea and prosperous voyage, op 27 (1828). Slovak PO/ Oliver Dohnányi.

Naxos 8.578269-70 14 Tchaikovsky, P. Piano concerto no 2 in G, op 44 (1880). Nigel Kennedy, vn; Steven Isserlis, vc; Peter Donohoe, pf; Bournemouth SO/ Rudolf Barshai.

EMI CDC 7 49939 2 47 Holland, D. Symphony for pleasure (1971).

South Australian SO/Henry Krips.

LP ABC AC 1002 23 12:00 SWING SESSIONS with John Buchanan 13:00 ROMANTIC CHAMBER Prepared by Paul Hopwood Schumann, R. Adagio and allegro in A flat, op 70 (1849). Emanuel Ensemble.

Champs Hill Records CHRCD023 9 Mendelssohn, F. Violin sonata in F minor, op 4 (1825). Shlomo Mintz, vn; Paul Ostrovsky, pf.

DG 419 244-2 24 Alkan, C-V. Piano trio in G minor, op 30 (1840). Dong-Suk Kang, vn; Yvan Chiffoleau, vc; Olivier Gardon, pf.

Timpani IC 1013 21

14:00 MUSICAL ODDITIES d’Indy, V. Istar, symphonic variations, op 42 (1897). Iceland SO/Rumon Gamba.

Chandos CHAN 10585 13 Boito, A. Son lo spirito, from Mefistofele (1868). Feodor Chaliapin, bass; London PO/ Vincenzo Bellezza.

Naxos 8.110748 3 Gottschalk, L. The banjo, fantasie grotesque, op 15 (1854-55); Tournament galop (1854).

Eugene List, pf.

7 Symphony no 1, A night in the tropics (?1858). Utah SO/Maurice Abravanel.

Vanguard OVC 4051

19

Opera: Escenas campestres cubanas (185960; reconstr. Rosenberg). Anna Nogle, sop; Darryl Taylor, ten; Richard Ziebath, bass-bar; Hot Springs Festival SO/Richard Rosenberg.

Naxos 8.559320 13 Ketèlbey, A. In a Persian market (1920); In a monastery garden (1915); The clock and the Dresden figures (1930). Ambrosian Singers; Philharmonia O/John Lanchbery.

EMI 1 66443 2 15 Anderson, L. The syncopated clock (1945); The typewriter (1950); Plink, plank, plunk (1951); Fiddle-faddle (1947). EastmanRochester Pops O/Frederick Fennell.

Mercury 475 6942 11 Skryabin, A. Prometheus, the poem of fire (1908-10). Sydney Philharmonia Choirs; Roger Woodward, pf; Sydney SO/Diego Masson.

ABC 481 1322 24 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 Busoni rated Charles-Valentin Alkan, along with Liszt, Chopin, Schumann and Brahms, as one of the greatest composers for the piano since Beethoven. Much of Alkan’s music remained unpublished and was lost.

Among these was his Second Piano Trio composed in the 1840s shortly after his Piano trio no 1 in G minor, op 30. A child prodigy of both the violin and the piano, Alkan concentrated on the piano in his performing career but his knowledge of the violin translates into his First Piano Trio leading, in the words of one critic, to ‘many beauties’.

OCTOBER 2019

21

Tuesday 15 October 3:00 CLASSICAL TILL DAWN

12:00 JAZZ RHYTHM with Jeannie McInnes

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

String quartet in D, op 63 (1888). Kontra Quartet.

BIS CD-516 22

13:00 WINDS IN CHAMBER Prepared by Elaine Siversen

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

Danacord DACOCD 581 15

0:00 CONTEMPORARY COLLECTIVE

9:00 DIVERSIONS IN FINE MUSIC Colours of the keyboard Prepared by Frank Morrison Shostakovich, D. Piano trio no 1 in C minor, op 8 (1923). Oslo Trio.

Simax PSC 1014 14 Buxtehude, D. Praeludium in E minor, BuxWV142. Bine Bryndorf, org.

Dacapo 6.220534 8 Grieg, E. Holberg suite, op 40 (1884; arr.).

Eva Knardahl, pf.

BIS CD110 24 Bach, C.P.E. Über die Finsternis kurz vor dem Tod Jesu, Wq197. Dietrich Fischer-Dieskau, bar; Colin Tilney, clvd; Jörg Demus, tangent pf.

Archiv 453 168-2 2

Diamond, D. Quintet in B minor for flute, string trio and piano (1937). David Gilbert, fl; Kees Kooper, vn; Paul Doktor, va; Fred Sherry, vc; Mary Louise Boehm, pf.

LP Turnabout TV-S 34508 13 Boccherini, L. Oboe quintet in F, op 55 no 2 (1797). Lajos Lencsés, ob; Parisii Quartet.

Brilliant Classics 94386 9 Villa-Lobos, H. Quinteto em forma de chôros (1928). William Bennett, fl; Thea King, cl; Neil Black, ob; Janice Knight, cora; Robin O’Neill, bn.

Hyperion CDA66295 10

Scarlatti, A. Toccata in A. Rinaldo Alessandrini, hpd.

Arcana A3 9

Glinka, M. Serenade on themes from Donizetti’s opera Anna Bolena (1832). Alexander Petrov, bn; Igor Makarov, hn; Andrei Kevorkov, va; Erik Pozdeev, vc; Rustem Gabdulin, db; NataliaTsekhivskaya, hp; Leonid Ogrinchuk, pf.

Olympia MKM 76 20

Turina, J. Piano trio no 1 in D, op 35 (1926).

Trío Arbós.

Naxos 8.555870 22

14:00 MUSICAL FAMILIES Prepared by Jennifer Foong

10:30 CONCERT HALL Prepared by Rita Felton Tchaikovsky, P. Hamlet, fantasy overture after Shakespeare, op 67a (1888).

Philadelphia O/Riccardo Muti.

EMI CDC 7 49859 2 19 Mozart, W. Piano concerto no 1 in F, K37 (1767). English CO/Daniel Barenboim, pf & dir.

EMI CDC 7 47987 2 15 Berlioz, H. Symphonie fantastique, op 14 (1830). Sydney SO/Willem van Otterloo.

LP ABC AO 7009/10 49

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

Chandos CHAN 9422 15 Hartmann, J.P.E. Praeludium (1844). Daniele Ruggieri, fl; Andrea Toschi, org.

Brilliant Classics 95011 4 Hartmann, E. Symphonic poem: Hakon Jarl, op 40 (1887). Copenhagen PO/Bo Holten.

Dacapo 8.226041 21 Gade, N. Folk dance in D flat (1854); Romance in A flat, op 31 (1855). Anker Byme, pf.

Marco Polo DCCD 9116 4

Gade, N. Symphony no 5 in D minor, op 25 (1852). Roland Pöntinen, pf; Stockholm Sinfonietta/Neeme Järvi.

BIS CD-356 26 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 Handel, G. Violin sonata in F, op 1 no 2 (c1722).

Andrew Manze, vn; Richard Egarr, hpd.

Harmonia Mundi HMX 2907259 14 Bruckner, A. String quartet in C minor (1862). L’Archibudelli.

Sony SK 66 251 21 Couperin, A-L. Deuxième quatuor à deux clavecins (1772). David Fuller, hpd; William Christie, hpd.

Harmonia Mundi HMA 1901051 15 Respighi, O. Violin sonata in B minor (1917).

Anne-Sophie Mutter, vn; Lambert Orkis, pf.

DG 469 503-2 25 Fauré, G. Piano quartet no 2 in G minor, op 45 (1885-86). Lawrence Dutton, va; Beaux Arts Trio.

Philips 434 071-2 35

WHY WAS THE PRIEST RED? One of the most renowned figures in early 18th century European classical music was Antonio Vivaldi, who, as the son of a professional violinist, quickly mastered the instrument. A chronic shortness of breath had barred him from playing wind instruments. He entered the priesthood but his career was short-lived. Health problems prevented him from delivering Mass and drove him to abandon his vocation in favour of musicianship.

At the age of 25, Antonio Vivaldi was named master of violin at the Ospedale della Pietà in Venice where, over three decades, he composed most of his major works. The Ospedale was an institution where orphans 22

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received instruction: the boys in trades and the girls in music. The most talented musicians were selected for a choir and an orchestra which performed Vivaldi’s compositions, including religious choral music. Under Vivaldi’s leadership, these young musicians gained international attention. In 1716, aged 38, he was promoted to music director.

In addition to his choral music and more than 500 concertos (including his crowning triumph The four seasons), by 1715 Vivaldi had begun regularly writing opera scores, 50 of which remain and are still performed. His music influenced many composers, especially J.S. Bach.

Vivaldi’s renown as a composer and musician

did not create lasting wealth. Eclipsed by younger composers and more modern styles, Vivaldi left Venice for Vienna. He found himself without a prominent patron after the death of Emperor Charles VI and died there in poverty in July, 1741. His pauper’s funeral took place without music.

Vivaldi’s crop of curly red hair, inherited from his father, prompted friends to nickname the composer ‘il prete rosso’ (the red priest). His father was just nicknamed ‘rossi’ (redhead).

Don’t be fooled by the white hair in any pictures you see of Vivaldi. The composer always wore a wig!

Robert Gilchrist [Vivaldi works can be found on 16 and 21 October]

Wednesday 16 October 0:00 CONTEMPORARY COLLECTIVE

12:00 JAZZ SKETCHES with Robert Vale

3:00 CLASSICAL TILL DAWN

13:00 BASSOON SELECTIONS Prepared by Frank Morrison

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

Beethoven, L. Duo for clarinet and bassoon in C, WoO27 no 1 (1796). Charles Neidich, cl; Dennis Godburn, bn.

Sony SK 53367 13

9:00 DIVERSIONS IN FINE MUSIC Inspired by literature Prepared by Paul Cooke

Vivaldi, A. Bassoon concerto in C, RV477.

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

Pro Arte CDD 273 10

Joachim, J. Overture: Hamlet, op 4 (1853).

Stuttgart RSO/Meir Minsky.

Naxos 8.554733 17 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

Stravinsky, I. Septet for clarinet, bassoon, horn, piano and string trio (1953). European Soloists Ensemble/Vladimir Ashkenazy.

Decca 473 810-2 11

Borne, F. Fantaisie brilliante sur des airs de Carmen (1900). Guido Bäumer, sax; Aladár Rácz, pf.

Odradek ODRCD337 13

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

Debussy, C. Prélude à l’après midi d’un faune (1894). Royal Concertgebouw O/Jean Fournet.

Radio Nederland RCO11004 11

14:00 IN CONVERSATION with Michael Morton-Evans 15:00 SHOSTAKOVICH EXPLORED Part 3 Prepared by Michael Morton-Evans

Strauss, R. Lieder der Ophelia, op 67 nos 1 to 3 (1918). Roxolana Roslak, sop; Glenn Gould, pf.

Sony SM2K 52 674 8

Shostakovich, D. Symphony no 5 in D minor, op 47, mvt 2 (1937). Royal Liverpool PO/ Vasily Petrenko.

Naxos 8.572167 5

Rorem, N. Romeo and Juliet (1977). Fenwick Smith, fl; David Leisner, gui.

Naxos 8.559674 20

Piano quintet in G minor, op 57, mvt 5 (1940).

Vladimir Ashkenazy, pf; Fitzwilliam String Quartet.

Decca 411 940-2 7

10:30 CONCERT HALL Prepared by Michael Field Delius, F. Paris: the song of a great city (1900). BBC SO/Andrew Davis.

Teldec 4509-90845-2 22

Symphony no 7 in C, op 60, Leningrad, mvt 2 (1941); Symphony no 8 in C minor, op 65, mvt 2 (1943). Moscow PO/Kirill Kondrashin.

Melodiya 74321199522 17

Herz, H. Piano concerto in D minor, op 87 no 3. Tasmanian SO/Howard Shelley, pf & dir.

Hyperion CDA67537 30

Murzilka (1920/45). Konstantin Scherbakov, pf.

Naxos 8.570092 1

Cherubini, L. Symphony in D (1815). London SO/Charles Mackerras.

Carlton Classics 15656 91372 30

Walk in the future, from The song of the forests, op 81 (1949). Mikhail Kotliarov, ten; Nikita Storojev, bass; Brighton Festival Ch; New London Children’s Choir; Royal PO/ Vladimir Ashkenazy.

Decca 436 762-2 6 Prelude and scherzo for eight strings, op 11 (1925). Dornbusch Quartet; Buchberger Quartet.

LP Schwann VMS 1046 10 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 Peter Poole Mozart, W. The marriage of Figaro, K492.

Opera in four acts. Libretto by Lorenzo da Ponte. First performed Vienna, 1786.

COUNT ALMAVIVA: Thomas Allen, bar COUNTESS ALMAVIVA: Kiri Te Kanawa, sop SUSANNA: Lucia Popp, sop FIGARO: Samuel Ramey, bass CHERUBINO: Frederica von Stade, mezz MARCELLINA: Jane Berbié, sop London PO/Georg Solti.

Decca 478 3703 2:48 Synopsis at finemusicfm.com/Opera Salieri, A. Ballet: Les Danaïdes (1784).

Mannheim Mozart O/Thomas Fey. Hänssler 98.506 23 23:30 ALFRED BRENDEL PLAYS SCHUBERT Prepared by Di Cox Schubert, F. Piano sonata in A, D664 (1819).

Alfred Brendel, pf.

Philips 410 605-2 25

Symphony no 9 in E flat, op 70, mvt 1 (1945).

Royal Liverpool PO/Vasily Petrenko.

Naxos 8.572167 5

SONG FOR A GREAT CITY These notes, ‘mysterious city ... city of pleasures ... of music and dancing’, were made by Frederick Delius to remind him of some of his cherished memories of a great city where he met his wife and where they lived for many years. Paris: The song of a great city was described by his friend Philip Hestletine as ‘a corner of his own soul, a chapter of memories’. Delius was not a transient resident but one who was active in the community of artists, musicians and writers living in Paris on the West Bank of the

Seine in the latter part of the 18th century.

Much of Delius’ music is pastoral in inspiration with a sense of intimacy. In Paris: The song of a great city his approach is more panoramic as though he were looking over the city from a great height. This nocturne for orchestra is more impressionistic than it is a literal description. The slow opening reflects ‘the mysterious city’ but is followed by a vibrant section depicting the teeming Paris nightlife.

The whispered conversations and intimacies of lovers are suggested by the next lush and

lyrical passage. Café and music hall music is heard again and the work ends as dawn breaks with the sounds of the city awakening from the pre-dawn silence.

Critics differed in their views. Anthony Payne noted that it ‘closes the early period and foreshadows the next in passages of contemplative beauty’ but said that it lacked ‘the intense personal involvement of his great work’. Hubert Foss had a different opinion finding the work to be ‘the first of the later masterpieces’ of Delius.

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Thursday 17 October 12:00 JAZZ, PURE AND SIMPLE with Maureen Meers

0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN

13:00 HOME GROWN Prepared by Albert Gormley

6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Simon Moore 9:00 DIVERSIONS IN FINE MUSIC The instruments: Strings Prepared by Jennifer Foong Boccherini, L. Guitar quintet no 4 in D, Fandango. Pepe Romero, gui; Academy of St Martin in the Fields Chamber Ensemble.

Decca 478 5669 17 Saint-Saëns, C. Fantasy in A, op 124 (1907).

Gérard Poulet, vn; Isabelle Moretti, hp. naive V 5129 12 Beethoven, L. A wandering gypsy, sirs, am I, WoO152 no 23 (1810). Ann Murray, mezz; Elizabeth Layton, vn; Ursula Smith, vc; Malcolm Martineau, pf.

DG 477 5128 2 Dauprat, L. Variations on a Scottish air, op 22.

Sören Hermansson, hn; Erica Goodman, hp.

BIS CD-648 10 Barriere, J. Sonata VI in C minor for cello and basso continuo (pub. 1733-39). Les Basses Reuniés/Bruno Cocset.

Alpha 330 13 Glinka, M. Grand sextet in E flat (1832).

Alexei Bruni, vn; Mikhail Moshkunov, vn; Andrei Kevorkov, va; Erik Pozdeev, vc; Nikolai Gorbunov, db; Mikhail Pletnev, pf.

Olympia MKM 76 25 10:30 CONCERT HALL Prepared by Elaine Siversen Kodály, Z. Dances of Marosszék (1930).

Brno State PO/José Serebrier.

BIS CD-875 14 Bruch, M. Serenade in A minor, op 75 (1900).

Maxim Fedotov, vn; Russian PO/Dmitry Yablonsky.

Naxos 8.557395 40 Chopin, F. Les sylphides (arr. Douglas 1909).

National PO/Richard Bonynge.

Decca 452 767-2 28

Collins, B. Sonata (2013). Slawomir Cichor, tpt; Marta Macierzynska, pf. 10 Serenade (2013). Phillip Chase Hawkins, tpt; Maria Fuller, pf. 3 Insect dance (2009). Jeanell Carrigan, pf. 2 Groover’s manoeuvre (2008). Susan Collins, vn; Denise Papaluca, pf. 3 Private recording (all above) Meale, R. Incredible Floridas (1971). Australia Ensemble.

Tall Poppies TP048 31 Williamson, M. Piano concerto no 3 in E flat (1962). Piers Lane, pf; Tasmanian SO/ Howard Shelley.

Hyperion CDA68011/2 30 14:30 MAINLY STRINGS Prepared by Di Cox Elgar, E. Introduction and allegro for strings, op 47 (1904-05). BBC SO/Andrew Davis.

Teldec 9031-73279-2 15 Françaix, J. Theme and variations for clarinet and 11 strings (1995). Eduard Brunner, cl; I Fiamminghi/Rudolf Werthen.

Schwann 3-1026-2 8 Nielsen, C. Little suite in A minor, op 1 (1888/89). Bournemouth Sinfonietta/Richard Studt.

Naxos 8.553106 16 Wirén, D. Marcia, from Serenade for strings.

Helsingborg SO/Okko Kamu.

Naxos 8.553115 5 Eller, H. Elegia for harp and strings (1931).

Eluned Pierce, hp; Scottish NO/Neeme Järvi.

Chandos CHAN 8525 13 Shostakovich, D. Concerto for piano, trumpet and strings, op 35 (1933). John Taber, tpt; Michael Houstoun, pf; New Zealand SO/Christopher Lyndon Gee. Naxos 8.553126 24

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 Roussel, A. Divertissement for piano and wind quintet (1906). Les Vents Français.

Warner Classics 0825646231850 7 Debussy, C. Sonata D minor (1915). Sol Gabetta, vc; Hélène Grimaud, pf.

DG 479 0090 11 Saint-Saëns, C. Sonata in G, op 168 (1921).

Ursula Leveaux, bn; Ian Brown, pf.

Hyperion CDA67431/2 12 Ravel, M. La valse (1921). Ulster O/Yan Pascal Tortelier.

Chandos CHAN 9205 12 Poulenc, F. Suite in C (1920). Elizabeth Powell, pf.

Lyrita REAM.2111 6 Milhaud, D. Sonatine (1922). Emmanuel Pahud, fl; Eric Le Sage, pf.

EMI 5 56488 2 9 Stravinsky, I. Wind octet (1923). European Soloists Ensemble/Vladimir Ashkenazy.

Decca 473 810-2 14 Roussel, A. Symphony no 2 in B flat, op 23 (1921). French NO/Charles Dutoit.

Erato ECD 88226 38 22:00 FEATURING PIERS LANE Prepared by Paul Cooke Lovreglio, D. Fantasia, from Concerto on themes from Verdi’s La traviata, op 45.

Michael Collins, cl.

Chandos CHAN 10615 10 Schubert, F. Violin sonata no 3 in G minor, D408 (1816). Tasmin Little, vn.

Chandos CHAN 10850(2) 17 Piers Lane, pf (2 above) 22:30 ULTIMA THULE

A CONCERTO OF PARODIES In writing the work that is sometimes known as his Piano concerto no 1, Dmitri Shostakovich was experimenting with a neo-baroque combination of instruments.

