September Magazine

SEPTEMBER 2018

MAGAZINE

‘DISCOVERY’ IN WILLOUGHBY Musical Links: Brahms and Dvorák

POETRY TRANSFORMED INTO MUSIC A Cantata Inspired by Tasso and Goethe

THE REFORMERS The Rise of French Opera

ANNIVERSARY EVENTS Banchieri 350, Rossini 150, Szeryng 100

GREAT JAZZ ARTISTS Mike Nock and Nina Simone

Contents

VOL 45 No 9 2 ‘Discovery’ in Willoughby 4 The Priest Who Wrote Comedy

The Natural World of the Auvergne 5 Rinaldo: Tasso, Goethe and Brahms 7 The Reformers 9 Transforming Strauss and Mozart 10 Program Guide and Composer List 41 A Great Violinist and Humanitarian

Rustle of Spring 42 What’s on: Sydney and Surrounds 43 Musical Families 44 Classical CD Reviews 45 A Mysterious Beauty

It Takes More than One 46 Classical CD Reviews 47 Mike Nock: A Life in Jazz 48 Jazz CD Reviews 49 Nina Simone: One September Day 50 Four Decades of Interviews 51 A Dream Come True: Andrew Dziedzic

From The Chair

Every year Fine Music 102.5 holds an afternoon tea to celebrate the work of our 250 wonderful volunteers, without whom there would be no radio station.

We have just recently held this year’s function. It was a delightful afternoon when people who work in different areas and at different times had a rare opportunity to mingle and chat about their common interests.

Volunteers who had reached long service milestones were presented with certificates. It is an astonishing statistic that over 35% of our volunteers have given 10 or more years of service. It is hard to believe any other volunteer organisation in Australia could match that! I find it especially moving and inspiring to hear the recipients of these certificates talk about how important Fine Music 102.5 has been to them and what enduring friendships they have made here.

Each year, five volunteers are also recognised for their special contributions which have made a real difference to the organisation over the short or long term. Two, Jill Wagstaff and Pamela Newling, are receptionists and administrators, while one, Anne Irish, is a programmer.

For the first time since the recognition program was instituted in 2010, two volunteers were recognised for the second time. Jayson McBride is a sound engineer who has made many concert recordings, but more importantly has been key to facilitating our live broadcasts, both from our performance studio and other locations.

The other award went to our very own magazine editor, Elaine Siversen.

Elaine was previously recognised for her towering contribution to our programming over many years. However, some 18 months ago, she agreed to take on the role of Editor, a previously paid position. From your feedback, we know she has improved the content of the magazine, making it more relevant to what we are actually broadcasting. As importantly, in these financially challenging times, she has saved the station many thousands of dollars. Her energy and commitment are an inspiration.

Registered Offices & Studios: 72-76 Chandos Street, St Leonards 2065 Tel: 02 9439 4777 Fax: 02 9439 4064 Email: admin@finemusicfm.com Web: finemusicfm.com Facebook, Twitter and YouTube: finemusicfm Frequency: 102.5 Transmitter: Governor Phillip Tower, Circular Quay.

ABN 64 379 540 010 Advertising Enquiries: sponsorship@finemusicfm.com Editor: Elaine Siversen Assistant Editors: Elizabeth Hill, Paul Cooke Sub-editors and Proof readers: Chris Blower, Paul Cooke, Di Cox, Elizabeth Hill, Pamela Newling Contributors: Chris Blower, David Brett, Paul Cooke, Susan Foulcher, Nicky Gluch, Elizabeth Hill, Randolph Magri-Overend, Laura-Jay Mathison, Michael Morton-Evans, James Nightingale, Barry O’Sullivan, Derek Parker, Frank Presley, Elaine Siversen, Christopher Waterhouse, Stephen Wilson, Rebecca Zhong The views expressed by contributors to this magazine do not necessarily reflect or represent the views of the publisher, Fine Music 102.5 Images: Allen Ford, Raymond Horsey Program Logos: Simon Moore Distribution Coordinator: Sissy Stewart Art Direction: David James Printing: Megacolour, Unit 6, 1 Hordern Place, Camperdown, NSW, 2050 Subscribe to Fine Music Magazine: visit www.finemusicfm.com or email friends@finemusicfm.com

I salute her and all our award winners.

Best wishes, David Brett, Chair, Music Broadcasting Society of NSW MUSIC BROADCASTING SOCIETY OF NEW SOUTH WALES CO-OPERATIVE LTD Our Mission is to be Sydney’s preferred fine music broadcaster, broadcasting classical, jazz and other fine music genres for the enjoyment and encouragement of music. We currently broadcast on FM and DAB+, streaming both from www.finemusicfm.com. Another aim is to be part of Sydney’s cultural landscape networking with musical and arts communities to support and encourage local musicians and music education and to use our technical and broadcast resources to further this aim.

Honorary Patron: Prof. Dame Marie Bashir AD CVO Artistic Patrons: Elena Kats-Chernin, Simon Tedeschi, Richard Tognetti AO Emerging Artists Patron: Toby Thatcher SEPTEMBER 2018

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‘DISCOVERY’ IN WILLOUGHBY NICKY GLUCH FINDS MUSICAL LINKS

Antonin Dvorák was unsure about taking up a teaching post in the United States.

Having heard of his prowess for teaching, Jeannette Thurber, the founder of the National Conservatory in New York, was persistent, but the composer was unmoved. Why leave his beloved Bohemia for somewhere so … different? As fortune would have it (quite literally as it turns out) Anna Dvorákova intervened. After learning that her husband would be paid 25 times his current salary she convinced him to accept the contract. It turned out to be a voyage of great discovery. Dvorák, having an ear tuned to folk melodies, found that difference could be a seat for inspiration and that America really was a whole new world.

Discovery is the theme of the Willoughby Symphony’s final subscription concert for 2018. Under the season banner of Soaring Spirits the orchestra has explored themes such as Flight and Freedom and at the end of September will portray Passion through the guise of Shostakovich’s Piano concerto no 2 in F. The commitment to accessible, but sophisticated programming is extended to the Discovery concert in October with Dvorák’s Symphony no 9 in E minor, From the New World paired with the Concerto in A minor for violin, cello and orchestra by Brahms.

Goldner Quartet, they have premiered many new works and, perhaps more importantly, have workshopped pieces with student composers who can only ever ‘gush’ about the experience. The members of the Quartet, they say, are as warm as they are professional.

With the soloists belonging to the same quartet, there are echoes of the origins of the Concerto. The story, however, begins some years before the premiere. When Brahms’ friend and collaborator, Joseph Joachim, accused his wife (Amalie) of adultery, Brahms wrote to Amalie in sympathy, believing her to be innocent. Perhaps he hoped that his support might save the marriage, but his plan backfired as Amalie used the letter as evidence in the divorce proceedings. Joachim could not forgive Brahms his disloyalty so the men became estranged. Brahms, however, was desperate to make amends. Perhaps fearing that a piece dedicated to Joachim would be too forthright, he chanced on an opportunity when the cellist in Joachim’s quartet commissioned a new concerto. Brahms approached Joachim asking if he might assist on a concerto for two instruments and, with the violinist consenting, proceeded to write a piece with

The link between Brahms and Dvorák is more than just temporal. Underwhelmed by much of the music emerging during his later years, Brahms took a particular liking to Dvorák in whose Classical forms Brahms perhaps found a kindred spirit, and he became a champion of the younger man’s work. While Dvorák was in America, Brahms saw that his own publisher, Fritz Simrock, continued to publish Dvorák’s music. On the latter’s return to Europe, Brahms even extended an invitation to join him in Vienna, but Dvorák was reluctant to leave his beloved Bohemia once again.

This notion of mentor and mentee is essential to the work of the Willoughby Symphony. In partnership with Fine Music, the orchestra supports an annual Young Composer Award and in June premiered this year’s winning composition, Quadrivial concertino by Daniel Dean. The ambassadorial role naturally forms part of Willoughby’s identity as, being both a community and professional orchestra, it is a platform for nurturing young talent and Australian music. The soloists in the Brahms Concerto take this even further. Violinist Dimity Hall and cellist Julian Smiles have taught many young string players and are highly respected for the impact they’ve had on the Sydney music scene. As part of the 2

SEPTEMBER 2018

Dimity Hall

Photo: Keith Saunders

two inextricably linked solo lines. Gathering in Clara Schumann’s home, Joachim, the cellist Robert Hausmann and Brahms (at the piano) rehearsed the work until it was ready to combine with orchestra. On 18 October 1887, Brahms’ Concerto in A minor for violin, cello and orchestra received its premiere.

While the work achieved Brahms’ goal of reconciliation with Joachim, it was not well received. The audience simultaneously found it too different and yet not forward-looking enough. Fitting in with Willoughby’s theme, it was a piece of Discovery breaking new ground but winning hearts in later years.

When one is reading about the work, however, a sort of hanging paradox is apparent: the work continues to be rarely performed (in concert) but yet is often (and beautifully) recorded. Suggestions for why this is so hint at the personal relationship between the soloists: they have to share the stage and they must be equally matched. I believe that the true reason is far more musical.

A soloist, in a traditional concerto, is accustomed to preparing his or her part alone and simply ‘putting it together’ with an orchestra. Of course there is some

negotiation, as conductor and soloist discover each other’s interpretation, but the solo part is its own entity. Not so in Brahms’ work. The violin and cello parts are like the two hands of the piano; together they form a complete musical line. They play off each other, one starting, the other finishing an idea, and must have perfectly matched articulation. That’s without any consideration for interpretation!

‘orchestral’ but that is what makes it so rich: the orchestra is no mere accompaniment but, in turn, ground and colour with Brahms’ choral-style writing brought so well to the fore.

With passing time, we often forget that musical works in the 19th century could be as custom written as they are today. Brahms wrote his piece for a cellist and a violinist; men he knew personally, musicians who worked together and whom Brahms was confident would rehearse thoroughly. That is why this concerto is a challenge to perform; an orchestra cannot hire any violinist and any cellist and hope that the piece will come together. As the recordings make evident, it remains the domain of musical collaborators: two musicians from a string trio or, as in this case, two members of a string quartet (and a married couple, to boot).

There is another similarity between the Willoughby performance and the premiere: October. It may be the end of Willoughby’s subscription season but it’s not quite summer and the Concerto, in its minor key, is fittingly inter-season. Whereas in Europe, October is Autumn, for us it is Spring; both seasons have that interplay of hot and cold. On one day a cool breeze may blow, on another a blush of sunshine and in this tussle of summer and winter forces can be found a parallel with Brahms’ work. The violin soars high while the cello reaches low. Unlike in a string quartet, there is no viola to provide a middle ground and so the two instruments seem at once extreme and unified. Hall and Smiles would perhaps suggest that is the truth of any marriage.

Or was Brahms, in dedicating the work to Joachim, writing the story of their friendship?

Willoughby is thus inviting audiences to a rare treat. The perfect pair has been found (with Hall and Smiles having performed the work with the Woollahra Philharmonic in 2013). With Dr Nicholas Milton at the helm, it has a conductor committed to being the third balancing party. Brahms may have been criticised for the work being too

Audiences will have the interval to ponder that question, before returning for the Dvorák Symphony. Where Brahms challenged the concerto form, Dvorák proved that a symphony could be emblematic. The work would not exist without Jeannette Thurber for not only did she invite Dvorák to the United States but she had already decided that women

and African-Americans were welcome at her school. From the New World is thus true to its title; the Symphony is inspired by what Dvorák saw and heard around him, and yet it does not quote anything. While the spirituals sung by his students were an influence as were the country’s wide-open plains, it was crucial to the composition that Dvorák recognised that Native- and African-American music both make use of the pentatonic scale. It is this that makes the Symphony sound ‘other’.

In four movements, Dvorák provides a host of memorable melodies. So apt is the cor anglais solo of the second movement, that it was turned into a spiritual by one of Dvorák’s students.

The heraldry of the fourth movement, although unresolved, has a sense of determination: the spirit of discovery, perhaps? It certainly explains why Neil Armstrong took a recording of the Symphony with him to the moon.

The prevalence of brass at the Symphony’s close provides a nice symmetry to the opening of the concert. Nigel Westlake has been Willoughby Symphony’s Composerin-Residence for 2018 and so the concert opens with one of his short works.

Cudmirrah fanfare may be better known to audiences as the theme from ABC Radio National, but it’s a delightful work that adds an Australian touch to the proceedings.

Discovery may be the theme of Willoughby’s concert but it is also an opportunity to discover more about the orchestra. It is a communal orchestra, set in the heart of lower North Shore. It is a professional orchestra, playing challenging music to the highest standard.