It is more correctly known as Concerto for trumpet, piano and strings, the trumpet and piano having equal prominence. Perhaps he was also inspired by Tchaikovsky who broke with romantic tradition in his Piano concerto no 2 when he composed the second movement as a concerto for piano trio. The trumpet parts frequently take the form of 24

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sardonic interjections, leavening the humor and wit of the piano passage work. Years later, the composer recalled that he had originally planned a concerto for trumpet and orchestra then added a piano until it finally resulted in being a piano concerto with solo trumpet.

The concerto incorporates and parodies many other musical works. Shostakovich’s extensive use of diverse musical quotations was groundbreaking at the time but once again reflects the neo-baroque style. Robert Matthew-Walker writes: “With such a polyglot

collection of quotations and influences, only a composer of genius could have moulded this variety into a cohesive whole. The miracle is that Shostakovich succeeded, and constructed a distinctive and indestructible work.” He mentions that among the quotations is an ‘uproarious quotation’ from Beethoven’s Rage over a lost penny as well as quotations from his Appassionata Sonata and Haydn’s D major Piano Sonata and several from his own compositions.

Friday 18 October 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 Brahms, J. Hungarian dances nos 5, 6, 11 and 16 (orch. Parlow). Seattle SO/Gerard Schwarz.

Naxos 8.572770 13 Beethoven, L. Seven variations in E flat on Bei Männern, welche Liebe fühlen, WoO46 (1801). Zoe Knighton, vc; Amir Farid, pf.

Move MD3356 10 Bach, J.S. Brandenburg concerto no 3 in G, BWV1048 (1720; arr.). Amsterdam Guitar Trio.

Newton 8802093 12 Chopin, F. Ballade no 1 in G minor, op 23 (arr. Ysaÿe). Philippe Graffin, vn; Pascal Devoyon, pf.

Helios CDH55353 10 Rodrigo, J. Adagio, from Concierto de Aranjuez (arr. Ogerman). Jan Akkerman, gui; O/Claus Ogerman.

BGO 835 6 Walton, W. A wartime sketchbook (arr.

Hindmarsh). Black Dyke Mills Band/James Watson.

ASV WHL 2093 15 Dallapiccola, L. Sonatina canonica after Paganini (1943). Maria Clementi, pf.

Brilliant Classics 94967 11 10:30 CONCERT HALL Prepared by Jennifer Foong Mendelssohn, F. Overture: Calm sea and prosperous voyage, op 27 (1828). Vienna PO/Carl Schuricht.

Decca 482 4955 12 Pfitzner, H. Piano concerto in E flat, op 31 (1922). Wolf Harden, pf; Czecho-Slovak RSO/Heribert Beissel.

Marco Polo 8.223162 40

Donizetti, G. Pronto io son, from Don Pasquale (1843). Ruth Ann Swenson, sop; Thomas Hampson, bar; Philharmonia Ch & O/Eugene Kohn.

EMI 5 55554 2 9 Mercadante, S. La Dea di tutti cor ... Bella adorata incognita, from Il giuramento (1837).

José Carreras, ten; Royal PO/Roberto Benzi.

Philips 426 643-2 4

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

Tu non sai qual colpo atroce, from Bianca e Falliero (1819). Della Jones, mezz; Richard Hickox Singers; City of London Sinfonia/ Richard Hickox.

Chandos CHAN 8865 8

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

Meyerbeer, G. Ah, quel spectacle, from Les Huguenots (1836). Ben Heppner, ten; London Voices; London SO/Myung-Whun Chung.

DG 471 372-2 6 Garcia, M. E non lo vedo, from La figlia dell’aria (1826). Cecilia Bartoli, mezz; International Chamber Soloists; O La Scintilla/Adám Fischer.

Decca 475 9077 7 Rossini, G. Overture to Il Turco in Italia (1814). Academy of St Martin in the Fields/ Neville Marriner.

Philips 473 967-2 8 Bellini, V. Eccomi in lieta vestra, from I Capuleti e i Montecchi (1830). Cristina Gallardo-Domas, sop; Munich RO/Maurizio Barbacini.

Teldec 8573-86440-2 10 Sediziose voci ... Casta diva ... Ah! bello me ritorna, from Norma (1831). Joan Sutherland, sop; Royal Opera House Ch & O/Francesco Molinari-Pradelli.

Decca 414 450-2 13 14:30 THE LONDON PROMS September 1900 Prepared by Ron Walledge Wagner, R. A Faust overture (1840/43/44).

Cleveland O/George Szell.

CBS M2YK 46466 12 Prelude to Act III, from Die Meistersinger von Nürnberg (1866-67). Berlin PO/Herbert von Karajan.

Decca 476 2457 6

12:00 A JAZZ HOUR with Barry O’Sullivan

Overture to Tannhäuser (1845). Vienna PO/ Karl Böhm.

DG 478 5188 15

Bellini, V. A te, o cara, from I Puritani (1835).

Juan Diego Flórez, ten; Milan Giuseppe Verdi Symphony Ch & O/Riccardo Frizza.

Decca 473 440-2 7

Strauss, J. I Radetzky march, op 228. Royal Australian Navy Band/Phillip Anderson.

Royal Australian Navy RAN-005 2

Rossini, G. Overture to Il Signor Bruschino (1813). Montreal SO/Charles Dutoit.

Decca 460 590-2 5

Schubert, F. Symphony no 4 in C minor, D417, Tragic (1816). Concertgebouw O/Otto Klemperer.

Memories HR 4248/49 30

13:00 GREAT BEGINNERS Prepared by Michael Morton-Evans

Liszt, F. Piano concerto no 1 in E flat (1849).

Martha Argerich, pf; London SO/Claudio Abbado.

DG 479 4110 18

Forest murmurs, from Siegfried (1856-71).

Philadelphia O/Eugene Ormandy.

RCA Victrola VD87819 9 Siegfried idyll (1870). Royal Scottish NO/ Neeme Järvi.

Chandos CHSA 5060 15

Stanford, C. Villiers Homeward bound, from Songs of the sea, op 91 (1904). Benjamin Luxon, bar; Birmingham Symphony Ch & O/ Norman Del Mar. LP HMV ASD 4401 7 Holst, G. Finale, from First choral symphony, op 41 (1925). Lynne Dawson, sop; Guildford Choral Society/Hilary Davan Wetton.

Hyperion CDA66660 19 Hanson, H. Symphony no 7, A sea symphony (1977). Seattle Chorale & SO/Gerard Schwarz.

Delos DE3705 18 Vaughan Williams, R. Symphony no 1, A sea symphony (1903-09/23). Yvonne Kenny, sop; Brian Rayner Cook, bar; Roderick Elms, org; London Symphony Ch & O/Bryden Thomson.

Chandos CHAN 8764 1:06 22:00 BAROQUE AND BEFORE Antonio Cesti and German contemporaries Prepared by Elaine Siversen Cesti, A. Sinfonia and arias, from Orontea (1656). Isabelle Poulenard, sop; Helga Müller-Molinari, mezz; Guy de Mey, ten; Concerto Vocale/René Jacobs.

Harmonia Mundi HMX 290605.07 15 Rossi, L. Hor che l’oscuro manto; Passacaille del Seigr. Louigi; Mio ben, teco il tormento più. Roberta Invernizzi, sop; Margret Köll, baroque hp.

Accent ACC 24310 13 Carissimi, G. Il mio core è un mar di pianti.

Agnès Mellon, sop; Ageet Zweistra vc; Konrad Junghänel, theorbo; Yvon Repérant, hpd; Concerto Vocale/René Jacobs, ct & dir.

Harmonia Mundi HMX 2908150.52 5 Frescobaldi, G. Three canzonas, from First book of canzonas (1628/34). Aurora Musicale/Lucinda Moon, vn & dir.

Fine Music concert recording 9 Froberger, J. Suite no 20 in D. Christophe Rousset, hpd.

Harmonia Mundi HMC 901372 11 OCTOBER 2019

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Friday 18 October Cesti, A. Cantata: Pria ch’adori. Concerto Vocale.

LP Harmonia Mundi HM 1018 17 Frescobaldi, G. Toccata IX (pub. 1627).

Lorenzo Ghielmi, hpd.

Nuova Era 6799 5 Tunder, F. Auf meinen lieben Gott. Johannes Hämmerle, org.

Pan Classics PC 10362 8 Cesti, A. Cantata: Lacrime mie. Concerto Vocale.

LP Harmonia Mundi HM 1018 13 Più bella maestà, from L’Orontea (1656); Disserratevi, abissi, from L’Arigia (1650).

Simone Kermes, sop; La Magnifica Comunità/ Enrico Casazza, vn & dir.

Sony 88875111382 9 Girolamo Frescobaldi was one of the most important composers of keyboard music in the late Renaissance and early Baroque periods, and he also wrote church music and secular vocal works.

He was so talented at the keyboard that, at the age of 14, he obtained a post as an organist in a Ferrara church. Carlo Gesualdo was resident in the city at the time and his influence can be noted on Frescobaldi’s vocal style.

Frescobaldi came under the patronage of a member of a powerful Ferrarese family, Guido Bentivoglio, and travelled with him to Rome where Frescobaldi was admitted to the Accademia di Santa Cecilia in 1604 and became organist at Santa Maria in Trastevere in 1607. After this he travelled to Flanders with Guido where a set of his five-part madrigals was published.

He was then appointed as organist at the Cappella Giulia in St Peter’s Basilica holding this post for most of the following years until his death. At the same time he worked in several aristocratic and clerical homes. He left St Peter’s for six years from 1618 to 1624 to take up employment with the Medici in Florence but regained his position at the Basilica on his return.

Frescobaldi’s fame as a composer and as a keyboard player grew after he published two books of toccatas, sets of ricercars, canzonas, and capriccios, and a collection of ensemble canzonas.

His later two books of Arie musicali, encompassing strophic songs, throughcomposed madrigals, and works in stile recitativo, were composed in Florence.

The Fiori Musicali of organ works and the two books of Toccatas and Partitas are his most important keyboard works.

Frescobaldi was one of the inventors of the modern conception of tempo and is responsible for making a synthesis of all styles preceding his time.

26

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Saturday 19 October 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

Hymn. Abide with me. Big Brass Band.

LP Astor GGS 1477 2 12:00 URBAN JAZZ LOUNGE with Leita Hutchings 13:00 COME TO THE OPERA Prepared by Derek Parker

Friedman, I. Frühlingsstimmen (1925). Piers Lane, pf.

Hyperion CDA66785 10

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 Verdi’s Otello, and plays some of the music that makes it a great opera

Szymanowski, K. Mazurkas, op 50 nos 17 to 20 (1924-25). Martin Roscoe, pf.

Naxos 8.557168 10

14:30 SATURDAY MATINEE Sylvia Prepared by Chris Blower

Brahms, J. Piano sonata in F sharp minor, op 2 (1852). Claudio Arrau, pf.

Philips 432 302-2 28

Delibes, L. Ballet: Sylvia (1876). Desmond Bradley, vn; New Philharmonia O/Richard Bonynge.

Decca 460 418-2 1:39

10:00 MUSIC OF THE DANCE Prepared by Gerald Holder Respighi, O. Ancient airs and dances, suite no 3 (1932). Accademia Bizantina/Carlo Chiarappa.

Denon CO-78916 18 Debussy, C. Dances sacred and profane (1904). Alice Chalifoux, hp; Cleveland O/ Pierre Boulez.

Sony SM2K 68 327 10 Berlioz, H. Un bal, from Symphonie fantastique, op 14 (1830). London SO/Colin Davis.

Philips 442 290-2 7 Copland, A. Four dance episodes, from Rodeo (1942). Buffalo PO/JoAnn Falletta.

Naxos 8.559240 19 Ravel, M. Introduction and danse religieuse, from Daphnis and Chloe (1911). Montreal Symphony Ch & O/Charles Dutoit.

Decca 458 605-2 8 Gounod, C. Ballet music from Faust (1859).

London SO/Richard Bonynge.

Decca 452 767-2 19 11:30 ON PARADE Music that’s band Prepared by Owen Fisher Keen, R. If I were King. Yorkshire Imperial Metals Band/Trevor Walmsley.

LP Astor GGS 1477 6 Blankenburg, H. The gladiators’ farewell march. Williams-Fairey Engineering Band.

Delta 60357 3 Koenig, H. Post horn gallop. Yorkshire Imperial Metals Band/Trevor Walmsley.

LP Decca SB 322 2 Sousa, J.P. Excerpts from The bride elect (1897). Allentown Band/Ronald Demkee.

AMP 90151 11

Mouquet, J. La flûte de Pan, op 15 (1904).

Sara Ligas, fl; Luca Nurchis, pf.

Brilliant Classics 95505 17 Monckton, L. The pipes of Pan; Arcady is ever young, from The Arcadians (1909). June Bronhill; O/Vilem Tausky.

EMI 3 89163 2 5 Pichl, V. Symphony in D, Diana (1769-70).

London Mozart Players/Matthias Bamert.

Chandos CHAN 9740 17 17:00 SOCIETY SPOT Classical Guitar Society Prepared by Sue McCreadie 18:00 THE MAGIC OF STAGE AND SCREEN Prepared by Sue Jowell Who wants to be a millionaire? Musicals about money 19:00 THE AMERICAN SYMPHONY Prepared by Chris Blower MacDowell, E. Suite for large orchestra, op 42 (1890-91). Eastman-Rochester O/Howard Hanson.

Mercury 434 337-2 19 Chadwick, G. Symphony no 2 in B flat op 21 (1886). Ukraine National RSO/Theodore Kuchar.

Naxos 8.559213 36 20:00 THE LIFE OF A COMPOSER Claude Debussy Prepared by Rex Burgess Debussy, C. Le printemps (1882); Invocation (1883). Delphine Collot, sop; Jean-Louis Bouillat, ten; Audite Nova Vocal Ensemble; Jean Sourisse Vocal Ensemble; Emmanuel Strosser, Claire Désert, pf; Jean Sourisse, cond.

FNAC 592224 10

Saturday 19 October Prélude à l’après-midi d’un faune (1894).

Cleveland O/Pierre Boulez.

DG 447 496-2 9 Vous ne savez pas où je vous ai menée ... C’est au bord d’une fontaine; Interlude, from Pelléas et Mélisande (1902). Colette Alliot-Lugaz, sop; Didier Henry, ten; Montreal SO/Charles Dutoit.

Decca 460 805-2 10 La mer (1903-05). Cleveland O/Lorin Maazel.

Decca 480 6630 23 Images, bk 1 (1905/08). Noël Lee, pf.

Auvidis V 4440 15 Sonata for flute, viola and harp (1915). JeanPierre Rampal, fl; Pierre Pasquier, va; Lily Laskine, hp.

Erato 0630-13705-2 17

Sunday 20 October 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SUNDAY MORNING MUSIC 9:00 MUSICA SACRA Prepared by Chris Blower Pergolesi, G. Salve Regina in C minor (1736). Emma Kirkby, sop; Academy of Ancient Music/Cristopher Hogwood.

L’Oiseau-Lyre 425 692-2 14 Holst, G. Choral hymns from the Rig Veda, op 26 no 3 (1910). Purcell Singers; Osian Ellis, hp; Imogen Holst, cond.

Decca 430 062-2 12

Études: nos 7 to 12 (1915). Roger Woodward, pf.

ABC 454 512-2 25

Mendelssohn, F. Lauda Sion, op 73 (1846). Evelyne Brunner, sop; Naoka Ihara, cont; Alejandro Ramirez, ten; Philippe Huttenlocher, bass; Gulbenkian Ch & O/ Michel Corboz.

Erato 4509-94359-2 28

22:00 SATURDAY NIGHT AT HOME Prepared by Elaine Siversen

10:00 THE CLASSICAL ERA Prepared by Di Cox

Smetana, B. Vltava, from Má vlast (1874).

BBC Concert O/Vilem Tausky.

BBC BBCRD 9103 15 Grieg, E. From Holberg’s time, op 40 (1884).

Gothenburg SO/Neeme Järvi.

DG 437 520-2 19 Mendelssohn, F. Symphony no 2 in B flat, op 52, Hymn of praise (1840). Barbara Bonney, sop; Edith Wiens, sop; Peter Schreier, ten; Leipzig Radio Choir; Michael Schönheit, org; Gewandhaus O/Kurt Masur.

Teldec 244 178-2 58 Bruckner, A. Adagio, from Symphony no 3 in D minor (1876). Royal Scottish NO/Georg Tintner.

Naxos 8.554430 21 The 400th anniversary in 1840 of Gutenberg’s invention of the printing press was celebrated at the Gutenberg Festival in Leipzig, then a centre of the publishing trade. The finale of the festival was the premiere of Mendelssohn’s Lobgesang which he described as a ‘symphony-cantata’. After his death it became known as his Symphony no 2 in B flat, op 52. Although he called it Song of praise, the subtitle became (in English) Hymn of praise.

The opening orchestral section is in three parts loosely corresponding to the first three movements of a traditional symphony. Undoubtedly, the choral sections of the work (in fact, the majority of the composition) have been influenced

by Bach’s cantata layout with recitative, arias and choruses. Fugal writing and the use of the Lutheran chorale Nun danket alle Gott (Now thank we all our God) make this a truly beautiful work.

Haydn, M. Divertimento in D for wind sextet (1786). Consortium Classicum.

Schwann 310 002 H1 10 Mozart, W. Variations on Ah, vous dirai-je, Maman, K265 (1781-2). Ian Holtham, pf.

Move MD 3246 12 Stamitz, J. Symphony in F, op 4 no 1.

Northern CO/Nicholas Ward.

Naxos 8.554447 17 Weber, C.M. Clarinet concertino in E flat, op 26 (1811). Charles Neidich, cl; Orpheus CO. DG 435 875-2 9 Haydn, J. String quartet in C, Hob.III:77, Emperor (1797). Takács Quartet.

Decca 476 2802 27 Gluck, C. Che farò senza Eurydice? from Orpheus and Eurydice (1762). Frederica von Stade, sop; Utah SO/Joseph Silverstein.

Decca 436 284-2 4 Hummel, J. Piano concerto in A minor, op 85 (c1816). Stephen Hough, pf; English CO/ Bryden Thomson.

Chandos CHAN 8507 30

14:00 ROMANTIC PIANO TRANSCRIPTIONS Prepared by Chris Blower Tausig, C. Ungarische Zigeunerweisen (transcr. Godowsky). Stephen Hough, pf.

Virgin 7 59304 2 11 Chopin, F. Romanza, from Piano concerto no 1 in E minor, op 11 (1830; transcr. Balakirev).

Marc-André Hamelin, pf.

Hyperion CDA66765 10 Gounod, C. Waltz, from Faust (1859; transcr.

Liszt). Geoffrey Saba, pf.

IMP PCD 858 11 Tchaikovsky, P. Sleeping beauty, op 66a (1890; transcr. Rachmaninov; rev. Ziloti, Tchaikovsky).

Julia Severus, Alina Luschtschizkaja, pf.

Naxos 8.570418 20 15:00 SUNDAY SPECIAL Rarities from the Russian archives Prepared by Paolo Hooke Makarova, N. Symphony in D minor (1938).

USSR SO/Olaf Koch.

Russian Disc RD 11 382 36 Melikov, A. Symphony no 2 (1969-70).

The Classical Russia Revelation RV 10109 24 Tishchenko, B. Symphony no 5, op 67 (1976).

Melodiya MCD 213 45 USSR Ministry of Culture SO/Gennady Rozhdestvensky (2 above) 17:00 HOSANNA Prepared by Richard Munge Hymn: My song is love unknown. Choir of Worcester Cathedral; Worcester Festival Choral Society; Paul Trepte, org; Donald Hunt, cond.

Griffin GCCD.4024 3 Psalm: No 75, Unto thee, O God, do we give thanks. Choir of York Minster; Philip Moore, org.

Priory PRCD 486 3

12:00 CLASSIC JAZZ AND RAGTIME with Jeannie McInnes

Stanford, C. Villiers Magnificat for double choir, op 164. David Hill, org; James O’Donnell, cond.

Hyperion WCC 100 12

13:00 WORLD MUSIC: Whirled Wide

continued next page »

As a post-graduate student of Dmitri Shostakovich in the 1960s, Boris Tischenko absorbed many influences from the master composer. Tischenko was a prolific composer with 17 symphonies (only eight are numbered), eight varied concertos, string quartets, sonatas, choral and vocal works, ballets, an opera, an operetta (The cockroach!) and incidental music for theatre and film. One wonders how he had time to teach!

His style was typical of the Leningrad composers’ school but he also experimented with ideas such as the 12-tone system. However, he was more attracted to the traditions of his homeland and also demonstrated great originality in his works. An interesting example is his Second Cello Concerto for 48 cellos, 12 double-basses and percussion (1969). Ten years later, however, he re-orchestrated it for a more practical combination.

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27

Monday 21 October

Sunday 20 October Blow, J. O Lord, Thou hast searched me out; Lift up your heads, O ye gates. Parley of Instruments/David Hill.

Hyperion CDD 22055 10 Choir of Westminster Cathedral (2 above) Vaughan Williams, R. Lord, Thou has been our refuge. Choir of Canterbury Cathedral; Damien Simpson, tpt; Michael Harris, org; David Flood, cond.

York 107 8 Hymns: Angel voices ever singing; Ye holy angels bright. Choir of St Paul’s Cathedral; Christopher Dearnley, org; English Brass Ensemble; John Scott, cond.

Helios CDH 55036 6 Mendelssohn, F. Allegro, chorale and fugue in D. John Scott, org.

Hyperion CDD 22029 8 18:00 SMALL FORCES Prepared by Krystal Li Borodin, A. String sextet in D minor (1860-61).

Alexander Detisov, vn; Alexander Polonsky, vn; Igor Suliga, va; Alexander Bobrovsky, va; Alexander Osokin, vc; Alexander Gotthelf, vc.

Brilliant Classics 94410 8 Brahms, J. Trio in E flat for violin, horn and piano, op 40 (1865). Peter Damm, hn; Manfred Scherzer, vn; Amadeus Webersinke, pf.

Berlin Classics 0012882BC 29 Barber, S. Cello sonata, op 6 (1932). Pedro de Alcantara, vc: Fabio Gardenal, pf.

Uqbar Records uqbar 001 18 19:00 SUNDAY NIGHT CONCERT Prepared by Frank Morrison Berlioz, H. Overture to Benvenuto Cellini, op 23 (1836-38). San Diego SO/Yoav Talmi.

Naxos 8.550999 11 Mozart, W. Piano concerto no 8 in C, K246, Lützow (1775). Vladimir Ashkenazy, pf; London SO/István Kertész.

Decca 443 576-2 22 Stravinsky, I. Ballet: The firebird (1910).

Sydney SO/David Robertson.

Sydney Symphony SSO201402 50 20:30 NEW HORIZONS Prepared by Nev Dorrington Zawadzki, S. Songs about time (2019).

Sebastian Zawadzki, pf; Neo String Quartet.

Pias Poland PP 3786 52 Arnalds, O. Remember (2018). Olafur Arnalds, pf.

Mercury 6025 67660057 28 Sakamoto, R. Aqua (2009). Ryvichi Sakamoto, pf.

Commons RZCM 46381-2 5 22:00 JAZZ AFTER HOURS 28

OCTOBER 2019

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: 1922 Prepared by Brian Drummond Hindemith, P. Kleine Kammermusik, op 24 no 2 (1922). Sydney Wind Quintet.

Fine Music tape archive 12 Goossens, E. Sinfonietta, op 34 (1922).

Sydney SO/Patrick Thomas.

LP HMV SLS 3002/2 17 Poulenc, F. Sonata (1922). Thierry Caens, tpt; André Cazalet, hn; Michel Becquet, tb.

Pierre Verany PV 793041 9 Bloch, E. Poems of the sea (1922). István Kassai, pf.

Marco Polo 8.223288 10 Ravel, M. Chansons madécasses: Nahandove; Aoua!; Il est doux de se coucher (1922-26). Kathrin Graf, sop; Peter-Lukas Graf, fl; Raffaele Altwegg, vc; Michio Kobayashi, pf.

Claves 50-604 14

13:00 THREE’S COMPANY Prepared by Paul Cooke Dussek, J. Trio sonata in B flat, op 24 no 3 (1793). Trio 1790. cpo 999 583-2 15 Morris, C. Forest over sea (2013). LisaMaree Amos, alto fl; Peter Sheridan, bass fl; Carolyn Morris, pf.

Move MD 3375 15 Reger, M. String trio in A minor, op 77b (1904). Gernot Süssmuth, vn; Stefan Fehlandt, va; Hans-Jakob Eschenburg, vc.

Naxos 8.570785 24 14:00 FEATURING THE MANDOLIN Prepared by Frank Morrison Vivaldi, A. Mandolin concerto in G, RV532.

Rolf Lislevand, mand; Ensemble Kapsberger. naïve OP 30429 11 Capponi, R. Sonata for mandolin and lute.

Caterina Lichtenberg, mand; Mirko Schrader, gui.

Schwann 3-6435-2 11 Allworth, R. Suite for mandolin and organ (1991).

Paul Hooper, mand; Lawrence Bartlett, org.

Jade JADCD 1122 12

Sousa, J.P. Suite: At the movies (1922).

Royal Artillery Band/Keith Brion.

Naxos 8.559059 16

Hummel, J. Mandolin concerto in G (1799).

Dorina Frati, mand; I Solisti di Fiesole/Nicola Paszkowski.

Dynamic CDS 128 18

10:30 CONCERT HALL Prepared by Paul Cooke

15:00 TITAN Prepared by Rita Felton

Berlioz, H. Overture: Roman carnival, op 9 (1844). Sydney SO/Willem van Otterloo.

ABC 442 377-2 9

Mahler, G. Symphony no 1 in D, Titan (1888/96).

Concertgebouw O/Leonard Bernstein.

DG 427 303-2 56

Liebermann, L. Flute concerto, op 39 (1992).

Eugenia Zukerman, fl; Dallas SO/Andrew Litton.

Delos DE 3256 23

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

Stenhammar, W. Symphony no 1 in F (190203). Gothenburg SO/Neeme Järvi.

DG 445 857-2 50 12:00 SWING SESSIONS with John Buchanan

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

Swedish composer, Wilhelm Stenhammar described his First Symphony as ‘idyllic Bruckner’. Having studied in Berlin, Stenhammar was a great admirer of German music, particularly that of Bruckner and Wagner. Later he sought a way to ‘emancipate’ himself from this influence wishing to write in a more Nordic style following the example of Nielsen and Sibelius. The latter’s Second Symphony had a profound effect upon Stenhammar and he then refused to acknowledge his First Symphony, despite its length, as anything more than a ‘trivial’ piece.

Others describe the symphony as a magnificent and beautiful work. It had a very positive reception at its premiere in December 1903. Afterwards, and this may have been the reason for the composer’s change of style, Stenhammar withdrew the symphony because he felt that it was impersonal and pompous. He wrote to Sibelius: “I have also written a symphony … according to an agreement … it should be dedicated to you. But this will not come to pass. It is fairly good, but it is superficial. If only I could have accessed something deeper inside.” After this he completed only two more symphonies.

Tuesday 22 October 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 Kraus, J.M. Piano sonata in E flat (1785).

Jacques Després, pf.

Naxos 8.555771 20 Rameau, J-P. La poule, from Nouvelles suites de pièces de clavecin (1728). Nicholas Parle, hpd.

Tall Poppies TP057 6 Haydn, J. Nocturne no 5 in C, Hob.II:29 (c1788-94). Karl Hochreither, positive org; Frieder Lang, positive org; Consortium Classicum/Dieter Klöcker. cpo 999 741-2 10 Mendelssohn, F. Andante and variations in B flat, op 83a (1840). Darryl Coote, Max Cooke, pf.

Move MD 3158 11 Weber, C.M. Violin sonata in A, op 10 no 5 (1810). Victor Pikaizen, vn, Alexei Nasedkin, pf.

LP Melodiya C10-08153-4 10 Beethoven, L. Quintet in E flat for piano and winds, op 16 (1796). Kathryn Selby, pf; Australian Wind Virtuosi.

Fine Music concert recording 22 10:30 CONCERT HALL Prepared by Michael Field Strauss, R. Till Eulenspiegel’s merry pranks, op 28 (1895). Staatskapelle Dresden/Karl Böhm.

DG 447 454-2 15 Paganini, N. Violin concerto no 1 in D, op 6 (1817-18). Salvatore Accardo, vn; London PO/Charles Dutoit.

DG 437 210-2 38

A German chapbook published in 1515 introduced the character Till Eulenspiegel into folklore. In this he is a native of Brunswick who travels to many places in the Holy Roman Empire playing practical jokes on unsuspecting persons and exposing vice wherever he finds it. The latter makes him a folk hero. His life is set in the first half of the 14th century, and the final chapters of the chapbook describe his death from the plague in 1350, a very common fate at that time.

Later retellings of his story have transferred his character into the context of the Protestant Reformation and the Dutch Revolt when the

Sibelius, J. Symphony no 6 in D minor, op 104 (1923). Adelaide SO/Arvo Volmer.

ABC 476 3946 31 12:00 JAZZ RHYTHM with Jeannie McInnes 13:00 A LOT OF NIGHT MUSIC Prepared by Michael Morton-Evans Glinka, M. Autumn night (1829). Yevgeny Nesterenko, bass; Yevgeny Shenderovich, pf.

LP Melodiya 200 958-366 2 Schumann, R. Spring night (arr. Liszt). Isador Goodman, pf.

ABC 432 210-2 3 Casella, A. A night in May, op 20 (1913).

Olivia Andreini, mezz; Rome SO/Francesco La Vecchia.

Naxos 8.572416 15

Houghton, P. Opals. Saffire.

ABC 476 7012 10 Nock, M. Uluru impromptu. David Pereira, vc.

Tall Poppies TP096 7 Kats-Chernin, E. Concertino (1994).

Georges Lenz, vn; Sydney Alpha Ensemble/ David Stanhope.

ABC 456 468-2 19 Beethoven, L. Piano trio in D, op 70 no 1, Ghost (1808). Australian Trio.

Fine Music concert recording 31 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm 19:00 THE JAZZ BEAT with Lloyd Capps

Delius, F. Summer night on the river (1911).

BBC SO/Andrew Davis.

Teldec 4509-90845-2 6

20:00 RECENT RELEASES with David Garrett

Coates, E. Waltz: Dancing nights (1931).

Sydney SO/John Lanchbery.

LP HMV ESD 7062 9

22:00 CHAMBER SOIRÉE Prepared by Paul Cooke

Trad. All through the night. Bryn Terfel, bassbar; Black Mountain Ch; Risca Male Choir; Welsh National Opera O/Gareth Jones.

DG 479 0494 5 Rossini, G. Nightmare, from Album de chaumière (1850). Frederic Chiu, pf.

Harmonia Mundi HMU 907102 11 Franz, R. Good night, op 5 no 7 (1846).

Wolfgang Holzmair, bar; Imogen Cooper, pf.

Philips 464 991-2 1 14:00 A NEW LIFE ON THESE SHORES Prepared by Frank Morrison Kabalevsky, D. Cello sonata in B flat, op 71 (1962). Georg Pedersen, vc; Nikolai Evrov, pf.

Fine Music concert recording 27 Chan, L. Don’t leave me this way. Acacia Quartet.

Vexations840 840-1401 14

‘A VERY NAUGHTY BOY’ novel written at that time became a symbol of Flemish independence.

Till Eulenspiegels’ merry pranks by Richard Strauss is a tone poem portraying the pranks and misadventures of this German peasant folk hero. Eulenspiegel is represented by two themes: the first, played by the horn, is a lilting melody that, after a peak descends and concludes with three loud notes, each progressively lower in pitch; the second theme, played by the clarinet, suggests a crafty, wheedling trickster.

Apart from being a trickster, Eulenspiegel

Benda, F. Sonata no 23 in C minor. Leila Schayegh, vn; Felix Knecht, vc; Václav Luks, fp.

Glossa GCD 922507 13 Bax, A. Nonet for winds, strings and harp (1928-30). Nash Ensemble/Ian Brown.

Hyperion CDA66807 18 Chopin, F. Cello sonata in G minor, op 65 (1847). Jacqueline du Pré, vc; Daniel Barenboim, pf.

EMI CZS 5 68132 2 27 Schubert, F. Piano sonata no 15 in C, D840, Reliquie (1825). Alfred Brendel, pf.

Vanguard OVC 4026 20 Korngold, E. String sextet, op 10 (1914-16).

Jennifer Stumm, va; Bartholomew LaFollette, vc; Doric String Quartet.

Chandos CHAN 10707 34

is, in the words of Monty Python, ‘a very naughty boy’. He rides a horse through a market, upsetting the goods and wares, pokes fun at the strict Teutonic clergy, flirts with and chases girls and mocks the serious academics. He is captured by the authorities and is sentenced to death for blasphemy. He tries to wheedle and joke his way out of this predicament but this has no effect on the executioner who hangs him to the strains of a funeral march. It’s somewhat different from the 1515 account but many stories change with retelling particularly over several centuries.

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29

Wednesday 23 October 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Troy Fil

calendar (1748). Concilium Musicum/Paul Angerer.

Christophorus CHE 0164-2 9 Fux, J. Plaudite, sonat tuba. Martin Klietman, ten; Edward H. Tarr, tpt; Capella Savaria/Pál Németh.

Hungaroton HCD 31134 17

9:00 DIVERSIONS IN FINE MUSIC Inspired by literature Prepared by Adam Bowen Rossini, G. Overture to William Tell (1829).

National PO/Riccardo Chailly.

Decca 400 049-2 12 Yared, G. Suite from The talented Mr Ripley (1999). London Metropolitan Ensemble/Harry Rabinowitz.

Sony SK 51337 22 Delius, F. The walk to the Paradise Garden, from A village Romeo and Juliet (1907).

Melbourne SO/Charles Mackerras.

ABC 476 3224 11 Yared, G. Excerpts from The English patient (1996). Academy of St Martin in the Fields/ Harry Rabinowitz.

Fantasy FCD 16001 25 Wirén, D. Romantic suite, from The merchant of Venice, op 22 (1945). Jan Bengtson, fl; Dala Sinfonietta/Stefan Karpe.

Nosag CD 041 11 10:30 CONCERT HALL Prepared by Giovanna Grech Webern, A. Passacaglia, op 1 (1908).

Scottish NO/Matthias Bamert.

Chandos CHAN 8619 11 Schubert, F. Symphony no 8 in B minor, D759, Unfinished (1822). City of London Sinfonia/Richard Hickox.

IMP PCD 848 26 Beethoven, L. Violin concerto in D, op 61 (1806). Itzhak Perlman, vn; Philharmonia O/ Carlo Maria Giulini.

EMI CMS 7 64922 2 44 12:00 JAZZ SKETCHES with Robert Vale 13:00 BAROQUE FRONTIERS Prepared by Rodrigo Azaola

Capricornus, S. Ciaconna in D. Ensemble Echo du Danube/Christian Zincke.

Naxos 8.557679 4 Schmelzer, J. Sonata, The victory of the Christians over the Turks (pub.1683; arr.

Schmelzer). Romanesca.

Harmonia Mundi HMU 907143 10 Speer, D. Seven brass pieces from Neugebachene Taffel-Schnitz. Haarlem Trumpet Consort.

Teldec 8.42977 ZK 14 14:00 IN CONVERSATION with Michael Morton-Evans 15:00 SHOSTAKOVICH EXPLORED Part 4 Prepared by Michael Morton-Evans Shostakovich, D. The silly little mouse, op 56 (1939). Soloists; State Cinematographic O. Delos DRD 2005 15 The man with the gun, op 59 (1938-40).

Belorussian RTSO. Russian Disc RD 10 018 10 Walter Mnatsakanov, cond (2 above) Waltz from Golden mountains, op 30 (pub.

1959). Russian PO/Thomas Sanderling.

DG 477 6111 5 The tale of the priest and his worker Balda, op 36 (1934). State Cinematographic O/ Walter Mnatsakanov.

Delos DRD 2005 15 Waltz, from The gadfly, op 97 (1955). Thomas Sanderling, cond.

DG 477 6111 2 Romance, from The gadfly (transcr.

Yablonsky). Dmitry Yablonsky, cond.

Naxos 8.557722 3 Russian PO (2 above)

Werner, G. July, from Instrumental musical

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

19:00 JAZZ STARS AND STRIPES with Peter Mitchell 20:00 AT THE OPERA Prepared by Camille Mercep Rossini, G. La donna del lago. Opera in two acts. Libretto by the composer. First performed Naples, 24 October 1819.

ELENA: Sonia Ganassi, mezz UBERTO/GIACOMO V: Maxim Mironov, ten MALCOLM GROEME: Marianna Pizzolato, mezz RODRIGO DI DHU: Ferdinand von Bothmer, ten DOUGLAS d’ANGUS: Wojtek Gierlach, bass ALBINA: Olga Peretyatko, sop SERANO: Stefan Cifolelli, ten Prague Chamber Choir; Southwest German RO/Alberto Zedda.

Naxos 8.660235/36 2:27 Synopsis at finemusicfm.com/Opera Introduction, theme and variations from Edoardo e Cristina (1819). Alessandro Carbonare, cl; Quatuor Z. Harmonia Mundi HMA 1951722 10 Angel of peace, from Beatrice di Tenda (1833). Joan Sutherland, sop; Marilyn Horne, mezz; Richard Conrad, ten; London SO/ Richard Bonynge.

ABC 480 8016 3 23:00 HAROLD C. SCHONBERG’S GREAT PIANISTS Prepared by Peter Poole Franck, C. Symphonic variations (1885).

Artur Rubinstein, pf; Symphony of the Air/ Alfred Wallenstein.

RCA 5666-2 RC 13 Schumann, R. Symphonic studies, op 13 (1837). Percy Grainger, reproducing pf.

Nimbus NI 8804 17 Moszkowski, M. Caprice espagnol. Josef Hofmann, reproducing pf.

Nimbus NI 8802 6 Couperin F. Passacaille (pub. 1717). Wanda Landowska, hpd.

8 Grieg, E. Sonata in C minor, op 45, mvt 2 (1887). Joshua Bell, vn; Sergei Rachmaninov, pf.

7

SCHONBERG’S GREAT PIANISTS

American music critic and journalist, Harold C. Schonberg was an admirer of the many great pianists whom he heard perform. He wrote for The New York Times and became the first music critic to win the Pulitzer Prize for Criticism. His 13 books on music included The Great Pianists: From Mozart to the Present, The Great Conductors 30

OCTOBER 2019

and The Lives of the Great Composers, the latter tracing the lives of composers from Monterverdi to his own time. Schonberg assisted the pianist Vladimir Horowitz in documenting his memoirs and, although that project was never completed, Schonberg’s biography of Horowitz was published in 1992.

In his position as senior music critic at The New

York Times, Schonberg was very influential and became somewhat of an expert on piano performance. After his death, Allan Kozinn wrote that ‘as a music critic Harold Schonberg set the standard for critical evaluation and journalistic thoroughness’.

Therefore Schonberg’s choice of great pianists should not be ignored.

Thursday 24 October 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Simon Moore

12:00 JAZZ, PURE AND SIMPLE with Maureen Meers

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

13:00 MOSCOW NIGHTS Prepared by Alexandra Horner

19:00 THE NEW JAZZ STANDARD with Frank Presley

Balakirev, M. Overture on Russian folk themes (1858). Tasmanian SO/Shalom Ronly-Riklis.

ABC 838 903-2 8

9:00 DIVERSIONS IN FINE MUSIC The instruments: Strings Prepared by Chris Blower Saint-Saëns, C. Fantasy in A for violin and harp, op 124 (1907). Renaud Capuçon, vn; Marie-Pierre Langlamet, hp.