The players are educators, entertainers, purveyors of culture and, ultimately, Australian. If Soaring Spirits was the theme of the 2018 season, one can only wait with anticipation to see what 2019 will bring. What lies beyond Discovery? Well, a ‘new world’!

EVENT DISCOVERY Dimity Hall, violin; Julian Smiles, cello Willoughby SO/Nicholas Milton

Westlake: Cudmirrah fanfare Brahms: Concerto in A minor for violin, cello and orchestra, op 102 Dvorák: Symphony no 9 in E minor, op 95, From the New World VENUE

The Concourse, Chatswood DATE Saturday 27 October, 7pm

Sunday 28 October, 2pm Julian Smiles

Photo: Keith Saunders

BOOKINGS Concourse website or 8075 8111 or Ticketek 1300 795 012 SEPTEMBER 2018

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THE PRIEST WHO WROTE COMEDY

SUSAN FOULCHER PROFILES AN EARLY ‘RENAISSANCE MAN’ Adriano Banchieri was a gifted organist, wellread academic, erudite writer across several fields, well-connected musical networker, musical instrument designer, and composer of incredible diversity. Although he was born 450 years ago this month, one might even call him a ‘Renaissance man’. Yet, at least in one musical arena, he ‘missed the boat’: a boat sailing on a new wave of popular entertainment, exploiting the drama and passion of the madrigal and developing it into a visual entertainment that has enchanted audiences from that day to this: opera.

The first operas were being written at precisely the time when Banchieri was beginning his career, but he chose to chart a different course. It’s the madrigal comedy for which Banchieri is now remembered: the lower, unstaged madrigal series welded into a storyline by a spoken narrative. These weren’t supposed to be high art. His stated purpose in writing these works was ‘for no other end than to pass the hours of leisure’. Listening to a madrigal comedy, it’s easy to see how funny it must have been for the audience.

Adriano Banchieri Singers put on funny accents, hamming up outrageous textual situations and glorying in sounds and noises suggesting animals and people from various different walks of life. For the man described by Rinaldo Alessandrini as an ‘indefatigable driving force in the musical life and several academies in Bologna’ and a ‘great innovator and experimentalist’, this sort of musical achievement seems to have fallen short of Banchieri’s potential.

Other substantial works give a glimpse of the innovative thinker behind this comedic

output. Indeed, some of his publications are of great historical significance. His Concerti ecclesiastici of 1595 was the first printed work with basso continuo, one of the innovations to grow out of the ‘monodic revolution’ which soon became almost universal in the Baroque era. His influential organ treatise, L’organo suonarino, was immediately popular and gave practical musical solutions to organists carrying out their liturgical duties. He was a pioneer in the composition of original instrumental works such as canzonas and fantasias, but it was his sacred songs, published in 1613 as Nuovo pensieri ecclesiastici (New ecclesiastical thoughts), that demonstrate his most unfettered experimentation with the diverse possibilities of vocal and instrumental language. Banchieri, a priest all his life, may have passed the time of day with madrigal comedy, but his greatest creative endeavours were reserved for his sacred music.

The kaleidoscope of Banchieri’s music from the sublime to the ridiculous will be heard in Baroque and Before on Friday 7 September at 10pm.

THE NATURAL WORLD OF THE AUVERGNE CHRIS BLOWER WRITES ABOUT A REGIONAL LANGUAGE

“I don’t have a bridge, I don’t have a boat; nor do I have a shepherd to love me faithfully!”

In French, this translates to ‘Je n'ai pas de bateau, ni de pont pour passer l'eau; Ni même de berger qui m'aime fidèlement!’ but Joseph Canteloube’s Songs of the Auvergne are sung in the regional language of his birth, Auvergnat: ‘N'ai pas de pount d'arcados, E'n ai pas de' bateu; Ni mai de' pastourel Que' me' siasco fidel!’

Auvergnat is generally classified as a dialect of Occitan but some linguists consider it a Romance language in its own right. Occitan,

Walking in the Auvergne 4

SEPTEMBER 2018

also known as lenga d'òc by its native speakers, is spoken in southern France, Italy's Occitan Valleys, Monaco, and Spain's Val d'Aran; collectively, these regions are sometimes referred to as Occitania. Catalan is very closely related. Unlike other Romance languages such as French or Spanish, there is no single written standard language called ‘Occitan’, and Occitan has no official status in France.

The Auvergne is walking country, and the young Joseph Canteloube would go on long walks in the mountains with his father. In his own words: “I lived at that time deep in the

country in a region where the country folk would still willingly sing. I began to roam through farms and villages to listen to the songs of the country folk, making both old men and women sing to me, as well as the shepherds and shepherdesses in the fields, the farmlabourers and the harvesters at their work.”

He heard the dance couplets in the villages, the songs of the open air in the valleys, the pastoral melodies on the heights; he breathed the nature and life of this Auvergne which seeped little by little into the roots of his heart. Later in his life, Canteloube cited these walks as the reason for his harmonisation of the folk songs; he claimed that he wrote accompaniments that ‘mimicked the sounds he heard in the countryside’.

The songs and their melodies show many influences: Andalusian and Moorish music, Celtic religious ritual and the plainsong of the Catholic Church. Underlying this was Canteloube’s belief that when the farmer sings during the harvest, he is the author of his song, with an accompaniment which is nature: it is the earth which constitutes it, and the song of the farmer is not separated from it.

Songs of the Auvergne can be heard in Sunday Special at 3pm on 23 September.

RINALDO: TASSO, GOETHE AND BRAHMS

Looking back upon Western culture, the popularity of Gerusalemme liberata, an epic poem by the 16th century Italian poet, Torquato Tasso, is most obvious in the world of music.

Tasso’s story is a kind of historical fiction, relating the siege of Jerusalem during the First Crusade without much reference to historical fact. Tasso spins a tale of magic and heroism featuring the knights Tancredi, Ruggiero and Rinaldo who battle the Muslim warriors and sorcerers Ismen, Clorinda, Armida and Erminia. Tasso’s protagonists would become the subject of many paintings and retellings in literature, including Goethe’s poem Rinaldo.

In music too, Tasso’s epic was immediately influential and composers from Monteverdi to Judith Weir have written operas and cantatas based upon the deeds of these heroes.

Gerusalemme liberata was first published in 1581. The earliest musical work to be based upon it was Claudio Monteverdi’s Il combattimento di Tancredi e Clorinda, a musical retelling of the fight between the Christian knight Tancredi and the female Muslim warrior, Clorinda. In this episode of the story, Tancredi wins the battle, mortally wounding Clorinda who converts to Christianity as she dies. Published in Monteverdi’s Eighth book of madrigals, Il combattimento was innovative in numerous ways from the integration of text and music, to the use of pizzicato and the scoring of the strings.

However, it is Tasso’s story of Rinaldo and Armida that seems to have been most popular in the world of opera. Handel, Gluck, Hasse, Graun, Vivaldi, Haydn and Dvorák all set part, or all, of this story of magic, unrequited love and spiritual renewal. Rinaldo’s story begins at a point in Tasso’s epic when the efforts of the crusaders to capture Jerusalem are delayed by a lack of wood. The forest has been magically hidden from them by the sorcerer Ismen and the crusaders are unsure as to what to do next.

At this point, the Muslim sorceress, Armida, enters the Christian camp asking for aid.

She creates mayhem amongst the knights, who become jealous as she plays them off against each other. With allegiances divided, half of the knights leave with Armida, who then turns them into animals. Later she abducts the sleeping knight Rinaldo, the most feared and powerful fighter amongst all the Crusaders.

Intending to kill him, she instead falls in love with him and takes him to an enchanted island where he is magically charmed, then pampered and pleasured to the extent that he forgets about the Crusade altogether.

Rinaldo’s friends, Carlo and Ubaldo, sneak

Johann Wolfgang von Goethe into Armida’s fortress in search of Rinaldo.

Upon finding him, they give him a mirror so that he can take a good look at himself. The sight of his effeminate and indulged state shocks him into action, breaking Armida’s enchantments, and the knights escape the island. Heartbroken, Armida’s sorrow turns to revenge and she raises an army to overrun the crusaders. With Rinaldo leading the Christians, however, Armida’s forces are routed. In defeat, Armida attempts suicide but is stopped by Rinaldo, who begs her to convert to Christianity, which she does. With Armida’s conversion, the enchantments of Ismen fail and the Crusaders take Jerusalem, bringing this imaginary tale of the First Crusade to an end.

This year is the 150th anniversary of the composition of Johannes Brahms’ cantata Rinaldo. Brahms took as his text Goethe’s poem, which relates only a small part of Tasso’s epic: the moment at which Rinaldo is returned to his senses by his friends. Goethe constructs a dialogue between Rinaldo and his fellow knights as they encourage him to flee the enchantments of Armida, whose

presence is felt but never heard. The climax of the cantata is the point at which Armida summons a storm to obstruct the escape of the knights, who successfully return to the holy shore despite the waves and lightning.

The choice for Brahms of Goethe over Tasso was hardly surprising given Goethe’s influence upon the German composers of the 19th century and their goal of writing secular music that had an equivalent moral worth and spiritual value to sacred music. Brahms’ Rinaldo is a work of moral and musical depth that is very enjoyable listening. The work provides us with, perhaps, the closest idea of what an opera by Brahms may have sounded like.

To mark the 150th anniversary of the composition of Brahms’ Rinaldo we will survey music inspired by Tasso’s epic poem, including Monteverdi’s Il combattimento, overtures and arias from several wonderful operatic settings and music by Beethoven, Massenet and Mendelssohn, also inspired by Goethe.

You can hear this music in Sunday Special at 3pm on 30 September.

SEPTEMBER 2018

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THE REFORMERS

GLUCK’S INFLUENCE ON OPERA BY LAURA-JAY MATHISON In the preface to his 1767 opera Alceste, Christoph Willibald von Gluck wrote that he aimed to “ … refuse all those excesses due to singers' vanity … which have so long disfigured Italian opera and made what was the most splendid and beautiful of spectacles into the most ridiculous and wearisome. I endeavoured to restore the music to its true role, which is to serve poetry … to follow the development of the narrative without interrupting the action … simplicity, truth and lack of affection are the sole principles of beauty in all artistic creations.”

throughout Europe had been influenced earlier in the 18th century by poet and librettist Apostolo Zeno, who, inspired by French tragedians, sought to rid Italian opera of the theatrical devices it had accumulated. During this time, literary attacks on contemporary opera were frequent and included grievances about singers’ whims, excessive coloratura and isolation of the aria. Gluck was probably familiar with these criticisms.

In the latter half on the 18th century, Italian opera seria dominated the European musical landscape. However, many composers, led by Christoph Willibald von Gluck, began looking to French opera for inspiration as a reaction to the artificiality of current Italian operatic styles.

The late operas of Antonio Caldara were also losing favour with the public who embraced the new style of operas by Johann Adolph Hasse and Niccolò Jommelli. These composers had begun to include elements of French opera into their own operas: choruses, ensemble scenes and Christoph Willibald Gluck accompanied recitative. As early as the 1750s Gluck had also used these in his on those found in opéra comique. The first to stage works such as L’innocenza giustificata. sing the role of Orfeo, Gaetano Guadagni, greatly angered the public by refusing to Gluck’s appointment as the Vienna Court acknowledge applause throughout the opera, Kapellmeister in 1754 resulted in his such was the importance placed on continuity. acquaintance with Count Giacomo Durazzo, who was particularly dedicated to reconciling French operas, especially those by Lully and the traditionally opposed schools of French Rameau, provided a model for the use of ballet and Italian music. Gluck also became familiar in Orfeo (and other ‘reform’ operas) and it was with the French genre opéra comique, in often combined with chorus, in a particular which spoken dialogue alternated with innovation where the chorus (absent or static ariettas, and which was commonly performed in Italian opera seria) takes part in the action by in both France and Italy. At this time, Viennese both movement and singing in order to render librettists were beginning to become the work more dramatically valid. Gluck first more vocal in their disapproval of the did this in his 1761 ‘reform’ ballet Don Juan, Italian style of opera composition and it also appears in Orfeo. Both Gluck and and their desire to connect the music Gasparo Angiolini (who choreographed the more closely to the poetry, echoing ballets in Orfeo) aimed for realism and natural Metastasio, who remarked in 1726 expressive movements. A 1750 testimony by that ‘in opera, when music vies with Abbé François Arnaud states that ‘Chevalier the poetry to take the principal role Gluck is the first to have kept the chorus in it achieves the destruction of both’. the action … providing simple, true harmony’.

Gluck is credited with composing the first ‘reform’ opera, Orfeo, in 1762 although he had originally established his reputation as a ‘conventional’ composer with the successes of his Italian operas of the 1740s. His early works, such as Artaserse, Ezio and La clemenza di Tito, incorporate standard elements of late Baroque Italian opera, including recitativo secco (recitative accompanied by harpsichord alone), coloratura writing and da capo aria form (accompanied aria in three sections).