Virgin 5 45602 2 13 Bottesini, G. Concerto no 2 in B minor for double bass and piano. Joel Quarrington, db; Andrew Burashko, pf.

Naxos 8.557042 14 Brumby, C. Gardens of the Villa Taranto (1991). Jane Rayner, fl; Peter Lynch, gui.

Carnegie Concerts LR0001 10 Schubert, F. Piano trio movement in E flat, D897, Notturno (1828; pub. 1845). Trio Wanderer.

Harmonia Mundi HMC 902002/03 9

Trad. Moscow nights. Cambridge Buskers.

DG 482 1785 2 Lyadov, A. Eight Russian folk songs (pub.

1906). Bergen PO/Dmitri Kitaienko.

Virgin 5 61322 2 14 Trad. Dark eyes; Elegy. Dmitri Hvorostovsky, bar; Ossipov Russian Folk O/Nikolai Kalinin.

Philips 454 395-2 8 Balakirev, M. Grand fantasy on Russian folk songs, op 4 (1854). Anastasia Seifetdinova, pf; Russian PO/Dmitri Yablonsky.

Naxos 8.570396 19 14:00 ELGAR’S CELLO CONCERTO Prepared by Raj Gopalakrishnan

Glinka, M. Viola sonata (1828). Igor Boguslavsky, va; Anna Litvinenko, pf.

Le Chant du Monde LDC 288 068 17 Legnani, L. Potpourri concertant pour cello and guitar. Duo Vitare. www.duovitare.com Novart 01 16

Elgar, E. String quartet in E minor, op 83 (1918). Mistry Quartet.

Argo 433 312-2 25

10:30 CONCERT HALL Prepared by Frank Morrison

Borodin, A. Symphony no 2 in B minor (1869-76). Seattle SO/Gerard Schwarz.

Naxos 8.572786 27

Britten, B. Canadian carnival, op 19 (1939).

Edmonton SO/Uri Mayer.

CBC SMCD 5123 13 Weber, C.M. Clarinet concerto no 2 in E flat, op 74 (1811). Thea King, cl; London SO/Alun Francis.

Hyperion CDA66088 23 Karlowicz, M. Symphony in E minor, op 7, Rebirth (1900-02). Warsaw PO/Antoni Wit. Naxos 8.572487 47

Elgar, E. Cello concerto in E minor, op 85 (1918-19). Jacqueline du Pré, vc; London SO/ John Barbirolli.

EMI CZS 5 68132 2 30 Wagner, R. Forest murmurs, from Siegfried (1856-71). Cleveland O/George Szell.

CBS M2YK 46466 7 Skryabin, A. Le poème de l’extase, op 54 (1905-08). Boston SO/Claudio Abbado.

DG 479 0013 19

20:00 THE WORLD OF A SYMPHONY Prepared by Jacky Ternisien Spohr, L. Overture: Das befreite Deutschland (1814). Swiss Italian O/Howard Shelley.

Hyperion CDA67622 8 Beethoven, L. Piano trio no 5 in D, op 70 no 1, The ghost (1809). Beaux Arts Trio.

Philips 438 948-2 22 Sullivan, A. A more humane Mikado, from The Mikado (1885). John Wegner, bass; State O of Victoria/Richard Divall.

ABC 480 4510 4 Spohr, L. Overture to Faust, op 60 (1816).

Berlin RSO/Christian Fröhlich. cpo 999 093-2 6 Weber, C.M. Piano concerto no 1 in C, op 11 (1810). Nikolai Demidenko, pf; Scottish CO/ Charles Mackerras.

Hyperion CDA66729 20 Gluck, C. Excerpts from Iphigénie en Tauride (1779; arr. Triebensee). Albion Ensemble.

Helios CDH55037 20 Spohr, L. Symphony no 6 in G, op 116, Historical (1840). Swiss Italian O/Howard Shelley.

Hyperion CDA67788 26 22:00 FEATURING PIERS LANE Prepared by Paul Cooke Henselt, A. Étude in C minor, op 5 no 1, Eroica.

Hyperion CDA67495 4 Schubert, F. Violin sonata in A, D574, Grand duo (1817). Tasmin Little, vn.

Chandos CHAN 10850(2) 23 Piers Lane, pf (2 above) 22:30 ULTIMA THULE

A REPUTATION DESTROYED Keith Warsop, writing about Spohr’s Sixth Symphony, says: “The styles imitated are filtered through Spohr’s imagination so giving the symphony its enduring fascination and providing it with a phoenix-like attribute of revival after each critical cremation’. The symphony was commissioned by the London Philharmonic Society and premiered in the Hanover Square Rooms in April 1840.

Spohr gave it a subtitle of Historic in the style and taste of four different periods. Each movement reflects a period in the history of music: Bach–Handel 1720; Haydn–Mozart 1780; Beethoven 1810; and the Very Latest

Period 1840. Many parts of the symphony are very beautiful but It was not well-received and completely baffled contemporary listeners.

The audience had been expecting a symphony similar to Spohr’s first five. The last movement, in particular, was quite unexpected. In fact, the composer had adopted the modern style of Parisian grand opera and ballet, a style that he deplored. Keith Warsop comments: “Here he seems to be saying ‘anything you can do, I can do better’, mixed in with some hints of composers such as Auber and Adam plus a sideways glance at Berlioz and Meyerbeer.”

Today we are accustomed to hearing many works based on music of other composers but when Spohr pioneered the process with his Historical Symphony, contemporary listeners and critics completely failed to appreciate this synthesis. It appears that Spohr wanted to make a joke about the quality of French opera music being produced at the time. The problem was that he had not anticipated that many of the audience enjoyed this style of music and did not find the mocking finale funny. They hissed the work and Spohr’s reputation was immediately tarnished.

OCTOBER 2019

31

Friday 25 October 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 Albinoni, T. Concerto in D minor, op 9 no 2 (pub. 1721; arr. Thilde). Maurice André, tpt; London PO/Jésus López-Cobos.

EMI CMS 7 69880 2 9 Bach, J.S. Sinfonia, from Cantata, BWV29 (1731; transcr. Dupré). Choir of Westminster Abbey; Robert Quinney, org; James O’Connell, cond.

Hyperion CDA67770 4 Brahms, J. Andante, from String sextet no 1 in B flat, op 18 (1858-60; arr. Matthews).

London PO/Carl Davis.

Virgin VC 7 90716-2 9 Pabst, P. Paraphrase, after Tchaikovsky’s Eugene Onegin, op 81. Grigory Ginsburg, pf.

Philips 456 802-2 12 Tchaikovsky, P. Souvenir of a beloved place, op 42 (1878; arr. Parhamovsky). Maxim Vengerov, vn; Vag Papian, pf; Virtuosi.

EMI 5 57164 2 18 Tallis, J. Paraphrase: The sentimental bloke.

Monica Curro, vn; Stefan Cassomenos, pf.

Move MCD 463 10 Zimbalist, E. Sarasateana (arr. 1947; transcr.

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

Naxos 8.557391 16 10:30 CONCERT HALL Prepared by Paul Cooke Bach, J.S. Orchestral suite no 4 in D, BWV1069 (1725). Amsterdam Baroque O/Ton Koopman.

Erato 0630-17868-2 19 Szymanowski, K. Violin concerto no 1, op 35 (1916). Xiao-Dong Wang, vn; Adelaide SO/ Omri Hadari.

ABC 476 7182 24

Villa-Lobos, H. Piano concerto no 1 (1945).

Cristina Ortiz, pf; Royal PO/Miguel GómezMartínez.

Decca 430 628-2 37 14:00 A MUSICAL CARAVAN Prepared by Frank Morrison Svendsen, J. Grand polonaise, op 12.

Trondheim SO/Ole Kristian Ruud.

Virgin 5 45128 2 12 Sinding, C. Romance in D, op 100 (1910).

Henning Kraggerud, vn; Bournemouth SO/ Bjarte Engeset.

Naxos 8.557266 10 Nystedt, K. Immortal Bach. Holst Singers/ Stephen Layton.

Hyperion CDA66928 7 Gröndahl, A. Novelettes, op 25 no 1. Solveig Funseth, pf.

Swedish Society SCD 1043 5 Kvandal, J. Three hymn tunes, op 23b (1963). Oslo Wind Ensemble.

Naxos 8.553050 7 Halvorsen, J. Norwegian air, op 7. Marianne Thorsen, vn; Bergen PO/Neeme Järvi.

Chandos CHAN 10614 8 Lindeman, A. String quartet in G minor.

Copenhagen String Quartet.

LP Simax PN 2010 18 Groven, E. Overture: Hjalarljod, op 38 (1950). Iceland SO/Bjarte Engeset.

Naxos 8.557018 6 Mortensen, O. Danish summer, I love you.

Danish National Radio Choir/Stefan Parkman.

Chandos CHAN 9464 2 Grieg, E. Piano concerto in A minor, op 16 (1868). Stephen Hough, pf; Bergen PO/ Andrew Litton.

Hyperion CDA 67824 30 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm

Stanford, C. Villiers Symphony no 5 in D, op 56, L’allegro ed il penseroso (1894).

Bournemouth SO/David Lloyd-Jones.

Naxos 8.570289 40

19:00 FRIDAY JAZZ SESSION with Christopher Waterhouse

12:00 A JAZZ HOUR with Barry O’Sullivan

Walton, W. Overture: Portsmouth Point (1925). Bryden Thomson, cond.

Chandos CHAN 8968 6

13:00 THE PIANO CONCERTOS OF VILLALOBOS Prepared by Ray Lemond Ginastera, A. Children’s pieces II (1934).

Fernando Viani, pf.

Naxos 8.557911 5 32

Ginastera, A. Dances from the ballet, Estancia, op 8a (1943). New World SO/ Michael Tilson Thomas.

Decca 467 603-2 13

OCTOBER 2019

20:00 EVENINGS WITH THE ORCHESTRA Prepared by Di Cox

Viola concerto (1928/36/61). Nobuko Imai, va.

Chandos CHAN 9106 26 Façade, suite no 2 (1920/77-79).

Chandos CHAN 9148 10 Jan Latham-Koenig, cond (2 above)

The wise virgins, after J.S. Bach (1940).

Bryden Thomson, cond.

Chandos CHAN 8871 20 London PO (4 above) Symphony no 1 in B flat minor (1931-35).

London SO/Colin Davis.

LSO Live LS00681 46 22:00 BAROQUE AND BEFORE Catholic composers, Protestant queen Prepared by Paul Cooke Philips, P. Pavana and galiarda dolorosa (1593). Anneke Uittenbosch, hpd.

Etcetera KTC 1022 11 Regina caeli laetare, from Cantiones sacrae octonis vocibus (1613). Choir of Royal Holloway; English Cornett and Sackbut Ensemble/Rupert Gough.

Hyperion CDA67945 4 Dowland, J. Lachrimae pavan (pub. 1604).

Gareth Koch, gui.

Gracia 0010692 8 In darkness let me dwell (1610); Can she excuse my wrongs, from The Earl of Essex’s galliard; Weep you no more, sad fountains (pub. 1603); What if I never speed? Annie Sophie von Otter, mezz; Anders Ericson, lute.

Archiv 00289 477 5114 16 Tallis, T. O sacrum convivium, from Cantiones sacrae (pub. 1575). Seldom Sene.

Brilliant Classics 94871 5 Spem in alium à 40. Cantillation/Antony Walker.

ABC 472 881-2 10 Monte, P. de Super flumina Babylonis. 5 Byrd, W. Quomodo cantabimus? 7 Ensemble Gombert (2 above) Move MCD 277 Fantasia CCLXI. Gabriele Cassone, natural tpt; Antonio Frigé, org.

Nuova Era 7053 9 Infelix ego. Cardinall’s Musick.

Hyperion CDA67779 13 White, R. Lamentations. Tallis Scholars/Peter Phillips.

Gimell CDGIM 030 22 Charles Villiers Stanford’s symphonies are worth exploring because of their resourceful orchestration and subtle approach to movement forms. The Fifth Symphony bears the subtitle L’allegro ed il penseroso, incorporating the names of two pastoral poems by John Milton.

L’Allegro describes ‘the happy man’; il Penseroso depicts ‘the melancholy man’ or a man spent in contemplation and thought. Stanford wrote a pair of movements illustrating different aspects of the same humour followed by two reflecting Milton’s genial view of melancholia.

Saturday 26 October 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 Mozart, W. Ten variations in G on Unser dummer Pöbel meint, K455 (1784). Mitsuko Uchida, pf.

Philips 456 982-2 12 Falla, M. de Fantasia bætica (1919). Javier Perianes, pf.

Harmonia Mundi HMC 902099 13 Beethoven, L. Piano sonata no 21 in C, op 53, Waldstein (1804). Stephen Kovacevich, pf.

EMI 5 62700 2 23 10:00 MUSIC OF THE DANCE Prepared by Frank Morrison Carr-Boyd, A. Three fantastic dances after Shostakovich (1993). Sydney Mandolins/ Adrian Hooper.

Jade JAD 1037 12 Ginastera, A. Suite from ballet, Estancia, op 8a (1941). London SO/Eugene Goossens.

Price-less D24924 12 Finzi, G. The dance continued. Ian Bostridge, ten; Julius Drake, pf.

EMI 5 56830 2 4 Brumby, C. Four exotic dances (1961).

Geoffrey Collins, fl; Alice Giles, hp.

Tall Poppies TP031 10 Kodály, Z. Dances of Galánta (1933).

Hungarian State SO/Adám Fischer.

Nimbus NI 5284 17 Verdi, G. Ballet music from Il trovatore (1853). Monte Carlo National Opera O/ Antonio de Almeida.

Philips 422 846-2 22 11:30 ON PARADE Prepared by Chris Blower Arnold, M. Fantasy for a brass band, op 114 (1974). Elgar Howarth, cond.

Sony 88875181702 11 Fletcher, P. An epic symphony (1926). Peter Parkes, cond.

Chandos CHAN 9036 16 Grimethorpe Colliery Band (2 above) 12:00 URBAN JAZZ LOUNGE with Leita Hutchings “Sometimes I can only groan, and suffer, and pour out my despair at the piano.” — Frédéric Chopin

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 Bass-ic heroes 14:30 SATURDAY MATINEE Operetta in the afternoon Prepared by Elaine Siversen Sullivan, A. Iolanthe. Operetta in two acts.

Libretto by W.S. Gilbert. First performed London, 1882.

IOLANTHE: Ann Drummond-Grant, cont STREPHON: Alan Styler, bar PHYLLIS: Margaret Mitchell, sop LORD CHANCELLOR: Martyn Green, bar FAIRY QUEEN: Ella Halman, cont D’Oyly Carte Opera Ch & O/ Isidore Godfrey.

LP Decca ACLA 1129 1:27 Synopsis at finemusicfm.com/Opera Excerpts from The pirates of Penzance (1875). Muriel Harding, sop; Joan Gillingham, mezz; Joyce Wright, mezz; Leonard Osborn, ten; Martyn Green, bar; Richard Watson, bass; Donald Harris, bass; D’Oyly Carte Opera Company Ch; New Promenade O/ Isidore Godfrey.

Naxos 8.111311/12 19 Excerpts from The Mikado (1885). Debra Hayes, sop; Meredyth Rawlins, mezz; Carroll Freeman, ten; Eric Schilling, bar; Eric Johnson, bass; members of Eastman Chorale; Rochester PO/Mark Elder.

Pro Arte CDD 480 25 17:00 SOCIETY SPOT Sydney Schubert Society Prepared by Ross Hayes Schubert, F Overture to Claudine von Villa Bella, D239 (1815). Prague Sinfonia/Christian Benda.

Naxos 8.570328 8 Es erhebt sich eine Stimme, from Claudine von Villa Bella. Daniel Behle, ten; L’Orfeo Baroque O/Michi Gaigg.

Sony G010003653330K 3 Hin und wieder fliegen die Pfeile, from Claudine von Villa Bella. Elly Ameling, sop; Rotterdam PO/Edo de Waart.

LP Philips 9500 170 1 Liebe schwärmt auf allen Wegen, from Claudine von Villa Bella. Janet Baker, sop; Raymond Leppard, pf.

BBC Music BBCL 4218-2 1 Symphony no 3 in D, D200 (1815). City of London Sinfonia/Richard Hickox.

IMP PCD 848 24

Overture to Die Freunde von Salamanka, D326 (1815). Prague Sinfonia/Christian Benda.

Naxos 8.570328 6 Es murmeln die Quellen, es leuchtet der Stern; Aus Blumen deuten die Damen gern, from Die Freunde von Salamanka. Daniel Behle, ten; L’Orfeo Baroque O/Michi Gaigg Sony G010003653330K 3 18:00 THE MAGIC OF STAGE AND SCREEN Prepared by Paul Cooke Walton, W. Suite from Henry V (1943-44).

Florida PO/James Judd.

Harmonia Mundi HMU 907070 16 Borodin, A. Excerpts from Kismet (arr. Wright and Forrest 1953). Valerie Masterton, sop; Bonaventura Bottone, ten; David Rendall, ten; Donald Maxwell, bar; Ambrosian Ch/John Owen Edwards.

Orbis MUS C N 14 18 Weill, K. Barbara song (arr. Ardley); Mack the Knife (arr. Thompson); Zuhälter Ballade (arr. Guy), from The threepenny opera (1928).

Barbara Thompson, sax; Medici String Quartet.

Virgin 5 45167 2 19 19:00 THE AMERICAN SYMPHONY Prepared by Chris Blower Diamond, D. Suite from the ballet Tom (1936). Seattle SO/Gerard Schwarz.

Delos DE 3141 23 Hanson, H. Symphony no 1 in E minor, Nordic (1922). Nashville SO/Kenneth Schermerhorn.

Naxos 8.559072 32 20:00 THE LIFE OF A COMPOSER Carl Nielsen Prepared by Paul Cooke Nielsen, C. Overture: Helios, op 17 (1903).

Gothenburg SO/Neeme Järvi.

DG 447 757-2 9 Symphonic suite, op 8 (1894). Mina Miller, pf.

Hyperion CDA66231 16 Sleep, op 18 (1903-04). Danish National Radio Choir; Danish National RSO/Leif Segerstam.

Chandos CHAN 8853 19 Hartmann, J.P.E. Praeludium (1844). Daniele Ruggieri, fl; Andrea Toschi, org.

Brilliant Classics 95011 4 Nielsen, C. At the bier of a young artist, op 58 (1910). Emerson String Quartet.

DG 477 5960 4 Violin sonata no 2, op 35 (1912). Lydia Mordkovitch, vn; Clifford Benson, pf.

Chandos CHAN 8598 22 OCTOBER 2019

33

Sunday 27 October

Saturday 26 October Symphony no 6, Sinfonia semplice (1924-25).

Danish NSO/Michael Schønwandt.

Dacapo 8.206002 35

0:00 CLASSIC-ALL THROUGH THE NIGHT

22:00 SATURDAY NIGHT AT HOME Prepared by Chris Blower

9:00 MUSICA SACRA Prepared by Paul Cooke

Tchaikovsky, P. Francesca da Rimini, symphonic fantasia after Dante, op 32 (1876).

Montreal SO/Charles Dutoit.

Decca 421 814-2 25 Cherubini, L. String quartet no 5 in F (1835).

Quartetto David.

BIS CD-1005 25 Korngold, E. Piano sonata no 1 (1908-09).

Geoffrey Tozer, pf.

Chandos CHAN 9389 17 Glière, R. Suite from The bronze horseman (1949). BBC PO/Edward Downes.

Chandos CHAN 9379 46

THE DANTE CONNECTION In the Romantic age, there was a fascination with the macabre, with death and Heaven and Hell. In Symphonie fantastique the alter ego of Hector Berlioz walks to the scaffold to the strains of the Gregorian Dies irae (Day of judgement).

Camille Saint-Saëns wrote Danse macabre depicting the skeletons of the dead rising from their graves to dance.

Franz Liszt was particulary obsessed with death and its aftermath resulting in works such as Totentanz (Dance of death) which also includes paraphrases of the Dies irae.

The Divine Comedy of Dante Alighieri takes the reader through the various circles of the Inferno and it was after reading the epic poem that Liszt composed Après une lecture du Dante: Fantasia quasi Sonata, usually known as the Dante Sonata, and in his Dante Symhony he expanded those ideas into a monumental work (refer to page 12).

Tchaikovsky was also inspired by the poem.

Instead of giving an overall impression of the circles of the Inferno, he concentrated on Canto V when writing his Francesca da Rimini: Symphonic fantasy after Dante. He presents a symphonic interpretation of the tragic tale of Francesca who fell in love with Paolo, the brother of her cruel husband.

After discovering the lovers, he kills them and Francesca and Paolo are condemned to Hell for their adultery. Here they are trapped, eternally whirling around the second circle of the Inferno. Tchaikovsky’s use of swirling chromaticism in the depiction of the winds is akin to the style of Liszt.

34

OCTOBER 2019

6:00 SUNDAY MORNING MUSIC with David Garrett

Pergolesi, G. Confitebor tibi, Domine (c1732). Julia Kleiter, sop; Rosa Bove, cont; Swiss RT Ch; O Mozart/Claudio Abbado.

Archiv 477 8465 18 Schumann, R. Requiem in D flat, op 148 (1852). Sibykka Rubens, sop; Ingeborg Danze, cont; Christoph Prégardien, ten; Adolph Seidel, bar; Yorck Felix Speer, bass; Saarbrücken Chamber Ch; German Radio PO/George Grün. hänssler 93-270 37 10:00 THE CLASSICAL ERA Prepared by Krystal Li Muthel, J. Keyboard concerto no 5 in B flat (pub. 1767). Marcin Swiatkiewicz, hpd; Arte Dei Suonatori.

BIS 2179 24 Bach, C.P.E. Six sonatas for fortepiano, clarinet and bassoon, Wq92 (pub. 1780). Fiati con Tasto. cpo 999 508-2 16 Abel, C. String quartet in A, op 8 no 5 (1769).

Salomon Quartet.

Hyperion CDA66780 12 Bach, J. Christian Aria: Cara, la dolce fiamma, from Ariano in Siria (1765; arr.

Ross). David Greco, bar; Australian Haydn Ensemble/Skye McIntosh.

Fine Music concert recording 10 Benda, F. Violin concerto in D minor. Ariane Pfister, vn; Suk CO/Christian Benda.

Naxos 8.553902 22 Salieri, A. Ballet: Pafio and Mirra (1778).

Mannheim Mozart O/Thomas Fey. hänssler 98.506 24 12:00 CLASSIC JAZZ AND RAGTIME with John Buchanan 13:00 WORLD MUSIC: Whirled Wide 14:00 SCHONBERG’S ‘GREAT PIANISTS’ Prepared by Peter Poole Friedman, I. Gärtner waltzes, nos 3 and 4 (c1926). Ignaz Friedman, reproducing pf.

Nimbus NI 8802 8 Chopin, F. Ballade no 1 in G minor, op 23 (1831-35). Leopold Godowsky, reproducing pf. fonè 90 F 08 CD 8

Paderewski, I. Legende. Ignaz Paderewski, reproducing pf.

Nimbus NI 8802 5 Haydn, J. Keyboard trio in G, Hob.XV:25, Gypsy (1795). Jacques Thibaud, vn; Pablo Casals, vc; Alfred Cortot, pf.

Naxos 8.110188 13 15:00 SUNDAY SPECIAL The baroque secular cantata Prepared by Rex Burgess Charpentier, M-A. Orpheus descending into hell (1683). Henri Ledroit, ct; Guy de Mey, ten; Jacques Bona, bass; Ricercar Consort.

Ricercar RIC 037011 16 Montéclair, M. de The death of Didon (c1709).

Julianne Baird, sop; American Baroque.

Koch 3-7096-2 H1 13 Senaillé, J-B. Sonata no 6 in G minor (pub 1710). Castalian Band.

Gamut GAM 533 8 Stuck, J-B. Héraclite et Démocrite. Jennifer Smith, sop; Thierry Félix, bar; Les Musiciens du Louvre/Marc Minkowski.

Archiv 449 144-2 26 Rebel, J-F. Sonata no 4 in E minor (1713).

Andrew Manze, vn; Jaap ter Linden, va da gamba; Richard Egarr, hpd.

Harmonia Mundi HMU 907221 10 Clérambault, L-N. Orphée (1728). Noémi Rime, sop; members of Les Arts Florissants/ William Christie.

Harmonia Mundi HMA 1901329 18 Rameau, J-P. Le berger fidèle (1728).

Isabelle Poulenard, sop; Daniel Cuiller, vn; Thérèse Kipfer, vn; Marianne Müller, va da gamba; Yannick le Gaillard, hpd.

Le Chant du Monde LDC 278 774 14 17:00 HOSANNA Esenvalds, E. Amazing grace. Choir of Trinity College, Cambridge/Stephen Layton.

Hyperion CDA68083 5 Gibbons, O. Magnificat; A fancy in A re; Nunc dimittis. Choir of New College, Oxford/Edward Higginbottom.

CRD Records B0013V2PSU 11 Byrd, W. Teach me, O Lord. Choir of Westminster Abbey/James O’Donnell.

Hyperion CDA67704 3 Howells, H. Requiem. Choir of Trinity College, Cambridge/Stephen Layton.

Hyperion CDA67914 20

Liszt, F. Polonaise no 2 in E (1851). Ferruccio Busoni, reproducing pf.

Nimbus NI 8810 10

Hymn: The day Thou gavest, Lord, is ended.

Choir of St Paul’s Cathedral; Christopher Dearnley, org; John Scott, cond.

Hyperion SPCC2000 4

Schumann, R. Toccata in C, op 7 (1829-32).

Harold Bauer, reproducing pf.

Nimbus NI 8804 5

Howells, H. Rhapsody no 1 in D flat.

Christopher Dearnley, org.

Hyperion CDA66394 6

Monday 28 October

Sunday 27 October 18:00 SMALL FORCES Prepared by Frank Morrison Debussy, C. Sonata for flute, viola and harp (1915). Members of Nash Ensemble.

Virgin VC 7 91148-2 17 Bartók, B. String quartet no 3 (1927). New Budapest Quartet.

Hyperion CDA66581/2 17 Mozart, W. Trio for clarinet, viola and piano, K498, Kegelstatt (1786). Martin Fröst, cl; Antoine Tamestit, va; Leif Ove Andsnes, pf.

BIS 1893 19 19:00 SUNDAY NIGHT CONCERT Prepared by Rex Burgess Mendelssohn, F. String symphony no 8 in D (1821). London FO/Ross Pople.

Hyperion CDS44081/3 29 Hindemith, P. Viola concerto, Der Schwanendreher (1935). Geraldine Walther, va; San Franciso SO/Herbert Blomstedt.

Decca 433 809-2 27 Davies, P. Maxwell Symphony no 5 (1994).

Philharmonia O/Peter Maxwell Davies.

Collins 14602 26 20:30 NEW HORIZONS Prepared by James Nightingale Xenakis, I. Nyuyo. Cecile Daroux, fl; Jean Horreaux, gui; Christian Rivet, gui.

Montaigne Naive MO 782173 11 Hsieh, A. Quartet: Towards the beginning.

Syzygy Ensemble. www.syzygyensemble.com 8 Icy disintegration. Arcko Ensemble/Timothy Philips.

Crackbell Records 10 Chen Yi. The ancient Chinese beauty (2008).

Michala Petri, rec; Kremerata Baltica.

OUR 8.226905 14

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: 1905 Prepared by Derek Parker Vaughan Williams, R. Norfolk rhapsody no 1 in E minor (1905-06). New Philharmonia O/ Adrian Boult.

EMI CDC 7 63098 2 10 Quilter, R. Three Shakespeare songs, op 6 (1905). Benjamin Luxon, bar; David Willison, pf.

Chandos CHAN 8782 7 Debussy, C. Suite bergamasque (1905).

Gordon Fergus-Thompson, pf.

ASV DCA 723 19

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; Tamara-Anna Cislowska, pf.

Fine Music concert recording 23 14:30 ROMANTIC CHAMBER Prepared by Paul Hopwood Onslow, G. Grand septet for wind quintet, double bass and piano, op 79 (1849). Marc Marder, db; Jean Hubeau, pf; Nielsen Quintet. apex 0927 49536 2 37 Brahms, J. Piano quartet no 2 in A, op 26 (1861-62). Domus.

Virgin VC7 90739-2 49

Kodaly, Z. Intermezzo for string trio (1905).

Notos Quartet.

RCA 88985411882 5

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

Lehár, F. Vilia; Love unspoken, from The merry widow (1905). Yvonne Kenny, sop; Doug de Vries, mand; Melbourne Symphony Ch & O/Richard Bonynge.

ABC 481 1873 6 Grainger, P. Green bushes, for six hands on two pianos (1905-06). Leslie Howard, pf; David Stanhope, Geoffrey Parsons, pf.

ABC 481 1601 10 Ravel, M. Introduction and allegro (1905).

Zoltán Gyöngyössy, fl; Béla Kovács, cl; Eva Maros, hp; Kodály Quartet.

Naxos 8.550249 10 10:30 CONCERT HALL Prepared by Derek Parker Auber, D-F-E. Overture to La neige (1823).

London SO/Richard Bonynge.

Decca 482 7730 5

Chung, Y. Saxophone concerto no 2 (2009).

Claude Delangle, sax; Ying-Chieh Wang, erhu; Tai-Lin Shieh, guzheng; Shu-Chen Yeh, sanxian; Ying-Chun Chen, vibraphone; Taipei Chinese O/En Shao.

BIS CD-1790 26

Mozart, W. Piano concerto in F, K242, Lodron (1776, arr. for two pianos and orchestra).

Lucas Jussen, pf; Arthur Jussen, pf; Academy of St Martin in the Field/Neville Marriner.

DG 481 2130 23

Violinist and composer Chen Yi, the first woman to receive a Master of Arts in composition from the Central Conservatory of Music in Beijing, has since received many awards for composition. She is a professor of composition at the Music Conservatory of the University of Missouri-Kansas City.

Respighi, O. Three Botticelli pictures (1927).

London SO/Charles Mackerras.

Carlton Classics 15656 91372 20

Hahn, R. Childish variations on a melody of Carl Reinecke (1905). Leslie Howard, Mattia Ometto, pf.

Melba MR 301148-49 6

Takemitsu, T. Toward the sea (1981). Susan Hoeppner, fl; Rachel Gauk, gui.

BIS CD-969 11

22:00 JAZZ AFTER HOURS

Mussorgsky, M. Pictures at an exhibition (1874). Sviatoslav Richter, pf.

Philips 454 167-2 31

Elgar, E. Symphony no 2 in E flat, op 63 (1911). London PO/Adrian Boult.

First Hand Records FHR06 53 12:00 SWING SESSIONS with John Buchanan 13:00 INSPIRED BY ART Prepared by Mariko Yata Antheil, G. Overture: McKonkey’s ferry (1948). Ukraine NSO/Theodore Kuchar.

Naxos 8.559033 9

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 Three famous paintings by the Renaissance master Sandro Botticelli inspired Ottorino Respighi to compose a tone poem that is as restrained and calm as the exqusite paintings. Although it is scored for a chamber orchestra, Three Botticelli pictures is as colourful as his somewhat bombastic Pines of Rome and as beguiling as his Fountains of Rome.

The first picture, La Primavera (Spring), in Respighi’s interpretation is a pastoral idyll is based on ‘antique’ dance rhythms and is complete with rustlings of nature and bird songs. The second, a painting on a religious theme is L’adorazione dei Magi (The Adoration of the Magi). Here Respighi uses old church modes and Gregorian-influenced melodies to evoke a mood of medieval devotion. He draws on his wide study and knowledge of early music demonstrated so vividly in some other of his compositions. He quotes the Nativity hymn Veni, veni Emmanuel (Come, O come, Emmanuel) which has its roots in ninth century antiphon. The third painting, La nascita de Venere (The Birth of Venus), shows the goddess on a giant oyster shell borne upon the waves.

Resighi’s aural impression has swirling figures and bright sonorities vividly suggesting the play of waves.

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Tuesday 29 October 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 Fauré, G. Barcarolles nos 9 to 12. Kathryn Stott, pf.

Hyperion CDA66911/4 16 Debussy, C. Lindaraja (1901). Jean-Philippe Collard, pf; Michel Béroff, pf.

EMI 5 72376 2 6

Bach, J.S. Brandenburg concerto no 5 in D, BWV1050 (1720). Suk CO/Josef Suk. Vanguard OVC 7002/03 21

Borodin, A. Overture to Prince Igor (1887; reconstr. Glazunov). London SO/Georg Solti.

Decca 478 2826 11

Bruckner, A. Symphony in D minor (1869).

Chicago SO/Daniel Barenboim.

DG 437 250-2 46

String quartet no 2 in D (1885). Borodin Quartet.

Decca 455 632-2 28

12:00 JAZZ RHYTHM with Jeannie McInnes

Brahms, J. Symphony no 3 in F, op 90 (1883). London PO/Marin Alsop.

Naxos 8.557430 37

13:00 JOHN ANTILL REMEMBERED Prepared by David Brett Antill, J. Overture for a momentous occasion (1957). Sydney SO/John Antill.

LP ABC RRCS 133 6

New Guinea patrol (1958). O/John Antill.

Liszt, F. Solemn march to the Holy Grail, from Canberra School of Music CSM:28 16 Parsifal. Igor Levit, pf.

An outback overture (1954). New Zealand Sony G010003685272S 11 SO/James Judd.

Brahms, J. Four serious songs, op 121. Jan Naxos 8.570241 8 DeGaetani, mezz; Gilbert Kalish, pf.

Suite from Corroboree (1950). Sydney SO/ Arabesque Z 6141 18 John Antill.

Koechlin, C. Bassoon sonata, op 71 (1919). LP HMV OASD 7554 23 Eckart Hübner, bn; Inge-Susan Römhild, pf.

SWR Music 19047 11 14:00 BORN IN 1833 Brahms and Borodin Nielsen, C. Symphonic suite, op 8 (1894).

Prepared by Ron Walledge Mina Miller, pf.

Hyperion CDA66231 16 10:30 CONCERT HALL Prepared by Paul Hopwood Saint-Saëns, C. Overture: Spartacus (1863).

Orchestral Ensemble of Paris/Jean-Jacques Kantorow.

EMI 5 55587 2 15

Brahms, J. Variations on a theme by Joseph Haydn, op 56a, St Antoni chorale (1873).

Vienna PO/István Kertész.

Decca 448 197-2 19 Alto rhapsody, op 53 (1869). Janet Baker, mezz; London Symphony Ch; City of London Sinfonia/Richard Hickox.

Virgin VC 7 91123-2 14

16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm 19:00 THE JAZZ BEAT with Lloyd Capps 20:00 RECENT RELEASES with Robert Small 22:00 CHAMBER SOIRÉE Prepared by Rex Burgess Debussy, C. Suite bergamasque (1890/1905; arr. Grigoryan). Slava Grigoryan, gui; Leonard Grigoryan, gui.

ABC 476 6088 17 Grieg, E. String quartet no 1 in G minor, op 27 (1877-78). Raphael Quartet.

Olympia OCD 432 35 Schubert, F. Fantasy in C, D934 (1827).

Adele Anthony, vn; Jonathan Feldman, pf.

Naxos 8.554148 25 Shostakovich, D. Piano quintet in G minor, op 57 (1940). Australia Ensemble.

Tall Poppies TP052 33

A MUSICAL LIFE IN BRIEF ELIZABETH HILL PROFILES JOHN ANTILL

The Australian composer John Antill is one of those musical figures famous for a single composition. His Corroboree was the most successful and important Australian work of its time, with its success overshadowing the work of his contemporaries, and even his other major works. It was premiered in 1946 by Eugene Goossens, who called it the first piece he knew that displayed ‘really authentic Australian character’. Goossens was so impressed that he performed it with many international orchestras, including the Cincinnati, London and Berlin Symphony Orchestras. In 1982 Corroboree received the APRA Award for ‘Most performed classical composition’.

Like The rite of Spring, to which comparisons have been frequently drawn, Corroboree was intended as a ballet, but is usually heard in purely orchestral performances. Described as ‘a powerfully primitive sound world in the spirit of early 20th century modernism’ 36

OCTOBER 2019

Corroboree’s distinctly Australian sound and orchestral technique influenced many composers, including Sculthorpe, Edwards and Conyngham.

Antill was educated at St Andrew’s Cathedral School and Trinity Grammar before becoming apprenticed to the New South Wales Government Railways as a mechanical draftsman. Music was always in his mind, and while an apprentice he wrote several operas, including Endymion.

Overcoming his father’s reservations about the unreliable nature of a career in music, he left the railways and began studying with the organist Frederick Mewton. On Mewton’s retirement he enrolled full time at the New South Wales Conservatorium of Music, studying composition with Alfred Hill and Arthur Benjamin. After graduating he played in both the NSW State Orchestra and the Sydney Symphony and toured with the J.C. Williamson Imperial Opera Company as a tenor and rehearsal conductor.

At the age of 33 he became assistant Music Editor with the Australian Broadcasting Commission, becoming Supervisor of Music in 1947, and in 1949 the ABC’s Federal Music Editor, a position he held until his retirement.

During this time he was responsible for encouraging Australian composers and promoting their work, and was a valued adjudicator for the ABC’s annual Concerto and Vocal Competitions.

His musical style as a composer was generally conservative, drawing primarily on the Anglican choir tradition in which he was raised and the late-Romantic orchestral world of the late 19th and early 20th centuries. A prolific composer, he wrote for theatre, orchestra, voice, choir and film, but he never repeated the success of Corroboree in his later works.

You’ll find some of John Antill’s music, including Corroboree, at 1pm today.

Wednesday 30 October 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 James Nightingale Dvorák, A. Overture to Armida, op 115 (1904). CSSR State PO/Robert Stankovsky.

Marco Polo 8.223272 6 Monteverdi, C. Lamento d’Arianna, from Sixth book of madrigals (pub. 1614).

Concerto Italiano/Rinaldo Alessandrini.

Arcana A 66 15

trombones (1826). Members of London Gabrieli Brass Ensemble.

Hyperion CDA67119 3 Onslow, G. Grand septet for wind quintet, double bass and piano, op 79. Rudolf Frei, db; Werner Bärtschi, pf; Stalder Quintet.

Jecklin 554-2 31 14:00 IN CONVERSATION with Michael Morton-Evans 15:00 SHOSTAKOVICH EXPLORED Part 5 Prepared by Michael Morton-Evans Shostakovich, D. Festive overture, op 96 (1954). Russian NO/Mikhail Pletnev.

Newton 8802037 6

Liszt, F. Dante’s sonnet: Tanto gentile e tanto onesta, by Hans von Bülow (transcr. 1874).

Leslie Howard, pf.

Hyperion CDS44557 6

Extracts from the play, Rule Britannia, op 28 (1931). Camerata Silesia; Polish National RSO/Mark Fitz-Gerald.

Naxos 8.572138 9

Ponchielli, A. Sonetto di Dante (1865). 3

Symphonic poem: October, op 131 (1967).

Royal PO/Vladimir Ashkenazy.

Decca 436 762-2 13

Pinsuti, C. Sonetto di Dante (1864). 5 Rosa Feola, sop; Iain Burnside, pf (2 above) Opus Arte OA 9039 D Liszt, F. Après une lecture du Dante, fantasia quasi sonata, from Years of pilgrimage, bk 2 (1837-49). Daniel Barenboim, pf.

Teldec 9031 77340-2 16 Smyth, E. Violin sonata op 7 in A minor.

Tamsin Little, vn; John Lenehan, pf.