These earlier operas often had librettos

by Pietro Metastasio who also went on to become a prominent figure in the reform.

The declining popularity of Italian opera

Pietro Metastasio

Gluck and librettist Ranieri de’ Calzabigi regarded Orfeo as an azione teatrale (theatrical action), in which they aimed to maintain unity, simplicity and continuity by reforming recitative, aria and chorus. They accomplished this by heightening the importance of the drama, eliminating long ritornelli, coloratura and separation of recitative and aria, as well as placing an emphasis on the chorus and pantomime to achieve a more coherent whole.

Melodies were simplified: many arias in Orfeo are strophic songs modelled

Despite his regard as a leading figure of the reform, Gluck did not found an entirely new school of opera. His ‘reform’ works appear to have developed as an independent style and his influence on later composers was, however important, largely indirect. Mozart’s Idomeneo of 1780 and many of Salieri’s stage works clearly reflect Gluck’s influence.

Following Orfeo, Gluck composed several more operas including Alceste and Paride ed Elena and, after moving to Paris in 1773, eight more operas in French of which the most famous are Armide and Iphigénie en Tauride.

You can hear Gluck’s ‘reform’ opera and ballet in Sunday Special at 3pm on 16 September.

SEPTEMBER 2018

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TRANSFORMING STRAUSS AND MOZART NICKY GLUCH SEARCHES MUSIC OF ANOTHER PLACE

Timo-Veikko Valve is warning audiences that the concert he has programmed is an emotional journey. In September, Tipi, as he is known, will be directing seven ACO musicians in a concert of intimate, intense chamber music. With ‘transformation’ the thread running through the five pieces, Tipi insists that he will take one to another place: from sorrow, to despair, to elation.

that of King Frederick the Great, a challenge set to Bach while visiting that court. The complexity of the theme, with three ideas as opposed to the standard two, is the reason the piece was at once challenging to compose and is so transcendent in realisation. Dissonances emerge and layers are added as the work twists around the motif … it is music for closing one’s eyes.

Trans-:

Strauss, similarly, makes use of themes that are not his own in Metamorphosen. The meaning of the title is an enigma, stemming from the time in which it was written: the last months of the Second World War. What comment Strauss wished to make will never be known but what cannot be denied is how the composer depicts despair. Pain and pathos play upon the strings: the destruction of Europe, the bombing of the Vienna Opera House, war itself … the work is as relevant today as it was in 1945 and Strauss perhaps ensured that by quoting his musical ancestor.

It is under the quotation of Beethoven’s music, the funeral march from his Eroica Symphony, that Strauss wrote the words ‘In Memoriam’.

As Tipi explains, the concert is musical

into

another

place

or

state

Sorrow comes in the form of John Dowland’s Lachrimae antiquae, the original form of the song Flow, my tears. Shakespeare wrote about this sort of music with strains that play on the heart, an idea enriched by the performance of the work on bowed instruments. Tipi explains how it was from the Dowland that the rest of the program unfolded.

Discussing word-painting, the depiction of a visual idea in sound, with a colleague, the Dowland came to Tipi’s mind (the descending melody representing the fall of tears) and from that, Tipi wished to explore the ties that bind composers across the generations.

Thus, the Dowland is set in conversation with Wagner’s Prelude to Tristan und Isolde. If Dowland defined sorrow for the 1600s, so Wagner did for his generation (and the music world to come).

The opening chords are so famous for they create a sound which had never existed. If sound can elicit feeling, then it represents an undefinable, but strongly felt, emotion.

-form-: the shape or configuration of something With the concert taking shape, Tipi explains how after the Dowland-Wagner dialogue, he elicits another conversation.

Bach’s Ricercar à 6 shows audiences how Strauss’ 20th century compositions have origins in the same forms, and harmonies, of this other great German composer. The Ricercar is a fugue for six voices; the emotion it educes is thus derived from its form. It is based not on Bach’s melody but on Timo-Veikko Valve

time travel, proof of a unity between us all.

-ing:

denoting

a

verbal

action

For Metamorphosen to be played as a chamber work sees a return, in some ways, to Strauss’ original idea. The original orchestral work was commissioned by Paul Sacher, conductor of the Basel Chamber Orchestra, with Strauss ‘upscaling’ ideas he had for a string septet into a work for 23 instruments. In 1996, Rudolf Leopold reversed this transformation, drawing out the original seven-voice work. To Tipi, this arrangement allows the piece to be heard as an intimate conversation. With large forces, deep emotion can bombard; in this way, it should entwine.

The arrangement of the Wagner Prelude is further proof of Tipi’s overarching idea, that all music shares a thread, so Wagner can be revealed to be chamber music, its essence unchanged. Then there is the undeniable truth that everything the ACO presents is with a chamber mindset, so to Tipi his program is just a variation on the ACO theme.

The proof is in the final work. The ACO has thrilled audiences when performing Mozart’s Sinfonia concertante, a delightful work for violin, viola and orchestra. In Tipi’s emotional journey, it represents elation and, in his program theme, the idea that music can be heard anew when played outside its recognised form. As the solo parts dissolve into the whole in the Grande sestetto concertante, six string instruments become both soloist and accompaniment.

It’s less a transformation than a transforming, for it exists but in the moment. So be there, says Tipi, before it morphs again!

EVENT TRANSFORMING STRAUSS AND MOZART Music of Dowland, Wagner, J.S. Bach, R. Strauss, W. Mozart Helena Rathbone, Aiko Goto, violins; Nicole Divall, viola; Timo-Veikko Valve, Melissa Barnard, cellos; Maxime Bibeau, double bass VENUE City Recital Hall DATES Saturday 15 September, 7pm Tuesday 18 September, 8pm Wednesday 19 September, 7pm BOOKINGS aco.com.au or 1800 444 444 SEPTEMBER 2018

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Saturday 1 September 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 PERIODS AND THEIR PEOPLE Late classical 1801-1830 Prepared by Brian Drummond Méhul, É-N. Overture to Le trésor supposé (1802). Gulbenkian Foundation O/Michel Swierczewski.

Nimbus NI 5184/5 4 Krommer, F. Partita in C, op 76 (1809).

Michael Thompson Wind Ensemble.

Naxos 8.554226 20 Jadin, L. Introduction and rondeau pastorale (1811-12). Marielle Nordmann, hp; Brigitte Haudebourg, pf.

Arion ARN 68285 10 Bishop, H. It was a lover and his lass; Under the greenwood tree, from A comedy of errors (1821). Musicians of the Globe/Philip Pickett.

Decca 470 381-2 7

11:30 ON PARADE Prepared by Owen Fisher Forsyth, M. Lennox Bridge march.

Parrramatta City Brass Band/Jonathan Gatt.

Sweet Spirit 0001 5 Hespe, G. Opening fanfare. Men O’Brass/ Harry Mortimer.

LP EMI DUO 130 1 Chaplin, C. Smile. Tredegar Town Band.

Avanti EE1 4 Agostini, L. The three trumpeters. Fairy Aviation Band; Foden’s Motor Works Band; City of Coventry Band/Harry Mortimer.

LP EMI DUO 130 3

Igor Markevitch

Williams, J. Excerpts from The cowboys.

Allentown Band/Ronald Demkee.

AMP 23192 10

18:00 SOCIETY SPOT Folk Federation of NSW

12:00 SCHOOL JAZZ LIVE The final of the inaugural FINE MUSIC School Jazz Combos Competition

19:00 THE MAGIC OF STAGE AND SCREEN Prepared by Annabelle Drumm

15:00 OPERETTA IN THE AFTERNOON Prepared by Elaine Siversen

Quantz, J. Trio sonata in C. Sue Blake, rec; Belinda Webster, fl; Helen Scott, vc; Günther Holler, org.

Fine Music concert recording 12

Offenbach, J. La vie parisienne. Operetta in four acts. Libretto by Henri Meilhac and Ludovic Halévy. First performed Paris,1873.

RAOUL de GARDEFEU: Andreas Schindler, ten BOBINET CHICARD: Klaus Hammes Brock, ten MÉTELLA: Martina Serafin, mezz LORD MACDONALD: Michael Glücksmann, bar LADY MACDONALD: Ingrid Kaiserfeld, sop BRAZILIAN: Götz Zemann, bar Mörbisch Festival Ch & O/Rudolph Bible.

OEHMS Classics OC 252 1:16

Brahms, J. String quintet no 1 in F, op 88 (1882). Walter Trampler, va; Juilliard String Quartet.

Sony SBK 89737 28

Synopsis at finemusicfm.com/Opera

Caplet, A. Conte fantastique (1908).

Laurence Cabel, hp; Ensemble Musique Oblique.

Harmonia Mundi HMC 901417 17

Ballet: Le papillon (1860). London SO/ Richard Bonynge.

LP Decca SXL 6588 55

Britten, B. Six metamorphoses after Ovid (1952). Jirí Tancibudek, ob.

ABC 461 703-2 12

Molino, F. Trio for flute, viola and guitar, op 4 no 1 (1809). Sérénade à trois. cpo 777 448-2 14

17:30 STAGING MUSIC Adaptations: King Lear, part 1 Prepared by Angela Cockburn

Chopin, F. Piano concerto no 2 in F minor, op 21 (1830). Nikolai Demidenko, pf; Philharmonia O/Heinrich Schiff.

Hyperion CDA66647 32 10:30 SMALL FORCES Prepared by Stephen Wilson

CONTINUING PROGRAM SERIES Sunday Special, Master Key prepared by Anne Irish and James Nightingale: Sunday 2 at 3pm (final) The Symphonies of Anton Bruckner prepared by Ron Walledge: Fridays 7, 21 at 2.30pm Koechlin Showcase prepared by Rex Burgess: Tuesday 4, 18 at 1pm (final) Musical Families prepared by Jennifer Foong: Tuesdays 4, 18 at 2pm Rossini 150, At the Opera, Le Comte Ory prepared by Colleen Chesterman: Wednesday 12 at 8pm Sunday Special, Simply Shostakovich prepared by Paolo Hooke: Sunday 9 at 3pm Evenings with the Orchestra, The Symphonies of Vaughan Williams prepared by David Brett: Friday 21 at 8pm.

Died for Love: At the Opera, Cavalleria rusticana (Mascagni)/I Pagliacci (Leoncavallo) prepared by Camille Mercep: Wednesday 26 at 8pm 10

20:00 THE WORD TRANSFORMED Prepared by Paul Cooke

SEPTEMBER 2018

d’Albert, E. Overture to Esther (1888).

Moscow SO/Dmitry Yablonsky.

Naxos 8.553728 13 Schumann, R. Papillons, op 2 (1829-31).

Murray Perahia, pf.

Sony SX4K 63380 14 Tchaikovsky, P. Francesca da Rimini, symphonic fantasia after Dante, op 32 (1878).

Oslo PO/Mariss Jansons.

EMI 5 74113-2 22

Markevitch, I. Lorenzo il Magnifico (1940).

Lucy Shelton, sop; Arnhem PO/Christopher Lyndon-Gee. Marco Polo 8.223882 28 22:00 SATURDAY NIGHT AT HOME Prepared by Randolph Magri-Overend Rachmaninov, S. Rhapsody on a theme of Paganini, op 43 (1934). Mikhail Pletnev, pf; Philharmonia O/Libor Pesek.

Virgin VC 7 90724-2 24 Tchaikovsky, P. Fantasy overture: Romeo and Juliet (1869/80). Vienna PO/Herbert von Karajan.

Decca 478 5630 29 Rachmaninov, S. Symphony no 2 in E minor, op 27 (1906-07). Sydney SO/Edo de Waart.

ABC 462 012-2 56

Sunday 2 September 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SUNDAY MORNING MUSIC with Terry McMullen 9:00 MUSICA SACRA Prepared by Robert Small Purcell, H. Te Deum (1694). Tessa Bonner, sop; Patrizia Kwella, sop; Kai Wessel, alto; Paul Agnew, ten; William Kendall, ten; Peter Kooy, bass; Collegium Vocale Choir & O/ Phillipe Herreweghe.

Harmonia Mundi HMC 901462 13 Gesualdo, C. Ave Regina coelorum; Ave dulcissima Maria (pub. 1603). Oxford Camerata/Jeremy Summerly.

Naxos 8.550742 9 Zelenka, J. Psalm 110: Dixit Dominus (c1725). Schola Cantorum of Melbourne; John O’Donnell, org; Baroque Players.

Move MCD 156 16 Vaughan Williams, R. Four hymns (1914).

Philip Langridge, ten; Rusen Gunes, va; London PO/David Willcocks.