Chandos CHAN 20030 24 Puccini, G. O mio babbino caro, from Gianni Schicchi (1918). Yvonne Kenny, sop; Melbourne SO/Vladimir Kamirski.

ABC 476 5700 2

Ballet suite no 1 (1950; ed. Atovmyan).

Russian PO/Dmitry Yablonsky.

Naxos 8.557208 13 Four waltzes for flute, clarinet and piano.

András Adjorján, fl; Eduard Brunner, cl; Wassilij Lobanow, pf.

Tudor 727 10 Tahiti trot, op 16 (1928; orch. Youmans).

Queensland SO/Vladimir Verbitsky.

ABC 476 3510 4 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm

10:30 CONCERT HALL Prepared by Elaine Siversen

19:00 JAZZ STARS AND STRIPES with Peter Mitchell

Glazunov, A. Ballet: Chopiniana, op 46 (1893). German SO/Vladimir Ashkenazy.

Decca 460 019-2 21

20:00 AT THE OPERA Opera oscura A Gluck double bill: The Muses confused and the Judge outwitted Gluck, C. Il Parnaso confuso, azione teatrale in three acts. Libretto by Pietro Metastasio.

First performed Vienna, 1765.

APOLLO: Dan Shen, sop MELPOMENE: Desirée Restivo, sop EUTERPE: Ilaria Torciani, sop ERATO; Magdalena Aparta, sop Musicanto/Adrianio Bassi.

Delta DIM 253 1:00

Mendelssohn, F. Double concerto in D minor (1823). Gidon Kremer, vn; Martha Argerich, pf; Orpheus CO. DG 427 338-2 37 Kodály, Z. Suite from Háry János, op 15 (1927). Chicago SO/Neeme Järvi.

Chandos CHAN 8877 25 12:00 JAZZ SKETCHES with Robert Vale 13:00 SIXES AND SEVENS Prepared by Paul Cooke Bach, J.S. Suite no 2 in B minor, BWV1067.

Eugenia Zuckerman, fl; Anthony Newman hpd; Shanghai Quartet.

Delos DE 3173 19 Lachner, F. Septet for four horns and three

Synopsis at finemusicfm.com/Opera Dance of the spectres and the furies, from Don Juan (1761). Munich Hofkapelle/ Alessandro de Marchi.

Sony 8884 301924 2 4 Der betrogene Kadi. Opera in one act.

Libretto by Pierre-René Lemonnier after a

German translation by Johann André of Le cadi dupé. First performed Vienna, 1761.

THE KADI: Walter Berry, bass FATIME: Anneliese Rothenberger, sop ZELMIRE: Helen Donath, sop NURADIN: Nicolai Gedda, ten OMAR: Klaus Hirte, bar OMEGA: Regina Marheineke, sop Bavarian State Opera Ch & O/Otmar Suitner.

CPO 999 552-2 49 Synopsis at finemusicfm.com/Opera Je chérirai, jusqu’au trepas, from La rencontre imprévue (1764). Daniel Behle, ten; Christina Pandelidou, cora; Armonia Atenea/ George Petrou.

Decca 478 6758 5 Mozart, W. Ten variations in G on Unser dummer Pöbel meint, K455 (1783-84). Bart van Oort, fp.

Brilliant Classics 93025 13 22:30 LES SIX Prepared by Ray Lemond Les Six. Ballet: The Marriage on the Eiffel Tower (c 1921). Philharmonia O/Geoffrey Simon.

Chandos CHAN 8356 21 Auric, G. Prelude, from Album des six (1919); Adieu New York (1918). Marcelo Bratke, pf.

Olympia OCD 487 7 Milhaud, D. Concerto for marimba and vibraphone (1947). Rainer Kuisma, mar, vibraphone; Norrköping SO/Jorma Panula.

BIS CD-149 19 Honegger, A. Romance. Patrick Thomas, fl; Larry Sitsky, pf.

LP Brolga BZM 21 2 Durey, L. The bestiary (1919). Stephen Varcoe, bar; Graham Johnson, pf.

Hyperion CDA66248 6 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 Litanies à la Vierge Noire (1936). Donna Deam, sop; Cambridge Singers; City of London Sinfonia/John Rutter.

Collegium Records COLCD 108 8 Blending the mythical and contemporary, Gluck‘s first opera of this double bill has the Muses called to provide entertainment for the wedding of the Hapsburg archduke, later Emperor Joseph II. The second opera is a comic story of revenge on a judge for his meddling to prevent a marriage.

OCTOBER 2019

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Thursday 31 October 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: Percussion Prepared by Paul Cooke Molter, J. Sinfonia no 99. Dresden Philharmonic CO/Alexander Peter.

Naxos 8.557610 15

Chopin, F. Piano concerto no 1 in E minor, op 11 (1830). Daniil Trifonov, pf; Mahler CO/ Mikhael Pletnev.

DG 479 7518 43 Schumann, R. Symphony no 4 in D minor, op 120 (1851). Swedish CO/Thomas Dausgaard.

BIS SACD-1619 26 12:00 JAZZ, PURE AND SIMPLE with Maureen Meers 13:00 INSPIRED BY SCOTLAND Prepared by Elaine Siversen

Pitfield, T. Xylophone sonata (1987). Peter Donohoe, xylophone.

Naxos 8.557291 6

Meyer, P-J. Duet on Scottish airs (c1810).

Frances Kelly, hp; Timothy Roberts, fp.

Hyperion CDA66740 8

Martin, F. Ballade (1972). Philip Dukes, va; Rachel Masters, hp; Roderick Elms, hpd; Adrian Bending, timp; Rachel Gledhill, perc; Keith Millar, perc; London PO/Matthias Bamert.

Chandos CHAN 9380 12

Coles, C. From the Scottish Highlands (190507). BBC Scottish SO/Martyn Brabbins.

Hyperion CDA67293 13

Pärt, A. Fratres for wind octet and percussion (1977). I Fiamminghi/Rudolf Werthen.

Telarc 80387 8 Bach, J.S. Jauchzet, frohlocket, from Christmas oratorio, BWV248 (1734). English Baroque Soloists; Monteverdi Choir/John Eliot Gardner.

DG 480 6800 8 Glanville-Hicks, P. Sonata for piano and percussion (1952). Susanne Powell, pf; Canberra School of Music Percussion Ensemble/Michael Askill.

Canberra School of Music CSM 24 11 Sibelius, J. Symphony no 1 in E minor, op 39, mvt 3 (1899). Melbourne SO/José Serebrier.

ASV DCA 612 5 Edwards, R. Flower songs (1986-87).

Sydney Chamber Choir; Ian Cleworth, perc; Alison Eddington, perc; Nicholas Routley; cond.

Fine Music concert recording 11 10:30 CONCERT HALL Prepared by Giovanna Grech Beethoven, L. Overture to Coriolan, op 62 (1807). Bavarian RSO/Colin Davis.

CBS MDK 44790 10

Sor, F. Fantasy for guitar on a favourite Scottish tune, Ye banks and braes, op 40 (c1829-30). Marc Teicholz, gui.

Naxos 8.553722 8 Lemmoné, J. Fantasia on Scottish melodies.

Paul Curtis, fl; David Miller, pf.

Tall Poppies TP068 8 Britten, B. Scottish ballad, op 26 (1941).

Julius Katchen, pf; London SO/Benjamin Britten.

Decca 478 5364 16

OCTOBER 2019

Suite from Das Zauberglöckchen (1837).

London Mozart Players/Howard Shelley.

Chandos CHAN 9925 16 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm 19:00 THE NEW JAZZ STANDARD with Frank Presley 20:00 THE WORLD OF A SYMPHONY Prepared by Frank Morrison Horneman, C. Ouverture héroïque (1867).

Danish National RSO/Michael Schønwandt.

Chandos CHAN 9373 13 Gade, N. String quartet in D, op 63 (1888).

Kontra Quartet.

BIS CD-516 22 Lumbye, H. Queen Louise’s waltz (1868).

Odense SO/Peter Guth.

Unicorn-Kanchana DKP(CD)9089 6 Glass, L. Cello sonata in F, op 5 (1889).

Henrik Brendstrup, vc; Christina Bjorkoe, pf. cpo 999 548-2 19 Riisager, K. Concertino for trumpet and strings, op 29 (1933). Hakan Hardenberger, tpt; Helsingborg SO/Thomas Dausgaard.

Marco Polo 8.224082 11

14:00 BEETHOVEN’S RIVAL Johann Nepomuk Hummel Prepared by Stephen Wilson

Nielsen, C. Symphony no 5, op 50 (1921-22).

Royal Danish O/Paavo Berglund.

RCA 74321 20293 2 37

Hummel, J. Overture: Freudenfest, in D (1814).

London Mozart Players/Howard Shelley.

Chandos CHAN 9925 6

22:00 FEATURING PIERS LANE Prepared by Paul Cooke

Fantasy in G minor, op 123 (1833). Madoka Inui, pf.

Naxos 8.557836 12 Potpourri, op 94 (1820). James Ehnes, va; London Mozart Players/Howard Shelley.

Chandos CHAN 10255 19 Flute sonata in D, op 50 (1810-14). Marta Mazzini, fl; Stefano Fiuzzi, pf.

Dynamic CDS 128 19 Mandolin concerto in G (1799). Dorina Frati, mand; I Solisti di Fiesole/Nicola Paszkowski.

Dynamic CDS 128 18

Although Peggy Glanville-Hicks altered her style of composition during the middle years of her career, her music retained an essentially melodic quality and rhythm was a central element in her later compositions.This led her to write for instruments that she felt were ideally suited to the new aesthetic of ‘modern’ music of which she was a fervent champion.

The harp and the often-neglected percussion section of the orchestra were, she felt, the ideal instruments for this new approach. She first applied her new concept in two short, experimental pieces: the Sonata for piano and percussion (1951) and the song cycle Letters from Morocco (1952). This sonata and her Sonata for harp are considered to be extremely important works among her compositions.

38

Sonata no 1 in C, op 2 no 3 (1792). Ian Hobson, pf.

Arabesque Z 6564 17

Delius, F. I-Brasil (1913). Yvonne Kenny, sop.

Hyperion CDA67594 4 Schubert, F. Sonata in A minor, D821, Arpeggione (1824). Tim Hugh, vc.

Chandos CHAN 10850(2) 23 Piers Lane, pf (2 above) 22:30 ULTIMA THULE Carl Nielsen’s Fifth Symphony, written soon after World War I, has been described as having elements of war in that the composer drew on a theme of contrast and opposition. Its unusual structure of only two movements is fashioned in modernist terms: a fragmented nature, unpredictable character and sudden synchronisation.

The first movement climaxes in a battle between the orchestra and a renegade snare-drummer who appears to be sabotaging the performance but Nielsen’s direction to the player is to ‘ad lib’ and do everything he can to halt the music.

The following composers have works of at least five minutes on the October dates listed Abbott, C. 1916-1994 8 Abel, C. 1723-1787 27 Albinoni, T. 1671-1751 25 Albrechtsberger, J. 1736-1809 12 Alkan, C-V. 1813-1888 1,14 Allworth, R. b1943 21 Anderson, L. 1908-1975 14 Antheil, G. 1900-1959 28 Antill, J. 1904-1986 29 Arnalds, O. b1986 20 Arne, T. 1710-1778 11 Arnold, M. 1921-2006 26 Arnold, S. 1740-1802 2 Arriaga, J. 1806-1826 3,10 Auber, D-F-E. 1782-1871 28 Auric, G. 1899-1983 30 Bach, C.P.E. 1714-1788 5,8,13,27 Bach, J. Christian 1735-1782 5,27 Bach, J.S. 1685-1750 4,5,6,8,11,18,25,27,29,30,31 Baermann, H. 1784-1847 8 Balakirev, M. 1837-1910 10,24 Bantock, G. 1868-1946 3,4 Barber, S. 1910-1981 5,20 Barrett, R. b1959 6 Barriere, J. 1705-1747 17 Bartók, B. 1881-1945 3,27 Bax, A. 1883-1953 3,22 Beethoven, L. 1770-1827 1,4, 6,7,10,12,16,18,22,23,24,26,31 Bellini, V. 1801-1835 18 Benda, F. 1709-1786 22,27 Benjamin, A. 1893-1960 4 Bennett, W. Sterndale 1816-1875 4 Berlioz, H. 1803-1869 4,11,15,16,19,20,21 Bizet, G. 1838-1875 2 Bliss, A. 1891-1975 1 Bloch, E. 1880-1959 21 Blow, J. 1649-1708 20 Boccherini, L. 1743-1805 3,6,10,15,17 Bomtempo, J. 1771-1842 3 Borne, F. 1840-1920 16 Borodin, A. 1833-1887 2,9,20,24,26,29 Bottesini, G. 1821-1889 24 Brahms, J. 1833-1897 3,4,6,8,18,19,20,25,28,29 Bridge, F. 1879-1941 11 Britten, B. 1913-1976 24,31 Bruch, M. 1838-1920 17 Bruckner, A. 1824-1896 15,19,29 Brumby, C. 1933-2018 9,24,26 Busoni, F. 1866-1924 4,6 Buxtehude, D. 1637-1707 15 Byrd, W. 1543-1623 25 Caplet, A. 1878-1925 3 Capponi, R. c1608-1688 21 Carissimi, G. 1605-1674 18 Carr-Boyd, A. b1938 26 Casella, A. 1883-1959 9,22 Cesti, A. 1623-1669 18 Chadwick, G. 1854-1931 19 Chaminade, C. 1857-1944 1

Chan, L. b1967 22 Charpentier, M-A. 1635-1704 9,13,27 Chen Yi. b1953 27 Cherubini, L. 1760-1842 6,9,16,26 Chopin, F. 1810-1849 1,4,7,8,12,17,18,20,22,27,31 Chung, Y. b1956 27 Cimarosa, D. 1749-1801 9 Clementi, M. 1752-1832 13 Clérambault, L-N. 1676-1749 5,27 Coates, E. 1886-1957 22 Coates, T. 1803-1895 5 Coles, C. 1888-1918 31 Collins, B. 20th c 17 Copland, A. 1900-1990 19 Couperin, A-L. 1727-1789 15 Cowen, F. 1852-1935 3 Czerny, C. 1791-1857 6 d’Indy, V. 1851-1951 14 Dallapiccola, L. 1904-1975 18 Danzi, F. 1763-1826 16 Dauprat, L. 1781-1861 17 Davies, P. Maxwell 1934-2016 27 Debussy, C. 1862-1918 5,8,11,14,16,17,19,27,28,29 Delibes, L. 1836-1891 19 Delius, F. 1862-1934 3,16,22,23 Devienne, F. 1759-1803 3 Diamond, D. 1915-2005 15,26 Dohnányi, E. 1877-1960 3,13 Donizetti, G. 1797-1848 18 Dorman, A. b1975 2 Dowland, J. c1563-1626 25 Doyle, P. b1953 5 Dufay, G. c1400-1474 4 Dukas, P. 1865-1935 9 Durey, L. 1888-1979 30 Dussek, J. 1760-1812 5,21 Dvorák, A. 1841-1904 1,2,13,14,30 Dyson, G. 1883-1964 10 Edwards, R. b1943 31 Elgar, E. 1857-1934 6,11,17,24,28 Eller, H. 1887-1970 17 Escaich, T. b1965 2 Eybler, J. 1765-1846 13 Falla, M. de 1876-1946 26 Fasch, J. 1688-1758 11 Fauré, G. 1845-1924 1,11,15,29 Févin, A. de c1474-1512 6 Fibich, Z. 1850-1900 5 Field, J. 1782-1837 7 Finzi, G. 1901-1956 10,11 Fletcher, P. 1879-1932 26 Fossa, F. de 1775-1849 4 Fox, C. b1955 6 Françaix, J. 1912-1997 17 Franck, C. 1822-1890 11,23 Frescobaldi, G. 1583-1643 18 Friedman, I. 1882-1948 19 Froberger, J. 1616-1667 18 Fux, J. 1660-1741 23

Gade, N. 1817-1890 10,15,31 Garcia, M. 1775-1832 18 German, E. 1862-1936 3 Gershwin, G. 1898-1937 12 Gibbons, O. 1583-1625 27 Ginastera, A. 1916-1983 25,26 Glanville-Hicks, P. 1912-1990 31 Glass, L. 1864-1936 14,31 Glazunov, A. 1865-1936 30 Glière, R. 1875-1976 12,26 Glinka, M. 1804-1857 10,11,15,17,24 Gluck, C. 1714-1787 7,24 Goldmark, K. 1830-1915 3 Goossens, E. 1893-1962 21 Gottschalk, L. 1829-1869 14 Gounod, C. 1818-1893 19,20 Grainger, P. 1882-1961 28 Granados, E. 1867-1916 5 Grieg, E. 1843-1907 15,19,25,29 Grigoryan, E. b1955 8 Grofé, F. 1892-1972 12 Gross, E. 1926-2011 8 Groven, E. 1901-1977 25

Kraus, J.M. 1756-1792 22 Krommer, F. 1759-1831 3 Kvandal, J. 1919-1999 25 Lalliet, T. 1837-1892 9 Lambert, C. 1905-1951 5 Legnani, L. 1790-1877 24 Lehár, F. 1870-1948 28 Lemmoné, J. 1862-1949 31 Lhoyer, A. de 1768-1852 7 Liebermann, L. b1961 21 Ligeti, G. 1923-2006 6 Lindeman, A. 1859-1938 25 Liszt, F. 1811-1886 3,4,18,27,29,30 Loussier, J. 1934-2019 2 Lovreglio, D. 1841-1907 17 Lumbye, H. 1810-1874 31 Lyadov, A. 1855-1914 24

MacDowell, E. 1860-1908 19 Madetoja, L. 1887-1947 5 Mahler, A. 1879-1964 1 Mahler, G. 1860-1911 21 Makarova, N. 1908-1976 20 Martin, F. 1890-1974 31 Martinu, B. 1890-1959 5,13 Massenet, J. 1842-1912 1,2,9 Hadley, H. 1871-1937 12 Meale, R. 1932-2009 17 Hahn, R. 1875-1947 28 Meinardus, L. 1827-1896 6 Halvorsen, J. 1864-1935 25 Handel, G. 1685-1759 5,8,15 Melikov, A. 1933-2019 20 Hanson, H. 1896-1981 18,26 Mendelssohn, F. 1809-1847 1,11,12,14,18,19,20,22,27,30 Hartmann, E. 1836-1898 15 Mendelssohn, Fanny.

Haydn, J. 1732-1809 1805-1847 8 1,6,9,11,13,20,22,23 Messiaen, O. 1908-1992 2,6 Haydn, M. 1737-1806 20 Meyer, P-J. 1737-1819 31 Herrmann, B. 1911-1975 5 Meyerbeer, G. 1791-1864 Herz, H. 1803-1888 16 Hindemith, P. 1895-1963 21,27 1,2,7,18 Milhaud, D. 1892-1974 Hisaishi, J. b1950 5 11,17,30 Holbrooke, J. 1876-1958 3 Molter, J. 1696-1765 31 Holland, D. 1913-2000 14 Monckton, L. 1861-1924 19 Holst, G. 1874-1934 Monte, P. de 1521-1603 25 5,11,12,18,20 Horneman, C. 1840-1906 31 Montéclair, M. de 1667-1737 27 Houghton, P. b1954 22 Monteverdi, C. 1567-1643 Howells, H. 1892-1983 27 11,30 Hsieh, A. 20th c 27 Moore, K. b1979 8 Hummel, J. 1778-1837 Morris, C. 20th c 21 8,12,20,21,31 Moscheles, I. 1794-1870 4 Ives, C. 1874-1954 5 Moszkowski, M. 1854-1925 1,23 Jerúsalem, I. 1710-1769 11 Mouquet, J. 1867-1946 19 Joachim, J. 1831-1907 16 Mozart, W. 1756-1791 4,5,6,7, 8,13,15,16,20,26,27,28,30 Kabalevsky, D. 1904-1987 22 Mussorgsky, M. 1839-1881 28 Karlowicz, M. 1876-1909 24 Muthel, J. 1728-1788 27 Kats-Chernin, E. b1957 22,28 Keen, R. b1956 19 Nielsen, C. 1865-1931 Ketèlby,A. 1875-1959 14 14,17,26,29,31 Khachaturian, A. 1903-1978 Nock, M. b1940 22 2,12 Nystedt, K. 1915-2004 25 Khan, U. 1928-2004 2 Kilar, W. 1932-2013 5 Offenbach, J. 1819-1880 Kodaly, Z. 1882-1967 12,24 3,8,17,26,28,30 Onslow, G. 1784-1853 28,30 Kodály, Z. 1882-1967 Pabst, P. 1854-1897 25 3,8,17,26,28,30 Paderewski, I. 1860-1941 23 Koechlin, C. 1867-1950 29 Korngold, E. 1897-1957 22,26 Paganini, N. 1782-1840 7,22 Parry, H. 1848-1918 3 Kozeluch, L. 1747-1818 10

Pärt, A. b1935 31 Pergolesi, G. 1710-1736 20,27 Pfitzner, H. 1869-1949 18 Philips, P. c1561-1628 25 Pichl, V. 1741-1805 19 Pitfield, T. 1903-1999 31 Ponchielli, A. 1834-1886 5 Poulenc, F. 1899-1963 11,17,21,30 Purcell, H. 1659-1695 11 Quilter, R. 1877-1953 28 Rachmaninov, S. 1873-1943 4,12 Rameau, J-P. 1683-1764 22,27 Rautavaara, E. 1928-2016 13 Ravel, M. 1875-1937 12,17,19,21,28 Rebel, J-F. 1666-1747 27 Reger, M. 1873-1916 21 Respighi, O. 1879-1936 4,10,13,15,19,28 Richter, M. b1966 2 Ries, F. 1784-1838 12 Riisager, K. 1897-1974 31 Rimsky-Korsakov, N. 1844-1908 9,10,12 Rodrigo, J. 1901-1999 18 Roman, J. 1694-1758 11 Rorem, N. b1923 16 Rossi, L. c1597-1653 18 Rossini, G. 1792-1868 2,7,18,22,23 Roussel, A. 1869-1937 17 Rózsa, M. 1907-1995 3 Rubinstein, A. 1829-1894 6 Saint-Georges, J. 1739-1799 6 Saint-Saëns, C. 1835-1921 2,4,6,11,13,17,24,29 Sakamoto, R. b1952 20 Salieri, A. 1750-1825 16,27 Say, F. b1970 13 Scarlatti, A. 1659-1725 15 Schmelzer, J. c1620-1680 23 Schmidt, F. 1874-1939 3 Schubert, F. 1797-1828 1,3, 7,9,10,11,16,17,18,22,23,24, 26,29,31 Schulhoff, E. 1894-1942 8 Schumann, R. 1810-1856 4,7,8,10,12,14,23,27,31 Senaillé, J-B. 1687-1730 27 Serebrier, J. b 1938 13 Shostakovich, D. 1906-1975 2,9,12,15,16,17,23,29,30 Sibelius, J. 1865-1957 3,8,22 Sinding, C. 1856-1941 14,25 Sitsky, L. b1934 13 Skryabin, A. 1872-1915 14,24 Slade, J. 1930-2006 12 Smetana, B. 1824-1884 2,5,11,19 Smyth, E. 1858-1944 30 Sondheim, S. b1930 12 Sor, F. 1778-1839 31 Sousa, J.P. 1854-1932 19,21 Speer, D. 1636-1707 23

Spohr, L. 1784-1859 7,10,13,24 Stainer, J. 1840-1901 6 Stamitz, J. 1717-1757 20 Stanford, C. Villiers 1852-1924 3,11,18,20,25 Stenhammar, W. 1871-1927 21 Strauss, J. II 1825-1899 14 Strauss, R. 1864-1949 1,2,9,10,16,22 Stravinsky, I. 1882-1971 4,11,16,17,20 Stuck, J-B. 1680-1755 27 Suk, J. 1874-1935 5 Sullivan, A. 1842-1900 11,26 Svendsen, J. 1840-1911 25 Szymanowski, K. 1882-1937 19,25 Takemitsu, T. 1930-1996 27 Tallis, J. 1911-1996 25 Tartini, G. 1692-1770 11 Tausig, C. 1841-1871 20 Tawadros, Joseph. b1982 13 Tchaikovsky, P. 1840-1893 1,6,8,10,11,14,15,20,25,26 Telemann, G. 1681-1767 6 Tishchenko, B. 1939-2010 20 Tubin, E. 1905-1982 5 Tunder, F. 1614-1667 18 Turina, J. 1882-1949 15 Vali, R. b1952 13 Vaughan Williams, R. 1872-1958 11,12,13,18,20,28 Verdi, G. 1813-1901 1,2,4,9,26 Victoria, T. de 1548-1611 13 Villa-Lobos, H. 1887-1959 15,25 Vivaldi, A. 1678-1741 16,21 Wagner, R. 1813-1883 1,13,18,24 Walters, G. 1928-2012 3 Walton, W. 1902-1983 2,11,18,25,26 Weber, C.M. 1786-1826 6,20,22,24 Webern, A. 1883-1945 23 Weill, K. 1900-1950 26 Werner, G. 1693-1766 23 White, R. c1538-1574 25 Williamson, M. 1931-2003 17 Winding, A. 1835-1899 15 Wirén, D. 1905-1986 23 Wolf, H. 1860-1903 11 Xenakis, I. 1922-2001 6,27 Yared, G. 20th c 23 Zawadzki, S. b1991 20 Zelenka, J. 1679-1745 13 Zimbalist, E. 1890-1985 25

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

PIONEER OF EARLY OPERA ELAINE SIVERSEN CELEBRATES MUSIC OF ANTONIO CESTI In considering the early Italian composer of vocal music Antonio Cesti, musicologist Hermann Kretzschmar wrote: “[He excelled] in the expression of ardour and tenderness, in which sounds speak of the gentle impulses of loving hearts, in which a lonely lover yearns and remembers, and in the depiction of thoughtful reveries.”

Born in 1623, Cesti joined the Franciscan order at 14. Later released from his vows, he became one of the most celebrated musicians of his generation and a pioneer Scene from Il pomo d’oro Image source: Alamy in the development of opera following on from Monteverdi. He was praised for his to compose around 100 operas but only cantatas, the first being composed when 15 have survived. They were produced in he was 17. Cesti is thought to have studied Rome, Venice, Florence, Lucca, Innsbruck in Rome with Giovanni Carissimi and Luigi and Vienna. His prestigious positions Rossi, both celebrated composers of vocal included Kapellmeister at the Innsbruck court of Archduke Ferdinand Carl and Vicemusic.

Kapellmeister at the Imperial Court in Vienna.

An accomplished tenor singer, Cesti was A lavish production of his opera Il pomo d’oro employed at one time as a singer in the Sistine (The golden apple) was staged to celebrate Chapel and sang the leading role in many of the birthday of the Empress in 1668. Soon his own operas. He became an overnight after, homesick for Italy, Cesti returned to sensation when his first opera Orontea was Florence where he died on 14 October 1669 produced in Innsbruck in 1656. He went on aged 46.

The German virtuoso keyboard player, Johann Froberger, also studied with an Italian master, Girolamo Frescobaldi.

Froberger worked at the Vienna court from 1653 until retirement in 1657 and was still in Vienna when Cesti arrived to take up his appointment at the court in 1665.

Famed as a keyboard player and composer, Frescobaldi attracted other German students to Italy, among them Franz Tunder. Tunder spent the rest of his life in Germany but as a Venetian-trained composer, he was an important link between the early German Baroque style based on Venetian models, and the later Baroque style. He was a leading member of the North German organ school, his compositions showing a marked preference for the choral fantasia and the chorale verset.

The 350th anniversary of Cesti’s death will be remembered when we broadcast his music together with that of Frescobaldi, Froberger and Tunder, in Baroque and Before at 10pm on Friday 18 October.

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FRENCH STYLE, ITALIAN ENERGY PAUL COOKE DISCUSSES CLÉRAMBAULT L o u i s - N i c o l a s Clérambault’s father Dominique was one of the 24 violons du roi and, according to the 18th century scholar Abbé Ladvocat, ‘one of a family line whose members had served the kings of France since the 15th century’.

This claim rests on flimsy foundations and is probably greatly exaggerated, but it does serve to let us know that Louis-Nicolas worked in a privileged environment, with both his father and his teachers, and indeed two of his sons, part of the royal court.

de Lasala thus: “... the organ is the most complex piece of machinery ever realised by human kind. Behind the façade of show pipes lies a feat of engineering with a maze of levers, mechanical conveyances, wind-trunking, conduits, windchests, bellows and numerous pipes.”

Clérambault himself provided little information about how to perform the pieces, probably having little to add to what Raison had already written, but aware that he needed to take into account the organist and the instrument at his disposal: “I have composed these pieces in such a way that they may be performed as easily on a cabinet organ with divided stops as on a large organ.”

In the July edition of Fine Music magazine, Elizabeth Hill profiled both Pastór de Lasala, an Australian While Clérambault is held in organist and musicologist, high esteem for the quality of his and Michel Corette, an 18th organ playing and composing, century French composer, it was as a composer of some of whose lost organ cantatas, recently emerged works Pastór was involved as a fully developed form, that in rediscovering. Pastór he was most renowned. He Image source: Alamy has also researched and Louis-Nicolas Clérambault was regarded as the foremost delivered a public lecture composer of this genre in entitled Clérambault’s organ, dealing with the Suplice in Paris, and in 1719 succeeded France, composing 25 cantatas from 1710 unique place of the classical French organ of Raison at the Jacobins in rue St Jacques, also until a few years before his death. They were usually for one or two voices, sometimes with the late 17th and early 18th centuries, and I in Paris. instrumental accompaniment, sometimes will be drawing on that in part in this article.

In 1710 Clérambault produced his Livre d’orgue, without, but always with continuo. The texts Louis-Nicolas was born in Paris in 1676, and comprised of two suites each containing seven were usually mythological, and often followed died there in 1749, having become one of the pieces, intended to be alternated with the a pattern, set down by the poet Jean-Baptiste most respected performers and composers of singing of the Magnificat. Both suites feature Rousseau, of three narrative recitatives his time. He displayed musical talents at an the metres and melodic patterns of French alternated with three reflective arias, with early age and his first lessons with his father courtly dances; they also employ the French the final aria presenting a maxim about love. were for the violin and the harpsichord. His ouverture style as codified by Lully, with a Clérambault’s Orphée, written for high voice, main musical influences, however, were from majestic beginning and a more contrapuntal, violin, flute and continuo, was his most popular André Raison, with whom he studied organ, rhythmically even second section. Crucially, as cantata and was performed 14 times at the and Jean-Baptiste Moreau, who taught him elsewhere in Clérambault’s compositions and Concerts spirituels in 1728-29. Its intensity composition and singing. those of his generation of French composers, and dramatic impact was increased by a structure and instrumentation which varied Clérambault’s first royal appointment was French style, grace and delicacy is buttressed the established pattern, in much the same by a melodiousness and energy associated supervising concerts arranged by Mme de way that its Italian influences heightened its with Italian composers.

Maintenon for her husband Louis XIV. In lyricism; its maxim was that love’s flame is 1714 he succeeded Guillermo-Gabriel Nivers Clérambault’s was not the first Livre d’orgue. triumphant even in the depths of Hell. as organist and music master at the Maison Amongst others, Nivers had published Royale de Saint-Cyr, near Versailles: Saint- three volumes; Raison had published one, Clérambault also composed many motets, an Cyr had been founded by Mme de Maintenon in 1688. Often the purpose was didactic, oratorio and other sacred works as well as an as a school for poor but well-bred girls (‘from instructing organists, who were often novices early book of dance pieces for the harpsichord noble families, or orphaned, or nieces of poor or amateurs, in how pieces were to be played, and a number of sonatas for violin and continuo which took Italian influences into account. soldiers’), run on religious lines and devoting how ornaments were to be interpreted, which a third of each day to musical training. Shortly stops were to be used. The intricacies of the A varied selection of Clérambault’s music will thereafter he succeeded Nivers at Saint- instrument have been summarised by Pastór be broadcast at 1pm on Saturday 5 October.

OCTOBER 2019

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WHAT’S ON IN MUSIC MUSICA VIVA COFFEE CONCERTS Sydney Chamber Choir Wednesday 9 October, 11am The Concourse, Chatswood Complimentary morning tea will be served at 10am in the concert hall foyer.

Bookings and tickets: Avoid booking fees and book through Musica Viva Box Office, either online at www.musicaviva.com.au or by phone on 1800 688 482 (M-F, 9am-5pm AEDT). Buy single tickets or subscribe to as few as three concerts for great savings and seats.

Dixon Advisory is a proud sponsor of Musica Viva Coffee Concerts.

GUILTY PLEASURES Australia Ensemble @UNSW Saturday 12 October, 8pm Sir John Clancy Auditorium, University of NSW Tickets: $55/$42/$33 www.music.unsw.edu.au

Program: Arnold Schoenberg: Ein Stelldichein John Peterson: Guilty pleasures Ernesto Nazareth: Tangos (arr. Munro) Johannes Brahms: Serenade in D, op 11

Australia Ensemble: Geoffrey Collins, flute; David Griffiths, clarinet; Ian Munro, piano; Dene Olding, violin; Dimity Hall, violin; Irina Morozova, viola; and Julian Smiles, cello

ENJOY, LEARN, DISCUSS

What are the sounds of a jazz band? And on which instruments can you play jazz? We are familiar with the sections of the orchestra and the instruments each contains, but is there a set line-up of instruments in a jazz band?

The instruments of a jazz band Presenter: Jeannie McInnes Sunday ​20 October, 2.30pm Fine Music Centre, 72-76 Chandos St, St Leonards

The early bands in New Orleans utilised instruments available from marching bands and army surplus so included are clarinets, trumpets, trombones, drums, brass bass and, in the halls, clubs, ‘speakeasies’ and brothels, the piano was available. That was 100 years ago, so does this still hold true?

Jeannie McInnes will be exploring some of the instruments that have become familiar in jazz bands, and some not so familiar. It will also be an opportunity to hear how the instruments have affected the music and how the song affected the instrumentation

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OCTOBER 2019

Guest artists: Alexandre Oguey, oboe; Philip Green, clarinet; Andrew Barnes, bassoon; Robert Johnson, horn; Daryl Pratt, percussion; Alison Pratt, percussion

MUSICAL FAMILIES CATHERINE PEAKE EXPLORES IN-LAW CONNECTIONS Two sets of in-laws take centre stage in our continuing survey of musical families. All four were composers, and all attained independent professional profiles at the time. Cécile Chaminade, the only woman of the group, was a wellknown French pianist and composer, and Moritz Moszkowski, her brother-in-law through his marrying Cécile Chaminade her sister Henriette, was a German pianist and composer. Danish composers Niels Gade and Emil Hartmann became in-laws when Gade married Hartmann’s sister Emma.

“After Chopin, Moszkowski best understands how to write for the piano, and his writing embraces the whole gamut of piano technique.”

Moszkowski composed over 200 piano pieces and his work, notably his Spanish dances, op 12, became very popular. He also wrote orchestral works including concertos, Image source: Alamy three orchestral suites and a symphonic poem, and an opera,

Cécile Chaminade was a child prodigy in both performance and composition, and because her father did not allow her to attend the Paris Conservatoire she took private music lessons. After giving her first concert in 1875 at the age of 18 and then recitals of her own work, Chaminade composed and published over 400 pieces, mostly for the piano. As her popularity grew, she undertook international concert tours in the United States, Britain, Austria and Belgium.

The style of Chaminade’s music has been noted as incorporating ‘typical characteristics of late-Romantic French music’. Not all of it was popular with critics, and editor Kathleen Sheetz states: “It is probable that critical evaluations of her music through much of the 20th century were based more on gender stereotypes than on the qualities of the work.” Her work was not always undervalued and French composer Ambroise Thomas said at the time: “This is not a woman who composes, but a composer who is a woman.” In 1913, Chaminade became the first female composer to be awarded the Légion d’Honneur.

Chaminade’s brother-in-law Moritz Moszkowski had also been a child prodigy.

Born in Prussia (now Poland), he moved to Dresden and later to Berlin and, after he began performing in public in 1873 at the age of 19, he rapidly became known as one of the best pianists in Europe. In 1875, he premiered his Piano concerto no 1, op 59, and in a later performance Franz Liszt played it with him in a two-piano version. Renowned pianist and composer Ignacy Paderewski said:

Moritz Moszkowski

Image source: Alamy

but with the change in musical style at the turn of the 20th century sales of his music began to decline. His work was recognised through his membership of the Berlin Academy of Art, and an honorary lifetime membership of the Philharmonic Society in Britain.

Looking further back into the 19th century to the next set of in-laws, and also moving to Denmark, we find Niels Gade and Emil Hartmann.

Gade is recognised as the most important Danish musician of his day. He encompassed the roles of composer, conductor, organist, violinist, teacher and administrator, with his Niels Gade musical career as violinist

in the Royal Danish Orchestra commencing in 1834. Seven years’ later he had his concert overture Efterklange af Ossian (Echoes of Ossian) premiered with the orchestra but, as his Symphony no 1 in C minor, op 5, was turned down for performance, he moved to Leipzig. Felix Mendelssohn, who had an important influence on Gade’s music, conducted the symphony there in 1843.

Gade returned to Copenhagen in 1847 at the outbreak of war between Prussia and Denmark, and he held several important musical posts in Denmark, including that of joint director of the Copenhagen Conservatory with Holger Simon Paulli and J.P.E. Hartmann, the father of Emil and Emma Hartmann. Gade taught both Edvard Grieg and Carl Nielsen, and was seminal in bringing Scandinavian music to prominence. His early works were infused with Danish folklore and were among the first compositions of the 19th century to reflect national idioms and themes. Amongst other works, he wrote cantatas, symphonies, three ballets, a violin concerto and a string quartet, and composed two works for his wife Emma; the Spring fantasy, op 23, and Symphony no 5 in D minor, op 25, which he wrote as a wedding present.

Emil Hartmann received his first musical training from his father and began composing at an early age, with his ballet Fjeldstuen performed in 1858 when he was 22. The following year he moved to Leipzig to study and later undertook concert tours, conducting his own work. He returned to Denmark a few years later and took up the post of organist at St Johan Church in Copenhagen, and ten years later became the organist at the Christiansborg Palace Chapel.

He continued to compose while working as a church musician, his works including folk dances, piano works, symphonies, chamber music and stage music including opera but was often labelled as ‘his father’s son and Niels Gade’s brotherin-law’.

Image source: Alamy

OCTOBER 2019

You can hear music by these musical in-laws when they are featured in Musical Families on Tuesdays 1 and 15 October at 2pm.

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MUSICAL ODDITIES ELAINE SIVERSEN UNEARTHS SOME UNUSUAL MUSIC I wonder what the Work Health and Safety authorities would make of the unfinished opera Nerone (about the Roman Emperor Nero), which called for the city of Rome to be burned on stage! Arrigo Boito was working on this when he died but he is probably best known as the librettist of Verdi’s last operas, Otello and Falstaff. He also composed an opera Mefistofele, one production of which caused a sensation when the Russian bass, Feodor Chaliapin, singing the title role, appeared on stage almost naked and emitted ear-piercing whistles during one of the arias.

bath.” In a monastery garden includes monks singing a chorus and the cries of beggars are heard in another popular work, In a Persian market. It’s The clock and the Dresden figures that is more unusual. The clock gets overwound and the spring bursts with a twang at the end.

Louis Moreau Gottschalk was much influenced by music of the Caribbean.

Some of his works include surprising twists: a catchy samba as the finale of his First Symphony, subtitled A night in the tropics, and a cheeky snatch of Stephen Foster’s Camptown races in his piano piece The banjo. There’s also the most unbelievable Tournament galop where it seems that the pianist has four hands (and not from overdubbing in a recording). He also wrote a most entertaining 13-minute opera on Cuban country scenes.