EMI CDC 7 47769 2 15 10:00 THE CLASSICAL ERA Prepared by Sheila Catzel Naumann, J. Overture to Amphion (1778).

National Museum CO/Claude Génetay.

Musica Sveciae MSCD 407 8 Gluck, C. Ballet: Semiramis (1765).

Tafelmusik/Bruno Weill.

Sony SK 53119 21 Wagenseil, G. Concerto for harp, two violins, cello and orchestra (1761). Roberta Alessandrini, hp; Mantua O/Vittorio Parisi.

Naxos 8.553622 14 Gossec, F-J. Symphony in F, op 12 no 6 (pub. 1769). London Mozart Players/Matthias Bamert.

Chandos CHAN 9661 15 Carulli, F. Guitar concerto in A, op 8a (1809).

Pepe Romero, gui; Academy of St Martin in the Fields/Iona Brown.

Decca 478 5669 16 Beethoven, L. String quartet in F, op 14 no 1 (1800). Tokyo String Quartet.

RCA 09026 61284 2 13 Reicha, A. Wind quintet in F (1811).

Academia Wind Quintet of Prague.

Hyperion CDD22006 21 12:00 A HISTORY OF JAZZ IN AUSTRALIA Prepared by Bruce Johnson A 20-part series based on his comprehensive book on the development of jazz in Australia 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 THE MANY FACETS OF PERCUSSION Prepared by Elaine Siversen

church’s one foundation. Choir of Liverpool Cathedral; Ian Tracey, org; David Poulter, cond.

Priory PRCD 1180 12

Glanville-Hicks, P. Sonata (1952). Susanne Powell, pf; CSM Percussion Ensemble/ Michael Askill.

Canberra School of Music CSM 24 11

Schubert, F. Magnificat in C, D486. Bavarian Radio Ch & O/Wolfgang Sawallisch.

Warner Classics 5054197719028 9 Dering, R. Factum est silentium. 3 Bullock, E. Give us wings of faith. 3 Choir of York Minster/Robert Sharpe (2 above) Regent REGCD368

Anon. Adagio and allegro (18th C). René Forest, vc; Erwin Donderer, vc; Georgi Petkov, vc; Siegfried Kalesse, vc; Peter Dam, vc; Akira Akahashi, db; Werner Thärichen, drums.

LP Schwann VMS 2066 E 3 Sculthorpe, P. How the stars were made (1971). Michael Askill, perc.

Southern Cross SCCD 1021 9 Hovhaness, A. Fantasy on Japanese woodprints, op 211 (1965). Robert van Sice, mar; RTE SO/Colman Pearce.

Etcetera KTC 1085 13 Fanshawe, D. Agnus Dei; Kyrie; African Sanctus; Gloria, from African Sanctus (1972).

Ambrosian Singers; Tony Campo, gui; Martin Kershaw, gui; Alan Parker, gui; Gary Kettel, perc; Terry Emery, perc; Mustapha Tettey Addy, drums; Harold Lester, pf; Gerry Butler, org; Owain Arwel Hughes, cond.

LP Philips 6558 001 14 15:00 MASTER KEY D flat minor/E flat minor Prepared by Anne Irish Bach, J.S. Prelude and fugue in D sharp minor, BWV877 (1738-42). Angela Hewitt, pf.

Hyperion CDA67741/4 9 Hummel, J. Piano quintet in E flat minor, op 87 (1802). Nepomuk Fortepiano Quintet.

Brilliant Classics 94377 23 Ropartz, J. Piece in E flat minor (1912).

Christian Lindberg, tb; Roland Pöntinen, pf.

BIS CD-298 7 Lyapunov, S. Piano concerto no 1 in E flat minor, op 4 (1890). Hamish Milne, pf; BBC Scottish SO/Martyn Brabbins.

Hyperion CDA67326 22 Godowsky, L. Étude no 13 in E flat minor, from Études on Chopin’s études, op 10 (1900-14). David Stanhope, pf.

Tall Poppies TP230 3 Prokofiev, S. Symphony no 6 in E flat minor, op 111 (1947). Czech PO/Zdenek Kosler.

Supraphon SU 4093-2 42 Skryabin, A. Étude in D sharp minor, op 8 no 12 (1894). Vladimir Horowitz, pf.

DG 479 4649 2 17:00 HOSANNA Prepared by Stephen Matthews Hymns: Christ is made the sure foundation; Come Holy Ghost our souls inspire; The

Haydn, J. Excerpts from The creation.

Collegium Vocale Gent; Champs-Elysées O/ Philippe Herreweghe.

PHI LPH018 15 Albrechtsberger, J. Pastorale in C. Anton Holzapfel, org.

Orlando or:0021 2 Bach, J.S. Excerpts from St Matthew Passion. Stuttgart Chamber Choir & Baroque O/Frieder Bernius.

Carus 83.285 6 Hymn: All my hope in God is founded. Choir of Liverpool Cathedral; Ian Tracey, org; David Poulter, cond.

Priory PRCD 1180 3 18:00 A CLASSICAL INTERLUDE Prepared by Paul Hopwood Bach, C.P.E. Trio sonata no 2 in D, Wq94 (1788). Nicholas McGegan, fl; Catherine Mackintosh, va; Anthony Pleeth, vc; Christopher Hogwood, fp.

L’Oiseau-Lyre 433 189-2 15 Mozart, W. Piano sonata no 1 in C, K279 (1775). Glenn Gould, pf.

CBS M2YK 45612 12 Beethoven, L. Cello sonata no 3 in A, op 69 (1808). Yo-Yo Ma, vc; Emanuel Ax, pf.

CBS M2K 42446 28 19:00 SUNDAY NIGHT CONCERT Prepared by Frank Morrison Borodin, A. Overture to Prince Igor (1887; orch. Glazunov). Royal Liverpool PO/Charles Mackerras.

Virgin VC 7 91174-2 11 Prokofiev, S. Piano concerto no 5 in G, op 55 (1931-32). Vladimir Ashkenazy, pf; London SO/André Previn.

Decca 425 570-2 25 Beethoven, L. Symphony no 6 in F, op 68, Pastoral (1808). Philharmonia O/Otto Klemperer.

EMI CDC 7 47188 2 46 20:30 NEW HORIZONS Modern resonance of Tallis Prepared by Calogero Panvino Tallis, T. Spem in alium. Berlin Radio Choir/ Simon Halsey.

Harmonia Mundi HMC 801873 10 SEPTEMBER 2018

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Sunday 2 Septem-

Monday 3 September 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: 1878 Prepared by Di Cox Sullivan, A. Overture to The Mikado (1878).

Royal PO/Royston Nash.

Decca 480 1285 7

Jonathan Harvey Harvey, J. I love the Lord (1977). Choir of St John’s College, Cambridge; Edward PictonTurbervill, org; Andrew Nethsingha, cond.

Signum SIGCD456 6 Janson, A. Nocturne (1967). Norwegian Soloists’ Choir; Oslo Sinfonietta/Grete Pedersen.

BIS BIS-2139 9 Harvey, J. Magnificat; Nunc dimittis (1978).

Choir of St John’s College, Cambridge; Edward Picton-Turbervill, org; Andrew Nethsingha, cond.

Signum SIGCD456 13 Lachenmann, H. Consolation II, Wessobrunner gebet (1968). Norwegian Soloists’ Choir; Oslo Sinfonietta/Grete Pedersen.

BIS BIS-2139 6 Harvey, J. Missa brevis (1995). Choir of St John’s College, Cambridge; Edward PictonTurbervill, org; Andrew Nethsingha, cond.

Signum SIGCD456 12 Xenakis, I. Nuits (1967-68). Norwegian Soloists’ Choir; Oslo Sinfonietta/Grete Pedersen.

BIS BIS-2139 9 Harvey, J. The Annunciation (2011). Choir of St John’s College, Cambridge; Edward Picton-Turbervill, org; Andrew Nethsingha, cond.

Signum SIGCD456 4 Pitts, A. XL, after Spem in alium (2003).

Berlin Radio Choir/Simon Halsey.

Harmonia Mundi HMC 801873 13 22:00 AFTER HOURS JAZZ with Kevin Jones Spem in alium (Hope in any other) is a 40-part motet by Thomas Tallis, composed about 1570 for eight choirs of five voices each. It is considered to be the greatest piece of English early music. Every work in New Horizons, from recent times, is based on this almost 450-year-old motet.

12

Tchaikovsky, P. Souvenir of a beloved place, op 42 (1878; orch. Glazunov). Ilya Kaler, vn; Russian PO/Dmitry Yablonsky.

Naxos 8.557690 17 Dvorák, A. Serenade in D minor, op 44 (1878). Oslo PO Wind Soloists.

Naxos 8.554173 23 Heise, P. Dangerous dreams (1878). Mathias Hedegaard, ten; Tove Lønskov, pf.

Dacapo 8.226141 10 Sarasate, P. de Zigeunerweisen, op 20 (1878). Anne-Sophie Mutter, vn; French NO/ Seiji Ozawa.

EMI CDC 7 47318 2 8 Grieg, E. Four album leaves, op 28 (1878).

Einar Steen-Nökleberg, pf.

Naxos 8.550883 12

Bartók, B. Rumanian folk dances (1915).

Patricia Kopatchinskaja, vn; Fazil Say, pf. naïve V5146 6 Kodály, Z. Hungarian folk music nos 15, 12 and 27 (1938-39). Lucia Popp, sop; Geoffrey Parsons, pf.

Orfeo C 363 941 B 7 Brahms, J. Excerpts from Hungarian dance suite (1852-80; arr. Webster). Geoffrey Collins, fl; Catherine McCorkill, cl; Catherine Davis, pf.

Fine Music concert recording 13 Grétry, A-E-M. String quartet in E flat, op 3 no 2 (1761-65). Haydn Quartet.

Koch CD 310 158 H1 8 d’Indy, V. String sextet in B flat (1927).

François Mereaux, va; Michel Poulet, vc; Quatuor Joachim.

Calliope CAL 3891.2 22 14:30 WITH ORCHESTRA Prepared by Barrie Brockwell Rebel, J-F. Ballet: Les élémens (1737).

Academy of Ancient Music/Christopher Hogwood.

L’Oiseau-Lyre 421 656-2 25

10:30 CONCERT HALL Prepared by Denis Patterson

Berlioz, H. D’amour l’ardente flamme, from The damnation of Faust, op 24 (1846). Joyce DiDonato, sop; Lyon National Opera Ch & O/ Kazushi Ono. Virgin 64198606 8

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

Exton EXCL-00029 21

Saint-Saëns, C. Piano concerto no 1 in D, op 17 (1858). Stephen Hough, pf; City of Birmingham SO/Sakari Oramo.

Hyperion CDA67331/2 26

Saint-Saëns, C. Violin concerto no 3 in B minor, op 61 (1880). Renaud Capuçon, vn; Radio France PO/Lionel Bringuier.

Erato 934134 2 8 29

Stravinsky, I. Suite no 2 from The firebird (1919). Royal Concertgebouw O/Mariss Jansons.

RCO Live RCO 08002 22

Mozart, W. Symphony no 39 in E flat, K543 (1788). Royal Concertgebouw O/Nikolaus Harnoncourt.

Teldec 9031-77596-2 30

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

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 MUSIC FOR A FEW Prepared by Barrie Brockwell Haydn, J. Octet in G for baryton, horns and strings, Hob.X:4 (c1775). Members of Haydn Sinfonietta/Manfred Huss.

BIS CD-1796/98 18 Pachelbel, J. Partita no 1 in C minor. Imre Kovács Jr, fl; Béla Sztankovits, gui; Márta Fábián, cimbalom.

Hungaroton HRC 097 8

FOR A FULL DAB+ SCHEDULE VISIT WWW.FINEMUSICFM.COM

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 What a year was 1878 in the musical calendar with Sullivan’s The Mikado the shining light! Its first production ran for 672 performances and it is still a favourite in musical theatre. Many other great works were composed in 1878 including Dvorák’s Wind serenade in D minor, full of wonderful melodies evoking the old-world atmosphere of the rococo period.

Tuesday 4 September

William Walton

Heinz Holliger

Arnold Bax

0:00 CONTEMPORARY COLLECTIVE

12:00 JAZZ RHYTHM with Jeannie McInnes

Brahms, J. Piano trio no 2 in C, op 87 (188082). Renaud Capuçon, vn; Gautier Capuçon, vc; Nicholas Angelich, pf.

Virgin 5 45653 2 30

3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Julie Simonds 9:00 DIVERSIONS IN FINE MUSIC Colours of the keyboard Prepared by Rex Burgess Bach, J.S. Toccata and fugue in D minor, BWV565 (bef. 1708). Peter Kneeshaw, org.