Alexander Skryabin Ferruccio Busoni’s opera Turandot contains a startling musical ‘clanger’. Just before a scene in the apartments of Turandot, the icy Chinese princess, the old English tune Greensleeves appears. Apparently, Busoni found the tune in a book of lute music and thought it was a traditional Chinese melody!

Some composers don’t conform to the usual conventions. Vincent d’lndy’s work, Istar, symphonic variations is constructed backwards. Most of it is the set of variations and normally the theme would come first. In Istar, the beautiful melody on which he based the variations does not appear until the last few moments.

It’s well known that John Cage ‘wrote’ an unconventional ‘work’ called 4’33”. It’s 4 minutes 33 seconds of silence has actually been ‘performed’ on stage. Less well known is HPSCHD, scored for one to seven harpsichords and one to 51 tape machines!

The music of Karlheinz Stockhausen has been described as ‘possible masterpieces but beyond the ken of most people’. In seeking to encourage spontaneity he instructed the percussionist in Zyklus to start on any page of the score and to either play the music 44

OCTOBER 2019

Syncopated clock is one of the delightful oddities composed by Leroy Anderson.

Today young people may ask: “What is a typewriter?” This marvel of earlier times, now replaced by the computer, took away the time-consuming business of writing books and long documents with pen and ink. Anderson celebrated this invention with The typewriter. We hear the ‘click click’ of the keys and that little bell when the line is completed and the carriage is moved back to the beginning, the roller turning at the same time to the next line to be typed. Then there’s Plink, plank, plunk and Fiddle-faddle!

Image source: Alamy

conventionally or to turn it upside down and play it from right to left. In Gold dust, he asked the players to starve themselves of food and companionship for four days and nights and, during the performance, to play single notes without thinking about what they were playing.

Another rather strange orchestral conception

by Stockhausen was Gruppen for three orchestras and three conductors. This may sound like utter chaos, but the music writer Neville Garden attended an early performance and found that the music ‘may have been incomprehensible, but the sounds produced and the electric atmosphere of the event were the stuff of memories’.

I’m not sure how many repeat performances or broadcasts these works have had since first performance. Mind you, if we ‘played’ 4’33” on Fine Music 102.5, the emergency program would cut in from the transmitter because of the silence and you could get Mozart or Schubert instead.

Albert Ketèlbey was known for his entertaining light music. Neville Garden remarks that: “His talent was not of the sort that could move mountains, but it was sufficient to give people the sort of tune they can whistle or sing in the

While Alexander Skryabin’s early music was influenced by Chopin and Liszt, he gradually turned into a mystic with some strange philosophical and musical ideas that mystified many of his colleagues. His music was intended to create an illusion in the mind. Long before the psychedelic effects of the 1960s he conceived performances of orchestral works with dazzling coloured lights and exotic perfumes.

His idea was to appeal to the senses of sight, smell and hearing so that audiences would experience ‘the soaring flight of the human spirit’.

In his Prometheus: The poem of fire Skryabin stipulated the use of an instrument called clavier à lumières, or chromola, also known as a colour organ. This instrument was invented by Preston Millar and it featured in performances during the composer’s lifetime.

The keys to be struck were notated on a separate staff above the rest of the score.

Various keys were designed to produce colours either on a screen or throughout the concert hall. However, flooding the concert hall with colour in actual performance was found to be impractical. Prometheus is based almost entirely around various inversions and transpositions and opens in an eerie fashion with a chord that was first dubbed the ‘chord of Prometheus’ but has become known as the ‘mystic chord’.

Some of these works (but not 4’33”) can be heard at 2pm on Monday 14 October.

CENTENARY OF ART BLAKEY CHRISTOPHER WATERHOUSE PAYS TRIBUTE The story of jazz drummer and bandleader Arthur ‘Art’ Blakey’s life and music has long fascinated me. Throughout his career he maintained his hard bop style, which he pioneered in the mid 1950s and, through his most famous band, launched the careers of nearly 200 of the jazz world’s brightest musicians.

This month marks the centenary of Blakey’s birth on the 11th October 1919. He began his musical life as a pianist (selftaught), and was establishing himself on the circuit when something bizarre happened that completely changed the trajectory of his career. He was gigging one night in his native Pittsburgh when the owner of the club ordered him off the piano to make way for the new kid on the block, Erroll Garner. Blakey was told to stop playing and to switch to the drums instead. As it happened, this odd turn of events turned out to be a Art Blakey blessing in disguise and he launched a new and very successful career as a jazz drummer.

In addition, the experience of suddenly having to learn something new would also have a profound impact on the rest of his musical life.

Initially he played drums for Mary Lou Williams, Fletcher Henderson and most notably Billy Eckstine (1944-47), but when Eckstine’s band broke up, Blakey set about establishing his own band with the pianist Horace Silver and, in so doing, sowed the seeds for what would become one of the best known jazz groups in history.

Art Blakey is remembered today for his influential jazz combo The Jazz Messengers, formed in the early 1950s and continuing until his death in 1990. Some put the date of the first band as early as 1947 when he led a group under the name Art Blakey’s Messengers, making his debut as leader on a session for the Blue Note Record label. The original octet included the trumpeter Kenny Dorham who would go on to work with Blakey to establish the first Jazz Messengers group in 1954. In between he also led a big band called Seventeen Messengers but the larger group suffered from some financial instability and was short-lived.

A smaller band was needed and so, in 1954, he formed a new quintet with Kenny Dorham on trumpet, Horace Silver on piano, Hank

Image source: Alamy

Mobley on sax and Doug Watkins on bass.

Their first recordings under the name The Jazz Messengers were two live sessions taken from gigs at Cafe Bohemia in 1955. It’s interesting that the same quintet had played as the Horace Silver Quintet and those same recordings were later reissued and rebranded as Horace Silver and the Jazz Messengers.

The Jazz Messengers’ name was becoming established.

agile himself in building up a musical rapport with his new recruits. In this way, the Jazz Messengers group launched the careers of many great jazz musicians. The list of alumni reads like a who’s who of jazz: Lee Morgan, Benny Golson, Wayne Shorter, Keith Jarrett, Wynton Marsalis, Branford Marsalis, Al Cohn, and Australia’s own Mike Nock (piano) and Dale Barlow (sax), just to name a few of the nearly 200 messengers over the years.

The idea of a ‘messenger’ is an interesting one in this context; someone who takes a message and passes it on. Perhaps this was about Art sharing his message with his audiences, but, perhaps more so, it was about sharing his message with other musicians. Art became a teacher and mentor to many in the jazz world, taking his jazz knowledge and passing it on to his band members, which made the Jazz Messengers band something of a school for jazz. Much as it is in a school, once Blakey’s young pupils began to grow up, he’d often push them out of the nest to make way for the new kid on the block, just as he’d had to make way for Erroll Garner that night in Pittsburgh all those years before.

When Blakey died in 1990, Wynton Marsalis told the New York Times: “Art was important to me because he always displayed the maximum belief in integrity and quality. Even more important, he represents the most mature man our society can develop because he was making life easier for everyone else.

He provided the context for musicians to play and develop. And since we weren’t on his level, he’d subject himself to us so we’d learn. First he just let the musicians play, but then he’d offer subtle advice, but he’d never discourage you; it was always positive reinforcement. He knew that there’s a price to be paid to develop in this music, and he did his best to help us.”

Blakey would often say that he liked to play with younger musicians because it kept his mind active. I suspect he enjoyed the challenge of forming a new musical bond with fresh talent, and therefore having to remain

Art Blakey left an incredible musical legacy, which is lived out by some of the jazz world’s brightest stars who continue to carry on his ‘message’ to this day.

A special tribute to Art Blakey will be broadcast in Friday Jazz Session on 11 October at 7pm.

OCTOBER 2019

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CD REVIEWS WINTER JOURNEY

Nathan Lay, baritone; Brian Chapman, piano and translator; Lucy Chapman, artist Move MCD 594 HHHH½

This outstanding production of Schubert’s song cycle Die Winterreisse, D911 is a gem worth having in any collection. It contains two recordings of the work: one sung in the original German and one in an excellent English translation. This is enhanced by a 56page booklet with notes about the work, the musicians and the artist as well as each song being presented in German and English on an individual page opposite a page of artwork representing the particular song.

I have loved this work for many years and have only heard it sung in German. While purists may not particularly like to hear the songs sung in English, I found that for me it gave greater meaning to the emotions expressed in the 24 poems by Wilhelm Müller and to the

JACQUES KUBA SEGUIN Migrations Odd Sound ODS17 HHHH½

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OCTOBER 2019

depth of feeling that Schubert poured into the music. The poems deal with unrequited love, alienation, atheism and contemplation of suicide although there is no final resolution to these thoughts.

The rhythm of the cycle begins at a purposeful walking pace but by the sixth song, Flood water, the sad weary traveller falters: “Many a tear has fallen downwards / From my eyes upon the snow …”. The pace quickens again but is constantly changing as different memories and feelings overtake each other.

As with all of Schubert’s songs, the piano is an integral part, reflecting the action and mood of the text. The piano also supplies rich effects in the imagery of the poems: the rushing storm, the crying wind, the water under the ice. Other effects are birds singing, ravens croaking, dogs baying, the grating of a rusty weathervane, the sound of the posthorn and the repeated melody of the hurdy-gurdy.

Schubert wrote the cycle in two sections of 12 songs each. The first, completed in February 1827, was performed in the company of friends and was published in January 1828.

The second part was published posthumously.

Schubert was still correcting proofs in the month before his death. It is not known whether he ever heard this part performed.

Die Winterreisse and the earlier cycle Die schöne Müllerin are regarded as being among the high points in the history of the song cycle genre.

Die Winterreisse was originally written for tenor voice but Schubert himself led the way in

Based in Quebec, trumpeter Jacques Kuba Seguin might record on his own label Odd Sound Records but his sound is anything but odd. He has a style which is relaxed yet intense, not unlike Australian Matt Jodrell, and his technique is as masterful as any trumpeter on the jazz stage today. With a sense of tradition in song titles such as Hymne, I remember Marie in April and Origine, his fifth album is thoroughly in the moment and will appeal to listeners appreciating memorable melodies, swinging and contemporary grooves and alternating periods of sublime and intensely dynamic elasticity. All his own compositions, the arrangements allow for shared limelight with the tenor saxophonist Yannick Rieu and vibraphonist Olivier Salazar adding extra flare above the fire of the piano trio of Jean-Michel Pilc, Adrian Vedady and Kevin Warren.

transposing it for the baritone. A 2008 graduate of the Melba Conservatory, baritone Nathan Lay is a worthy successor to the many singers who have recorded this monumental work. He has sung in Sydney but it appears that most of his work has been in Melbourne in opera, oratorio and on the concert platform. He has won numerous awards including for Lieder and the 2016 International Opera Award enabled him to study for a Masters Degree with Dennis O’Neill at the Wales International Academy of Voice. I found his interpretations of the songs were expressive, his diction excellent and his voice most pleasant on the ear.

The pianist and translator, Brian Chapman, is very active in the Melbourne musical world as well as in international circles. He said that one of the great challenges in translating is in matching the words to the rhythm of the song.

I feel that he has achieved a good result. His wife, Lucy Chapman, the artist whose many paintings make this album so attractive, has exhibited widely. For this Winter Journey she has created paintings that mainly reflect ‘nature-surrealism with a dash of contemporary abstract’.

Schubert’s friend Johann Michael Vogl, the esteemed baritone who introduced Die schöne Müllerin to the public, regarded Schubert’s songs as ‘truly divine inspirations, the utterance of a musical clairvoyance’. I am certain that, in exploring these new recordings of Die Wintereisse, you will confirm that opinion.

Elaine Siversen

One of the highlights is the slow burning soulful Premiere neige (You’re not alone). Salazar opens the simple melody with Kuba Seguin joining in over the heartbeat groove of Warren’s snare drum brush and Vedady’s bass. Building in intensity, Kuba Seguin continues to explore the resonances of his three-note theme, but it’s the emotional element that’s most satisfying until this melody is reconciled at a leisurely 5:05. The final piece Mosaiques has a western Saharan mysticism about its harmonies and rhythms. Piano, bass, vibes and drums open the piece before Kuba Seguin joins to state the melody. Vedady then plays a leading role on bass taking a thoughtful and agile solo.

Frank Presley

OPERA SINGER AND BROADCASTER PAMELA NEWLING TALKS TO CELESTE HAWORTH In 2019 she has been a soloist in Opera Australia’s ‘Great Opera Hits’ Concert Series.

“It means a great deal to me to perform in my home town of Sydney, under the great white sails of the Sydney Opera House.”

An opera singer by profession, Celeste Haworth, who programs and presents Fine Music Drive on approximately the first Monday of the month, lived in Germany and Austria for several years as a working opera soloist, principally in Vienna and Wiesbaden.

The quality and beauty of the classical radio stations in Europe led Celeste to become a programmer and presenter at Fine Music on her return to Australia in 2018.

Celeste says that she really loves broadcasting: sharing the music, and providing an insight into each piece or composer. “It is an opportunity to connect with a musical community that gave me so much when I was first starting out as a young singer … and it also presents an opportunity to wallow in music that isn’t opera, a classical indulgence outside of work.”

She is grateful to be able to put her musical knowledge to good use away from the operatic stage. She is also pleased to have discovered some new compositions and to have learned much about programming and presenting since she started at Fine Music.

Celeste returned to Australia to sing as Nella in Gianni Schicchi for Opera Australia and Dr Handa’s production in Tokyo but unfortunately the production was postponed. Celeste then stepped in at the last minute to sing as an Apprentice in Melbourne for Opera Australia’s Die Meistersinger von Nürnberg by Wagner.

A keen supporter of regional music, Celeste has given solo recitals in Batemans Bay, for the South Coast Music Society, and sung in the Haydn Nelson Mass for the Manly Warringah Choir and Orchestra. She will be a soloist in Karl Jenkins’ work, The armed man: a mass for peace, for the combined Allegri Singers, Orange Conservatorium Symphonic Choir and Willoughby Singers, with a 45-piece regional orchestra in Bathurst and Orange. Soon she will be singing Mercedes in Bizet’s Carmen for the Penrith Symphony Orchestra.

Celeste commends Fine Music, and says she is very proud to be involved with such a passionate team. She says: “I think we can all take heart in music because it can counter the most negative aspects of our world and celebrate humanity.”

PERSONNEL MUSIC BROADCASTING SOCIETY OF NEW SOUTH WALES CO-OPERATIVE LTD, registered under the Co-operatives Act 1992 (NSW); owner and operator of Australia’s first community-operated stereo FM station, 2MBS-FM now known as Fine Music 102.5; annual membership fee is $33 and members are entitled to vote at Society general meetings. Enquiries: admin@finemusicfm.com VOLUNTEERS Fine Music 102.5 is run by volunteers supported by a small team of staff. To find out how to join our volunteers, visit finemusicfm.com or call 9439 4777.

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

PROGRAMMERS AND PRESENTERS FOR OCTOBER 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, 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, Raj Gopalakrishnan, Albert Gormley, Giovanna Grech, Jeremy Hall, Austin Harrison, Celeste Haworth, Ross Hayes, Gerald Holder, Paulo Hooke, Paul Hopwood, Alexandra Horner, James Hunter, Leita Hutchings, Anne Irish, Sue Jowell, Peter Kurti, Ray Lemond, Ray Levis, Krystal Li, Lachlan Mahoney, Linda Marr, Meg Matthews, Stephen Matthews, Sue McCreadie, 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, Marilyn Schock, Debbie Scholem, Jon Shapiro, Julie Simonds, Elaine Siversen, Robert Small, Garth Sundberg, Jacky Ternisien, Anna Tranter, Robert Vale, Richard Verco, Ron Walledge, Christopher Waterhouse, Chris Wetherall, Stephen Wilson, Glenn Winfield, Chris Winner, Mariko Yata, Orli Zahava, Tom Zelinka PROGRAM SUBEDITORS Jan Akers, Chris Blower, Maureen Chaffey, Di Cox, Amal Fahd, Noelene Guillemot, Elaine Siversen, Jill Wagstaff, Teresa White LIBRARIANS Jan Akers, Rex Burgess, Maureen Chaffey, John Clayton, Di Cox, Helen Dignan, Lynden Dziedzic, Peter Gair, Peter Goldner, Daniela Hartman, David Hilton, Dawn Jackson, Michael Marchbank, Phillip McGarn, Judy Miller, Rachel Miller, Helen Milthorpe, Susan Ping Kee, Mark Renton, Gary Russ, Jacky Ternisien, Andrew Treloar, Ricky Yu

STATION OPERATIONS Transmitter: Max Benyon, John Shenstone; Studio operations: Roger Doyle, Robert Tregea; Live broadcasts and recordings: Jayson McBride; IT: Alice Roberts; Digitisation: John Xuereb STAFF General Manager: Rebecca Beare; Office Manager: Sharon Sullivan; Community Engagement Manager: Mona Omar; Studio and Production Manager: Joe Goddard; Executive Assistant: Eddie Bernasconi OCTOBER 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, 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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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

Bronze Patrons ($250 – $499) Walkerville Pty Ltd, Ms Jacqui Axford, Ms Lily Bao, Ms Jane Barnes, Dr Helen Bashir, Mr Don Bennett, Mrs Susan Berger, Mr Stephen Booth, Mr David Branscomb, Mr Barrie Brockwell, Mrs Alexandra Buchner, Mr Ron Burgess, Dr Rhonda Buskell, Mr Dom Cottam & Ms Kanako Imamura, Ms Dora Den Hengst, Dr David Dixon, Hon J R Dunford QC, In Memory of David W Allen, Mrs Margaret Gibson, Mr Robert M Gilchrist, Mrs Jocelyn Hackett, Mr Geoffrey Hogbin, Dr George Chao-Yiang Hu, Mr Paul Jackson, Mr Bill and Eva Johnstone, Mr Darren Jones, Mr Robert F King, Mr Gerhard Koller, Mr Geoffery Magney, Mrs Robyn E Manoy, Dr Jim Masselos, Mr Stephen W Matthews, Ms Kerrin McCormack, Mrs Shirley Ann McEwin, Mr Simon Moore, Ms Ursula Mooser, Mr Geoffery Murphy, Ms C M Pender, Mr Peter Poole, Mr James Poulos QC, Mr Mike Price, Mr Gwynn Roberts, Dr Gideon Schoombie, Mrs Zvjezdana Skopelja, Ms Mei Wah So, Ms Kathryn Tiffen, Mr Peter van Raalte, Mr Kevin James Vaughan, Miss Rachel Westwood, Mr Richard Williamson, Mr Alastair Wilson, Anonymous 37

Some musical works immediately attract a listener’s attention and are welcome listening at any time thereafter. Some are so beautiful that they delight even more with every performance. They become iconic and standard bearers for all that is exquisite in music. Among these are Schubert’s Trout Quintet, Brahms’ Alto rhapsody and Elgar’s Cello Concerto. October marks the anniversaries of either the completion or the first performance of each work: 200 years, 150 years and 100 years respectively. You’ll find programs and articles on all three this month.

La donna del lago, composed when he was 27. Based on a novel by Walter Scott that was written just eight years earlier, it was the first of several operas by Rossini based on Scott’s works and the beginning of the romanticism that developed in his operas. It was 100 years later that Richard Strauss’ opera Die Frau ohne Schatten premiered and we also recognise the 400th anniversary of the birth of Antonio Cesti, a liitle-known but an important figure in the development of opera. As well, you can learn more about another early composer, LouisNicolas Clérambault, a major figure in organ development and the French secular cantata. In addition, along with our regular features, articles on two major 20th century choral works (by George Dyson and Zoltán Kodály) may provide some informative background to your enjoyment of the music.

It’s also 200 years since the premiere of Rossini’s 28th opera,

Elaine Siversen

OCTOBER 2019

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