Fine Music concert recording 9 Balakirev, M. Islamey, oriental fantasy (1869/1902). Idil Biret, pf.

Naxos 8.571288 9 Debussy, C. En blanc et noir (1915). Stephen Coombs, pf; Christopher Scott, pf.

Hyperion CDA66468 15 Soler, A. Concerto no 2 in A minor for two clavichords. Bernard Brauchli, clvd; Esteban Elizondo, clvd.

Titanic Ti-152 12 Liszt, F. Les jeux d’eaux á la Villa d’Este, from Années de pélerinage, bk 3 (1877).

Arabella Teniswood-Harvey, pf.

Move MD 3410 8 Wolf-Ferrari, E. Piano trio no 2 in F sharp, op 7 (1900). Ilona Then-Bergh, vn; Gerhard Zank, vc; Michael Schäfer, pf.

MD+G L 3310/11 26 10:30 CONCERT HALL Prepared by Paul Hopwood Wagner, R. A Faust overture (1840).

Philadelphia O/Wolfgang Sawallisch.

EMI 5 56165 2 13 Walton, W. Viola concerto (1928/36/61).

Nobuko Imai, va; London PO/Jan LathamKoenig.

Chandos CHAN 9106 26 Beethoven, L. Symphony no 7 in A, op 92 (1811-12). Vienna PO/Claudio Abbado.

Decca 478 5365 42

An eclectic blending of agreeable rhythm and melody from the New Orleans jazz roots through to recent decades, including many Australian bands 13:00 KOECHLIN SHOWCASE Prepared by Rex Burgess Fauré, G. Suite from Pelléas et Mélisande, op 80 (1898; orch. Koechlin). Sarah Wagener, sop. 21 Chanson de Mélisande, op 80 (orch.

Koechlin). Juliane Banse, sop. 4 Chabrier, E. Bourée fantastique (1891, orch.

Koechlin). 7 Debussy, C. Khamma (1912, orch. Koechlin).

22 Stuttgart RSO/Heinz Holliger (all above) SWR Music 19046 14:00 MUSICAL FAMILIES Capuçon brothers Prepared by Jennifer Foong Halvorsen, J. Passacaille in G minor, after Handel’s suite no 7 in G minor (1897).

Renaud Capuçon, vn; Gautier Capuçon, vc.

Virgin 5 455762 0 6 Kreisler, F. Marche militaire viennoise (1910).

Renaud Capuçon, vn; Gautier Capuçon, vc; Aude Capuçon, pf.

Virgin 3 32626 2 1 3 Beethoven, L. Piano quartet no 3 in C, WoO36 (1785). Renaud Capuçon, vn; Lida Chen, va; Gautier Capuçon, vc; Martha Argerich, pf.

EMI 3 58472 2 18 Saint-Saëns, C. Fantasy in A, op 124 (1907). Renaud Capuçon, vn; Marie-Pierre Langlamet, hp.

Virgin 5 45602 2 13 Schumann, R. Five pieces in folkstyle, op 102 (1849). Gautier Capuçon, vc; Martha Argerich, pf.

EMI 7 21119 2 17

Saint-Saëns, C. Cello concerto no 1 in A minor, op 33 (1872). Gautier Capuçon, vc; Radio France PO/Lionel Bringuier.

Erato 934134 2 8 20 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Andrew Dziedzic 19:00 THE JAZZ BEAT with Lloyd Capps Smooth small group jazz from the 50s on, and with a visit from Miles Davis each week 20:00 RECENT RELEASES with Michael Field 22:00 CHAMBER SOIRÉE Prepared by Paul Cooke Brahms, J. Trio in A minor for clarinet, cello and piano, op 114 (1891). Nigel Westlake, cl; Julian Smiles, vc; David Bollard, pf.

Fine Music concert recording 24 Mozart, W. Piano sonata no 10 in C, K330 (1781-83). Geoffrey Lancaster, fp.

ABC 432 248-2 24 Bax, A. Sonata for flute and harp (1928).

Lorna McGhee, fl; Alison Nicholls, hp.

Naxos 8.554507 18 Limmer, F. Piano quintet in D minor, op 13.

Nepomuk Fortepiano Quintet.

Brilliant Classics 94377 46 Austrian composer Franz Limmer is recognised mainly as a conductor rather than as a composer. He studied cello and clarinet at the Vienna Conservatory graduating with a silver honours medal.

This led to his immediate acceptance in musical circles. At the age of 26 he became conductor of an opera theatre and during this time he composed his Grand Quintet.

SEPTEMBER 2018

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Wednesday 5 September 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Troy Fil 9:00 DIVERSIONS IN FINE MUSIC Composer focus Prepared by Frank Morrison Glinka, M. Overture to Ivan Susanin (1836).

USSR SO/Yevgeny Svetlanov.

Melodiya SUCD 10-00166 9 Trio pathétique in D minor for clarinet, bassoon and fortepiano (1832). Colin Lawson, cl; Alberto Grazzi, bn; Olga Tverskaya, fp.

Opus 111 OPS 30-230 16 Midnight review (1836). Nicolai Ghiaurov, bass; Zlatina Ghiaurov, pf.

Decca 443 024-2 4 Variations on a theme from Alabiev’s The nightingale (1833). Francesco Bertoldi, pf.

Nuova Era 7232 7 Andante cantabile and rondo in D minor (1823). USSR SO/Yevgeny Svetlanov.

Melodiya SUCD 10-00166 17 Grand sextet in E flat for piano and strings (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 Frank Morrison Franck, C. Symphonic poem: Le chasseur maudit (1884). Czech PO/Jean Fournet.

Supraphon 11 0613-2011 14 Hoffmeister, F. Concerto in E flat for two clarinets and orchestra. Walter Boeykens, cl; Anne Boeykens, cl; New Belgian CO/Jan Caeyers.

Harmonia Mundi HMC 901433 23 Myaskovsky, N. Symphony no 5 in D, op 18 (1918). Russian Federation Academic SO/ Yevgeny Svetlanov.

Olympia OCD 735 44 12:00 JAZZ SKETCHES with Robert Vale World-wide contemporary jazz including contributions from Australian artists and those from culturally emerging nations 13:00 LESSER-KNOWN STRINGED INSTRUMENTS Prepared by Elaine Siversen Trad. The Lancashire Pipes set for treble viol, lyra viol and harp. Jordi Savall, treble viol, lyra viol; Andrew Lawrence-King, hp.

Alia Vox AVSA 9878 8 14

Pisador, D. Conde claros con cierta diferencias, from Libro de música de vihuela (1552). Toyohiko Satoh, vihuela.

Channel Classics CCS 3091 8 Boyd, A. Cloudy mountain for flute and koto (1981). Jim Denley, fl; Satsuki Odamura, koto.

Vox Australis VAST022-2 9 Lalor, S. Ballade for domra and harp (1989).

Stephen Lalor, domra; Louise Johnson, hp.

Fine Music concert recording 4 Piccinini, A. Romanesca con partite variate for chitarrone, from the Intavolatura di liuto et di chitarrone, bk 1. Nigel North, chitarrone.

Arcana A 6 8 Marais, M. Suite in D for flute, violin and theorbo, from Pièces en trio (pub 1679).

Belinda Webster, fl; Heather Stewart, vn; Tommie Andersson, theorbo.

Fine Music concert recording 14 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 BORODIN EXPLORED Part 1 Prepared by Michael Morton-Evans Borodin, A. Polka Hélène in D minor (1843); Adagio patetico in A flat (1849). Marco Rapetti, Daniella de Santis, pf.

Brilliant Classics 94410 6 String quintet in F minor, mvts 1 and 3 (185354). Ottó Kertész Jr, vc; New Budapest String Quartet.

Marco Polo 8.223172 15 Beauty loves me no longer; Listen to my song, little friends (1855). Piotr Glouboky, bass; Yuri Loievski, vc; Ilya Scheps, pf.

Le Chant du Monde LDC 288 037 7 Cello sonata in B minor, mvts 1 and 3 (1860).

Ottó Kertész Jr, vc; Ilona Prunyi, pf.

Marco Polo 8.223172 15 Tarantella in D (1862). Joan Yarbrough, Robert Cowan, pf.

Pantheon D 07183 5 For the shores of your far off native land (1870). Nicolai Ghiaurov, bass; Zlatina Ghiaurov, pf.

Decca 443 024-2 4 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Tom Forrester-Paton

FOR A FULL DAB+ SCHEDULE VISIT WWW.FINEMUSICFM.COM

Franz Schreker 19:00 JAZZ STARS AND STRIPES with Peter Mitchell The stars of American jazz from bebop on, mainly small group low temperature jazz 20:00 AT THE OPERA Prepared by James Nightingale Schreker, F. Irrelohe. Opera in three acts.

First performed Cologne, 1924.

COUNT HEINRICH: Michael Pabst, ten EVA: Luana DeVol, sop LOLA: Eva Randova, mezzo-sop PETER: Mointe Pederson, bass-bar CHRISTOBALD: Heinz Zednik, ten Singverein Vienna Choir; Vienna SO/Peter Gülke.

Orfeo S2K 66850 2:06 Synopsis at finemusicfm.com/Opera Kreisler, F. Liebesleid (arr. Rachmaninov).

Earl Wild, pf.

Sony SK 62036 5 22:30 STRINGS PLUS ONE Prepared by Gael Golla Brahms, J. Violin sonata no 2 in A, op 100 (1886). Krysia Osostowicz, vn; Susan Tomes, pf.

Hyperion CDA66465 20 Bottesini, G. Fantasia la sonnambula (1849).

Thomas Martin, db, Anthony Halstead, pf.

ASV DCA 1052 9 Honegger, A. Viola sonata (1920). PierreHenri Xuereb, va; Pascal Devoyon, pf.

Timpani 1C1009 16 Giuliani, M. Grand potpourri, op 53 (pub.

1814). Mikael Helasvuo, fl; Jukka Savijoki, gui.

BIS CD-413 10 Prokofiev, S. Cello sonata in C, op 119 (1949). Torleif Thedéen, vc; Roland Pöntinen, pf.

BIS CD-386 25

Thursday 6 September 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST ncluding Arts Calendar at 7.30am with Simon Moore 9:00 DIVERSIONS IN FINE MUSIC The music salon Prepared by Paul Cooke Vivaldi, A. Recorder concerto in G minor, RV103. László Kecskeméti, rec; László Hadady, ob; György Olajos, bn; Borbála Dobozy, hpd.

Naxos 8.557215 10 Colbran, I. Six little Italian airs (1809). Maria Chiara Pizzoli, sop; Marianne Gubri, hp.

Tactus TC 780302 15 Hummel, J. Trio in A for flute, cello and piano, op 78 (pub. c1818). András Adorján, fl; Boris Pergamenschikow, vc; Pavel Gililov, pf.

Orfeo C 252 931 A 17 Fauré, G. Ballade for piano, op 19 (1881).

David Stanhope, pf.

Tall Poppies TP184 14 Czerny, C. Andante and polacca for horn and piano, op 339 (1848). Andrew Clark, hn; Geoffrey Govier, fp.

Helios CDH55074 11 Rossini, G. String sonata no 1 in G (1804).

Elizabeth Wallfisch, vn; Marshall Marcus, vn; Richard Tunnicliffe, vc; Chi-chi Nwanoku, db.

Hyperion CDA66595 11 10:30 CONCERT HALL Prepared by Stephen Wilson Benda, G. Sinfonia no 12 in A. Prague CO/ Christian Benda.

Naxos 8.553409 11 Mendelssohn, F. Concerto in D minor for violin, piano and orchestra (1823). Gidon Kremer, vn; Martha Argerich, pf; Orpheus CO. DG 427 338-2 37 Sibelius, J. Symphony no 5 in E flat, op 82 (1915-19). Royal Concertgebouw O/Paavo Berglund.

Radio Nederland RCO12004 33 12:00 JAZZ, PURE AND SIMPLE with Maureen Meers Covering the many aspects of jazz from Swing to Mainstream, with the Great American Songbook making regular appearances 13:00 SEA VOYAGES Prepared by Dan Bickel Mendelssohn, F. Overture: Calm sea and prosperous voyage, op 27 (1828). Bamberg SO/Claus Peter Flor.

RCA Victor RD 87905 12 Nielsen, C. An imaginary journey to the

Faroe Islands (1927). Danish NSO/Thomas Dausgaard.

Dacapo 8.206002 10 Glazunov, A. Fantasy: The sea, op 28 (1889). USSR RSO/Gennady Provatorov.

Melodiya MA 3010 15 Ibert, J. Escales (1922). Montreal SO/ Charles Dutoit.

Decca 440 332-2 15 14:00 UNUSUAL WIND INSTRUMENTS Prepared by Elaine Siversen Telemann, G. Concerto in D minor for two chalumeaux and orchestra. Lorenzo Coppola, chalumeau; Tindaro Capuano, chalumeau; La Stagione Frankfurt/Michael Schneider. cpo 999907-2 13 Hotteterre, J-M. Achilles’ bourrée; The Pharo; The little Janeton. Shelley Gruskin, musette.

LP RCA RL 30425 5 Chédeville, N. Military amusement.

Françoise Bois-Poteur, hurdy-gurdy; André Gabriel, musette; Mario Raskin, hpd.

Pierre Verany PV.788052 6 Anon. Six tunes for the instruction of singingbirds (pub. 1717). David Munrow, flageolet.

Decca 440 079-2 4 Scarlatti, A. Flageolet concerto in A minor.

Les Passions/Jean-Marc Andrieu, flageolet & dir.

Ligia Digital Lidi 0202167-06 10 Schütz, H. Fili mi, Absalon, SWV269, from Symphoniae sacrae, op 6 (pub.1629).

Bernard Fabré-Garrus, bass; Bernard Fourtet, tenor sackbutt; François Février, tenor sackbutt; Harry Ries, alto sackbutt; Richard Lester, bass sackbutt; Claire Giardelli, bass viol; Matthias Spaeter, chitaronne.

LP Erato NUM 75234 5 Nagasawa, K. First stirrings of Spring (1971; arr. McGuire). Riley Lee, shakuhachi, Marshall McGuire, hp.

ABC 465 757-2 10 Arnold, M. Harmonica concerto, op 46 (1954). Tommy Reilly, harmonica; BBC Concert O/Henry Krips.

BBC BBCRD 9103 10 Jacob, G. Fantasia for euphonium and piano.

James Brice, euphonium; Jodie Lockyer, pf.

AEMS JB001 10 Davies, P. Maxwell An Orkney wedding, with sunrise (1985). Nancy Crutcher Tunnicliffe, bagpipes; Max Hobart, vn; Boston Pops O/ John Williams.

Philips 420 946-2 14 Zamfir, G. Panpipes concerto no 1 in G. Gheorghe Zamfir, panpipes; Monte Carlo PO/ Lawrence Foster.

LP Philips 412 221-1 16

16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Debbie Scholem 19:00 THE NEW JAZZ STANDARD with Frank Presley 20:00 MUSICAL PORTRAITS Orpheus Prepared by Rex Burgess Liszt, F. Symphonic poem no 4: Orpheus (1853-54). New Zealand SO/Michael Halász.

Naxos 8.553355 11 Charpentier, M-A. Orpheus descending into hell (1683). Henri Ledroit, ct; Guy de Mey, ten; Jacques Bona, bass; Ricercar Consort.

Ricercar RIC 037011 16 Clérambault, L-N. Cantata: Orpheus (1710).

Julianne Baird, sop; Music’s Re-creation.

Meridian CDE 84182 19 Pergolesi, G. Orfeo, cantata da camera (pub.

1749). Julia Faulkner, sop; Anna Gondo, cont; Camerata Budapest/Michael Halász.

Naxos 8.550766 17 Berlioz, H. The death of Orpheus (1827).

Daniel Galvez Vallejo, ten; Northern Region Choir; Lille NO/Jean-Claude Casadesus.

Harmonia Mundi HMC 901542 13 Stravinsky, I. Ballet: Orpheus (1948). Royal Concertgebouw O/Neeme Järvi.

Chandos CHAN 7120 31 22:00 SHOWCASING AUSTRALIAN ARTISTS Prepared by James Nightingale Górecki, H. Piano concerto, op 40 (1980).

Tasmanian SO/Johannes Fritzsch.

ABC 481 6295 8 Beethoven, L. Quintet in E flat for winds and piano, op 16 (1796). Alexander Oguey, ob; Francesco Celata, cl; Andrew Barnes, bn; Robert Johnson, hn.

Fine Music concert recording 26 Tamara-Anna Cislowska, pf (2 above) Martinu, B. Sonatina (1956). Paul Goodchild, tpt; David Miller, pf.

One M One 1M1CD1038 8 Wagner, R. Liebestod, from Tristan und Isolde (1857-59; arr. Liszt). 7 Chopin, F. Waltz in D flat, op 64 no 1, Minute (1846-47). 2 Albert Landa, pf (2 above) LP Axis 7012 Maclean, C. Love was his meaning (1992).

Sydney Chamber Choir/Nicholas Routley.

Tall Poppies TP073 14 Biber, H. Violin sonata in C minor. Latitude 37.

ABC 481 0483 15 Edwards, R. Symphony: Give peace, O Lord (1992). Sydney SO/David Porcelijn.

ABC 438 610-2 29 SEPTEMBER 2018

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Friday 7 September Goldmark, K. Rustic wedding symphony, op 26 (1877). Royal PO/Yondani Butt.

ASV DCA 791 47 12:00 A JAZZ HOUR with Barry O’Sullivan 13:00 TWOSOMES Prepared by Stephen Wilson Mozart, W. Divertimento in F, K253 for two oboes, two bassoons and two horns (1776).

Members of Sydney Wind Ensemble.

Fine Music concert recording 8 John Barbirolli 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Janine Burrus 9:00 DIVERSIONS IN FINE MUSIC Something borrowed Prepared by Elaine Siversen Thalberg, S. Memories of Beethoven, grand fantasy on Symphony no 7 for piano, op 39 (c1835). Francesco Nicolosi, pf.

Naxos 8.553701 17 Leifs, J. Pastoral variations on a theme of Beethoven, op 8 (1930). Nordic CO/Christian Lindberg.

BIS CD-1538 11 Beethoven, L. Piano quartet in E flat, op 16 (1801; arr. Beethoven). Marianne Thorsen, vn; Laurence Power, va; Paul Watkins, vc; Ian Brown, pf.

Hyperion CDA67745 27 Liszt, F. Fantasy on themes from The ruins of Athens by Beethoven, S388b (transcr. c1837). Leslie Howard, pf.

Hyperion CDS44569 5 Beethoven, L. Benedictus, from Missa solemnis, op 123 (arr. Busoni). Tanja BeckerBender, vn; BBC Scottish SO/Garry Walker.

Hyperion CDA68044 9 Carulli, F. Variations in F for guitar and fortepiano on Beethoven’s 12 Variations for cello and piano, op 169. Leopoldo Saracino, gui; Massimo Palumbo, fp.

Nuova Era 7167 11 10:30 CONCERT HALL Prepared by Gerald Holder Weber, C.M. Overture to Abu Hassan (1811).

New Zealand SO/Antoni Witt.

Naxos 8.570296 3 Elgar, E. Cello concerto in E minor, op 85 (1918-19). Jaqueline du Pré, vc; London SO/ John Barbirolli.

EMI CDC 7 47329 -2 30 16

Spohr, L. Double string quartet no 2 in E flat, op 77 (1827). Academy of St Martin in the Fields Chamber Ensemble.

Hyperion CDD22014 27 Marsh, J. Conversation symphony in E flat for two orchestras (1778). London Mozart Players/Matthias Bamert.

Chandos CHAN 10458 11 Thomas, J. Grand duet in E flat for two harps. Lily Laskine, hp; Marielle Nordmann, hp.

Erato 0630-13705-2 13 Poulenc, F. Concerto in D minor for two pianos and orchestra (1932). Martha Argerich, pf; Alexander Gurning, pf; SwissItalian O/Erasmo Capilla.

DG 477 9884 21 14:30 THE SYMPHONIES OF ANTON BRUCKNER Prepared by Ron Walledge Bruckner, A. String quartet in C minor (1862). L’Archibudelli.

Sony SK 66 251 21 Tota pulchra es, Maria (1872). Denis Elliott, ten; Choir of St Mary’s Cathedral/David Russell.

LP Choir Recordings CR 821 5

Sibelius, J. Symphony no 2 in D, op 43 (1901). Royal Concertgebouw O/George Szell.

Radio Netherlands RCO 05001 42 Westlake, N. Suite from Antarctica (1992).

John Williams, gui; London SO/Paul Daniel.

Sony SK 53361 22 22:00 BAROQUE AND BEFORE Prepared by Susan Foulcher Banchieri, A. Suonata prima, from L’Organo suonarino. Timothy Roberts, org.

Archiv 437 552-2 1 Excerpts from L’Organo suonarino. Rupert Gottfried Frieburger, org.

Christophorus CHE 0082-2 4 Festino nella sera del Giovedì Grasso avanti Cena. Concerto Italiano/Rinaldo Alessandrini.

Opus 111 OPS 30-137 35 Trabaci, G. Terzo tono, gregoriano, from Cento versi sopra li otto finali ecclesiastici.

Michel van Goethem, ct; Sergio Vartolo, org.

Naxos 8.553553-56 9 Vecchi, O. Excerpts from L’Amfiparnaso.

Cappella Musicale di Petronio di Bologna/ Sergio Vartolo.

Naxos 8.553312 12 Banchieri, A. La guamina; L’Alcenagina sopra Vestiva i colli; La Pomponazza. Paul O’Dette, lute; King’s Noyse/David Douglas.

Harmonia Mundi HCX3957127 6 Peri, J. Al fonte al prato; Lungi dal vostro lume; Se tu parti da me (pub. 1609).

Catacoustic Consort/Annalisa Pappano.

Naxos 8.557538 9 Guami, G. Three canzons (pub. 1601).

Hespèrion XX/Jordi Savall.

Erato 5 62028 2 8

Symphony no 3 in D minor (1973/77-78).

Staatskapelle Dresden/Eugen Jochum.

Brilliant Classics 92084 55

Banchieri, A. Mulier, cur ploras hic, Dialogo di Christo e Maria Maddalena (1625).

Ensemble La Fenice.

Ricercar RIC 226 2

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

Excerpts from L’Organo suonarino. Gino Nappo, org.

Tactus TC 560201 4

19:00 FRIDAY JAZZ SESSION with Christopher Waterhouse

Cima, G. Sonata per cornetto e trombone (pub. 1610). Jean Tubéry, cornett; Franck Poitrineau, tb; Jean-Marc Aymes, org.

Ricercar RIC 226 5

An hour of the best in jazz with a weekly ‘album of the week’ feature and a guide to upcoming live jazz gigs in Sydney 20:00 EVENINGS WITH THE ORCHESTRA Prepared by Robert Small Brian, H. Concert overture: For valour (1904/06). RTÉ National SO/Tony Rowe.

Naxos 8.572014 14 Dvorák, A. Cello concerto in B minor, op 104 (1895). János Starker, vc; London SO/Antal Dorati.

Mercury 432 001-2 38

FOR A FULL DAB+ SCHEDULE VISIT WWW.FINEMUSICFM.COM

Banchieri, A. Excerpts from Nuovi pensieri ecclesiastici (1613). Matelda Viola, sop; Paola Ronchetti, sop; Giovanni Caruso, theorbo; Gino Nappo, org, hpd.

Tactus TC 560201 11 Sibelius said: “My second symphony is a confession of the soul.” Perhaps this is why so many listeners find it so moving.

Saturday 8 September 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 PERIODS AND THEIR PEOPLE Late Classical 1801-1830 Prepared by Robert Small Onslow, G. Piano trio, op 27 (1824). Trio Cascades. cpo 777 230-2 27 Hummel, J. Trumpet concerto in E (1803).

Urban Agnas, tpt; London Mozart Players/ Howard Shelley.

Chandos CHAN 9925 19 Arriaga, J. Symphony in D minor (1824). Le Concert des Nations; La Capella Reial de Catalunya/Jordi Savall.

Astrée E 8532 29 10:30 SMALL FORCES Prepared by Frank Morrison Bonporti, F. Concertino in A for violin, cello and harpsichord, op 12 no 3 (aft.1727). Luigi Mangiocavallo, vn; Claudio Ronco, vc; Marco Mencoboni, hpd.

Nuova Era 6939 11 Farkas, F. Ancient Hungarian dances (1965).

Canberra Wind Soloists.

Fine Music Tape Archive 8 Goldmark, K. String quintet in A minor, op 9 (1862). David Smith, vc; Fourth Dimension String Quartet.

ASV DCA 1071 33 11:30 ON PARADE University of Georgia Wind Ensemble Prepared by Robert Small Gorb, A. Awayday (1996).

Naxos 8.572231 6 Mackey, J. Kingfishers catch fire (2007).

Naxos 8.572231 11 Puts, K. Millenium cannons (2002; arr.

Spede).

Naxos 8.572231 8 University of Georgia Wind Ensemble/John P. Lynch (all above) 12:00 URBAN JAZZ LOUNGE with Leita Hutchings 13:00 IN A SENTIMENTAL MOOD with Maureen Meers Nostalgic music and artists from the 30s, 40s and 50s and occasionally beyond, in a trip down many memory lanes 14:00 BOREAL FORESTS Prepared by Dan Bickel Sibelius, J. Tone poem: Tapiola, op 112

(1926). Royal PO/Thomas Beecham.

EMI 1 66451 2 18 Glazunov, A. Fantasy: The forest, op 19 (1887). Moscow SO/Alexander Anissimov.

Naxos 8.554293 21 Ciurlionis, M. In the forest (1900). Slovak PO/Juozas Domarkas.

Marco Polo 8.223323 15 15:00 THE CHILDHOOD OF CHRIST Berlioz, H. The childhood of Christ, op 25 (1850-54). Anne Sofie von Otter, mezz; Anthony Rolfe-Johnson, ten; Michel Fockenoy, ten; Gilles Cachemaille, bar; René Schirrer, bar; José van Dam, bass; Jules Bastin, bass; Monteverdi Choir; Lyon Opera O/John Eliot Gardiner.

Erato 2292-45275-2 1:34 Elgar, E. Symphony no 1 in A flat (1907-08).

London PO/Georg Solti.

Decca 421387-2 49 17:30 THE VOICES, THE ROLES What are we this time? Gypsies?

Prepared by Angela Cockburn 18:00 SOCIETY SPOT Organ Music Society of Sydney Prepared by Andrew Grahame Barié, A. Three pieces, op 7 (1911). 15 Vierne, R. Excerpts from Ten pieces of different styles. 15 Dupré, M. Scherzo, op 16 (1918). 5 Langlais, J. Prelude and fugue, op 1. 6 Vierne, L. Les cloches de Hinckley, from Pièces de fantaisie, op 55. 7 Marie-Bernadette Dufourcet Hakim, org (all above) Priory PRCD 422 19:00 THE MAGIC OF STAGE AND SCREEN Rags to riches, part 2 Prepared by Adam Bowen Herrmann, B. The devil and Daniel Webster (1941). London PO/Bernard Herrmann.

Unicorn-Kanchana UKCD2065 5 Doyle, P. Cinderella (2015). London SO/ James Shearman.

Walt Disney 00050087312312 14 Simon, C. Working girl (1988). St Thomas Choir of Men and Boys.

Arista ARCO-8593 3 Nascimbene, M. The barefoot contessa (1954). O/Franco Ferrrara.

Legend CD11 3 Cook, R. Careful, he might hear you (1983).

O/Ray Cook.

Syme Syme L38092 12 Herrmann, B. Marnie (1964). Royal Scottish NO/Joel McNeely.

Varese-Sarabande 302 066 094 2 16

Nicholas McGegan 20:00 THE WORD TRANSFORMED Prepared by Rebecca Zhong Ravel, M. Mother Goose (1911). Royal Concertgebouw O/Bernard Haitink.

Decca 478 4740 27 Poulenc, F. The story of Babar, the little elephant (1945). Anthony Gray, pf.

ABC 481 1835 21 Mills, R. Mrs Kookaburra; Mr Lizard, Mrs Snake, from Snugglepot and Cuddlepie (c1987). Queensland SO/Richard Mills.

ABC 422 933-2 10 Lehmann, L. Mockturtle soup, from Two nonsense songs from Alice in Wonderland.

Toby Spence, ten; Steuart Bedford, pf.

Naxos 8.557118 4 Debussy, C. Prélude à l’après-midi d’un faune (1892). London SO/Valery Gergiev.

LSO Live SACD LSO0692 12 Schubert, F. Piano quintet in A, D667, The trout (1819). Ronan O’Hora, pf; Royal Philharmonic Chamber Ensemble/Jonathan Carney.

Tring TRP016 34 22:00 SATURDAY NIGHT AT HOME Prepared by Elaine Siversen Farrenc, L. Sextet in C minor for piano and wind quintet (1852). Kathryn Selby, pf; Omega Ensemble.

Fine Music concert recording 25 Debussy, C. Nocturnes (1897-99).

Philharmonia Ch & O/Carlo Maria Giulini.

EMI CDM 1 66432 2 26 Satie, E. Gnossiennes for piano (1890-98).

Jean-Yves Thibaudet, pf.

Decca 470 290-2 25 Rameau, J-P. Suite from Naïs (1749).

Philharmonia Baroque O/Nicholas McGegan.

Harmonia Mundi HMU 907121 37 Rameau composed Naïs or Opéra pour La Paix (Peace) to celebrate the Treaty of Aix-la-Chapelle at the end of the War of the Austrian Succession.

SEPTEMBER 2018

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Sunday 9 September 14:00 INSTRUMENTAL MUSIC IN THE HIGH BAROQUE Prepared by Albert Gormley Corelli, A. Concerto grosso in D, op 6 no 1 (pub. 1714). Ensemble 415/Chiara Banchini.

Harmonia Mundi HMC 901406.07 14 Vivaldi, A. Concerto in B minor for four guitars and orchestra, RV850 (transcr.). Los Romeros; San Antonio SO/Victor Alessandro.

Mercury 434 369-2 10

Arcangelo Corelli 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SUNDAY MORNING MUSIC with Robert Small 9:00 MUSICA SACRA Prepared by Chris Blower Saint-Saëns, C. Motets au Saint Sacrement (1857). Flemish Radio Choir; Bart Cypers, hn; François Saint-Yves, org.

Glossa GCD 922210 32 Nielsen, C. Hymnus amoris, op 12 (1896-7).

Kirsten Schultz, sop; Bodil Gobil, sop; Tonny Landy, ten; Bent Norup, bass-bar; Hans Christian Andersen, bass; Copenhagen Boys’ Choir; Danish RSO/Mogens Wöldike.

EMI 5 66000 2 23 10:00 CLASSICAL ERA Prepared by Andari Anggamulia Boccherini, L. Guitar quintet no 9 in C, La ritirata di Madrid (1798). Richard Savino, gui; Artaria Quartet.

Harmonia Mundi HMU 907069 33 Haydn, J. Keyboard trio in F, Hob.XV:2 (c1767-71). Beaux Arts Trio.

Philips 454 098-2 13 Giuliani, M. Duo for flute and guitar (181011). Mikael Helasvuo, fl; Jukka Savijoki, gui.

BIS CD-411 22 Beethoven, L. Septet in E flat for wind and strings, op 20 (1799-1800). Herbert Stähr, cl; Manfred Braun, bn; Gunter Köpp, hn; Alfred Malececk, vn; Dietrich Gerhardt, va; Heinrich Majowski, va; Rainer Zepperitz, db.

DG 439 852-2 43 12:00 CLASSIC JAZZ AND RAGTIME with John Buchanan The early days of jazz and ragtime as recorded during the first 30 years of the 20th century 13:00 WORLD MUSIC: Whirled Wide World music includes different styles of music from around the globe: ethnic folk, indigenous and neotraditional music.

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Bach, J.S. Violin concerto in A minor, BWV1041 (c1730). Australian CO/Richard Tognetti, vn & dir.

ABC 481 0679 14 Handel, G. Music for the royal fireworks, HWV351 (1749). Tasmanian SO/Graham Abbott.

ABC 476 4300 16 15:00 SUNDAY SPECIAL Simply Shostakovich Prepared by Paolo Hooke Shostakovich, D. Cello concerto no 1 in E flat, op 107 (1959). Mstislav Rostropovich, vc; Philadelphia O/Eugene Ormandy.

Sony Classical MHK 63327 27 Keyboard concertino in A minor, op 94 (1953).

Genova and Dimitrov Piano Duo. cpo 999 599-2 9 Symphony no 11 in G minor, op 103, The year 1905 (1957). London SO/Mstislav Rostropovich.

LSO Live LSO 0030 1:12 17:00 HOSANNA Prepared by Meg Matthews Hymns: Praise my soul; Christ is made the sure foundation; I heard the voice of Jesus say. Choir of Westminster Abbey; Robert Quinney, org; James O’Donnell, cond.

Hyperion CDA68013 9 Stanford, C. Villiers Magnificat. Jeremy Budd, treb; Choir of St Paul’s Cathedral; Andrew Lucas, org; John Scott, cond.

Hyperion CDA66439 5 Cherubini, L. Grant them eternal rest, O Lord, from Requiem in D minor. Tschechisch Choir & O/Igor Markevitch.

DG 457 744-2 3 Dvorák, A. Tui nati vulnerati, from Stabat Mater, op 58 (1877). Atlanta Ch & SO/Robert Shaw.

Telarc 2CD-80506 6 Bruckner, A. Locus iste; Ave Maria. Bavarian Radio Choir/Eugen Jochum.

DG 457 743-2 8 Davies, H. Walford Psalm 23. 2 Rose, Barry. Love’s endeavour. 2 Girl choristers & Lay Vicars of Salisbury Cathedral (2 above)

FOR A FULL DAB+ SCHEDULE VISIT WWW.FINEMUSICFM.COM

Shephard, R. Ye choirs of New Jerusalem.

Boy choristers & Lay Vicars of Salisbury Cathedral Choir; Martin Ings, tpt. 7 David Halls, org; Richard Seal, cond (3 above) Guild GMCD 7101 Troyte, A. Sunset poem, Eli Jenkins’ prayer.

Bryn Terfel, bass-bar; Welsh National Opera O/Gareth Jones.

DG 463 593-2 3 18:00 A CLASSICAL INTERLUDE Prepared by Paul Hopwood Boccherini, L. String quartet in A, op 32 no 6 (pub. 1781). Quartetto Esterházy.

Teldec 4509-95988-2 14 Beethoven, L. Piano sonata no 12 in A flat, op 26 (1801). András Schiff, pf.

ECM 476 5875 19 Haydn, J. Baryton trio in D, Hob.XI:97, Birthday (c1766). Munich Baryton Trio.

Claves CD 50-609 21 19:00 SUNDAY NIGHT CONCERT Prepared by Simone Vitiello Tchaikovsky, P. Fantasy overture: Romeo and Juliet (1869/80). Philharmonia O/ Riccardo Muti.

EMI 7 67742 2 19 Sibelius, J. Violin concerto in D minor, op 47 (1903). Adele Anthony, vn; Adelaide SO/Arvo Volmer.

ABC 476 3947 32 Lutoslawski, W. Symphony no 3 (1972-83).

Los Angeles PO/Esa-Pekka Salonen.

Sony SK66280 31 20:30 NEW HORIZONS Prepared by James Nightingale Brophy, G. CharM (1996). Geoffrey Collins, fl; Patricia Pollett, va; Marshall McGuire, hp.

ABC 456 696-2 7 Tüür, E-S. Whistles and whispers from Uluru for recorders and string orchestra (2007).

Genevieve Lacey, rec; Tapiola Sinfonietta/ Olari Elts.

Ondine ODE 1303-2 14 Neal, K. Rabid Bay (2004). Michael Kieran Harvey, pf.

Move MD 3288 10 Chan, L. Smoke weather stone weather for string quartet (2013). NOISE String Quartet.

Vexations 840 840-1301 14 Weir, J. Forest (1995). BBC SO/Martyn Brabbins.

NMC D137 12 Adès, T. Asyla, op 17 (1997). City of Birmingham SO/Simon Rattle.

EMI 5 56818 2 23 22:00 AFTER HOURS JAZZ with Kevin Jones

Monday 10 September

Talich Quartet

Paul Wranitzky

Peter Tchaikovsky

0:00 CLASSIC-ALL THROUGH THE NIGHT

10:30 CONCERT HALL Prepared by Derek Parker

14:00 EASTERN AND NORTHERN EUROPEAN STRINGS Prepared by Albert Gormley

6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Robert Small 9:00 DIVERSIONS IN FINE MUSIC A year in retrospect: 1880 Prepared by Madilina Tresca Tchaikovsky, P. Capriccio italien, op 45 (1880). SO of Russia/Veronika Dudarova.

Olympia OCD 512 A&B 16 Debussy, C. Piano trio in G (1880). Florestan Trio.

Hyperion CDA67114 20 Verdi, G. Ave Maria (1880). Cristina GallardoDomas, sop; Daniele Ferrari, org; Milan Giuseppe Verdi Symphony Ch & O/Riccardo Chailly.

Decca 467 280-2 6 Dvorák, A. Songs my mother taught me, op 55 no 4 (1880; arr.). Slava Grigoryan, gui; Leonard Grigoryan, gui.

ABC 481 5101 4 Saint-Saëns, C. Étude in waltz form, op 62.

Magda Tagliaferro, pf.

Philips 438 959-2 6 Smetana, B. String quartet no 1 in E minor, From my life (1880). Talich Quartet.

Calliope CAL 3332 27

Tchaikovsky, P. Fantasy overture: Romeo and Juliet (1869/80). Vienna PO/Herbert von Karajan.

Decca 478 5630 29 Beach, A. Piano concerto in C sharp minor, op 45 (1897-99). Danny Driver, pf; BBC Scottish SO/Rebecca Miller.

Hyperion CDA68130 35 Wranitzky, P. Symphony in D, op 36 (1799).

London Mozart Players/Matthias Bamert.

Chandos CHAN 9916 22 12:00 SWING SESSIONS with John Buchanan 13:00 MARVELLOUS MELODIES Prepared by Brian Drummond Strauss, J. II Waltz: On the beautiful blue Danube, op 314 (1867). Vienna PO/Mariss Jansons.

Sony 88875174772 10 Giazotto, R. Adagio in G minor, after Albinoni. Hans Fagius, org; Stockholm Chamber Ensemble/Jan Olav Wedin.

BIS CD-100 9 Tchaikovsky, P. Suite from Swan Lake, op 20 (1877). Israel PO/Zubin Mehta.

Teldec 4509-90201-2 30 Brahms, J. Hungarian dance no 4 in F minor (1852-69; orch. Schollum). Royal PO/Walter Weller.

Decca 466 691-2 4

Tchaikovsky, P. String quartet no 1 in D, op 11 (1871). Australian String Quartet.

Fine Music concert recording 27 Smetana, B. String quartet no 2 in D minor (1882-83). Talich Quartet.

Calliope CAL 3332 17 Dvorák, A. String quartet in A flat, op 105 (1895). Alban Berg Quartet.

EMI 5 57013 2 30 Slavonic dance, op 71 no 2 (1886; arr Kreisler). Tibor Bisztriczky, vn; Felix Schroder, pf.

DG 482 0727 4 Grieg, E. String quartet no 2 in F (1891; compl. Röntgen). Raphael Quartet.

Olympia OCD 432 30 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Michael Field 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

L

ate in his life, after Bedrich Smetana composed his First String Quartet, he wrote to his good friend Josef Srb-Debrnov, ‘My intention was to paint a tone picture of my life’. This autobiographical work, subtitled From my life, depicts four stages of the composer’s life with each movement being programmatic. First he describes his ‘youthful leanings toward art, the Romantic atmosphere, the inexpressible yearning for something I could neither express nor define’ then in a scherzo he conjures up ‘the joyful days of youth’ when he was a passionate lover of dancing. Of the third movement, he wrote that it ‘reminds me of the happiness of my first love, the girl who later became my faithful wife’. This movement is a paean to love and is of great emotional depth. The Finale begins joyfully but later there is a high, sustained harmonic E on the first violin: “The long, insistent note ... is the fateful ringing in my ears of the high-pitched tones which, in 1874, announced the beginning of my deafness.” In fact the actual sound Smetana was hearing, he identified as a chord in A flat major.

SEPTEMBER 2018

19

Tuesday 11 September

Francesco Antonio Rosetti

John Corigliano

Jean Françaix

0:00 CONTEMPORARY COLLECTIVE

Glazunov, A. Symphony no 3 in D, op 33 (1890). USSR Ministry of Culture SO/ Gennady Rozhdestvensky.

Melodiya MA 00057 50

18:00 SYDNEY SYMPHONY 2018 Produced by Andrew Bukenya

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 Paul Cooke Couperin, F. Passacaille, from Huitième ordre (pub. c1717). Reiko Ichise, va da gamba; Laurence Cummings, hpd.

Naxos 8.550962 6 Schubert, F. Impromptu in A flat, D899 no 4 (1827). Tony Baldwin, pf.

Fine Music Tape Archive 7 Debussy, C. Cello sonata (1915). David Berlin, vc; Len Vorster, pf.

Tall Poppies TP214 12 Rinck, J. Concertstück, op 33. Ludger Lohmann, org.

Naxos 8.553925 7 Hurlstone, W. Bassoon sonata in F. Daniel Smith, bn; Roger Vignoles, pf.

ASV DCA 535 18 Weill, K. Je n’aime pas (1934); Schickelgrüber (1942); Der Abschiedsbrief (c1933). Anne Sofie von Otter, mezz; Bengt Forsberg, fp.

DG 479 1044 11 Wild, E. Piano sonata (2000). Xiayin Wang, pf.

Chandos CHAN 10626 17 10:30 CONCERT HALL Prepared by Rex Burgess Mendelssohn, F. Overture: The Hebrides, op 26, Fingal’s Cave (1830). Berlin PO/Herbert von Karajan.

EMI CDM 1 66433 2 10 Rosetti, F. Horn concerto in D minor (c1782).

Michael Thompson, hn; Philharmonia O/ Christopher Warren-Green.

Nimbus NIM 5018 21 20

12:00 JAZZ RHYTHM with Jeannie McInnes 13:00 PIED PIPER Prepared by Rex Burgess Méhul, É-N. Overture to Mélidore et Phrosine (1794). Bretagne O/Stefan Sanderling.

ASV DCA 1140 11 Mendelssohn, F. Concert aria: Infelice (1843). Cecilia Bartoli, mezz; Maxim Vengerov, vn; O La Scintilla/Adám Fischer.

Decca 475 9077 12 Saint-Saëns, C. Suite from Javotte (1896).

Monte Carlo PO/David Robertson.

Auvidis V 4688 21 Corigliano, J. Flute concerto, Pied piper fantasy (1982). James Galway, fl; Eastman Philharmonia/David Effron.

RCA 6602-2-RC 37 14:30 IN CONCERT Prepared by Albert Gormley Westlake, N. Out of the blue (1994).

Tasmanian SO/David Porcelijn.

ABC 462 017-2 10 Shostakovich, D. Piano concerto no 2 in F, op 102 (1957). Dmitri Shostakovich, pf; I Musici de Montréal/Maxim Shostakovich.

Chandos CHAN 8443 18 Westlake, N. My journey starts here, from Paper planes (2015). Melbourne SO/Nigel Westlake.

ABC 481 1477 5 Tchaikovsky, P. Symphony no 5 in E minor, op 64 (1888). Philharmonia O/Riccardo Muti.

EMI 7 67742 2 48 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Derek Parker

FOR A FULL DAB+ SCHEDULE VISIT WWW.FINEMUSICFM.COM

What’s on in concerts during the next month 19:00 THE JAZZ BEAT with Lloyd Capps 20:00 RECENT RELEASES with James Nightingale 22:00 CHAMBER SOIRÉE Prepared by Mariko Yata Beethoven, L. Violin sonata no 5 in F, op 24, Spring (1800-01). Dene Olding, vn; Max Olding, pf.

ABC 432 699-2 23 Françaix, J. Wind quintet (1948). Arcadia Ensemble.

Fine Music concert recording 20 Brahms, J. Piano quartet no 2 in A, op 26 (1861). Mozart Piano Quartet.

Fine Music concert recording 43 Carulli, F. Serenade no 2 in G, op 109.

Konrad Hünteler, fl; Reinbert Evers, gui.

Pantheon D 14 112 7 Haydn, J. String quartet in B flat, Hob.III:78, Sunrise (1797). Gagliano Quartet.

Fine Music concert recording 20 Francesco Antonio Rosetti was not an Italian but was born in Bohemia as Franz Anton Rösler. He changed his name when he took up posts in Germany.

Although he is not a highly-recognised composer, either then or now, a number of his works were performed in Paris during a five-month stay. He was a double bass player and contemporary of Haydn and Mozart and is known for writing a Requiem which was played at a memorial for Mozart in December 1791. Six months later, Rosetti also died aged about 42. He is best known for his horn concertos which, according to musicologist H.C. Robbins Landon, may have been the model for the four concertos composed by Mozart.

Wednesday 12 September

Johann Nepomuk Hummel

Alexander Borodin

John Aler

0:00 CONTEMPORARY COLLECTIVE

13:00 IN PLAYFUL MOOD Prepared by Ron Walledge

20:00 AT THE OPERA Prepared by Colleen Chesterman

3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Troy Fil 9:00 DIVERSIONS IN FINE MUSIC Composer focus Prepared by Randolph Magri-Overend Villa-Lobos, H. Overture to Dawn in a tropical rain forest (1953). Jena PO/David Montgomery.

Arte Nova 74321 54465 2 9 Bendita sabedoria (1958). Corydon Singers & O/Matthew Best.

Hyperion CDA66638 11 Guitar concerto (1956). Eduardo Fernández, gui; English CO/Enrique Garcia Asensio.

Decca 455 364-2 17 Discovery of Brazil, suite no 2 (1937). Slovak RSO/Roberto Duarte.

Marco Polo 8.223551 12 Homage to Chopin (1949). Jonathan Plowright, pf.

Hyperion CDA67803 7 Bachianas brasileiras no 4 (1930-36/41). São Paulo SO/Roberto Minczuk.

BIS CD-1250 19 10:30 CONCERT HALL Prepared by Frank Morrison Mozart, W. Overture to Lucio Silla, K135 (1772). London SO/Peter Maag.

Decca 466 500-2 9 Hummel, J. Bassoon concerto in F (1805).

Claudio Gonella, bn; Italian International O/ Diego Dini-Ciacci.

Naxos 8.554280 27

Prokofiev, S. Peter and the wolf (1936).

Lenny Henry, narr; Nouvel Ensemble Instrumental du Conservatoire National de Paris/Jacques Pési.

Virgin 5 61782 2 27 Satie, E. Trois morceaux en forme de poire (1890-1903). Pascal Rogé, Jean-Philippe Collard, pf.

Decca 455 401-2 14 Bizet, G. Children’s games, op 22 (1871).

Consort of London.

Collins 11412 11 14:00 IN CONVERSATION with Michael Morton-Evans 15:00 BORODIN EXPLORED Part 2 Prepared by Michael Morton-Evans Borodin, A. Symphony no 1 in E flat, mvts 1 and 2 (1862-67). Czecho-Slovak RSO/ Stephen Gunzenhauser.

Naxos 8.550238 20 Fleurs d’amour (1871). Sergej Larin, ten; Eleonora Bekova, pf.

Chandos CHAN 9794 1 String quartet no 1 in A, mvts 3 and 4 (187479). Borodin Quartet.

Le Chant du Monde LDC 278 793 16 Polka; Berceuse; Valse, Galop; Tarantella, from Paraphrases (1878-79). Marco Rapetti, pf; Daniela de Santis, pf.

Brilliant Classics 94410 7 In the steppes of Central Asia (1880). Ukraine National RSO/Theodore Kuchar.

Naxos 8.557456 8

Martucci, G. Symphony no 2 in F, op 81 (1904). Rome SO/Francesco La Vecchia.

Naxos 8.570930 45

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

12:00 JAZZ SKETCHES with Robert Vale

19:00 JAZZ STARS AND STRIPES with Peter Mitchell

Rossini, G. Le Comte Ory. Opera in two acts. Libretto by Eugene Scribe and Charles Gaspard Delestre-Poirson. First performed Paris, 1825.

LE COMTE ORY: John Aler, ten ISOLIER: Diana Montague, mezz LA COMTESSE ADÈLE: Sumi Jo, sop Opera Lyon Ch & O/John Eliot Gardiner.

Philips 475 7014 2:12 Synopsis at finemusicfm.com/Opera 22:30 AT THE END OF THE DAY Prepared by Rex Burgess Mahler, G. Suite from orchestral works by J.S. Bach (1910). Berlin RSO/Jésus LópezCobos.

Schwann 11637 24 Duparc, H. La vie antérieure; Extase; L’invitation au voyage (1878-84). Carol Farley, sop; Belgian RT SO/José Serebrier.

ASV DCA605 11 Schumann, R. Introduction and concertallegro, op 134 (1853). Jan Lisiecki, pf; St Cecilia National Academy O/Antonio Pappano.

DG 479 5327 13 Norgård, P. Symphony no 6, At the end of the day (1998-99). Danish NSO/Thomas Dausgaard.

Chandos CHAN 9904 33 Le Comte Ory has some of Rossini’s most colourful orchestral writing but has a ‘quaint, brief overture’ ending with a ‘whisper of pizzicato strings’. The story is farcical but the music is like that of a serious opera.

SEPTEMBER 2018

21

Thursday 13 September

Erik Satie

David Reeves

Eugene Goossens

0:00 CONTEMPORARY COLLECTIVE

12:00 JAZZ, PURE AND SIMPLE with Maureen Meers

22:00 SHOWCASING AUSTRALIAN ARTISTS Prepared by Paul Cooke

3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Simon Moore 9:00 DIVERSIONS IN FINE MUSIC The music salon Prepared by Brian Drummond Koechlin, C. Flute sonata, op 52 (1913).

Barbara Hank, fl; Michael Baumann, pf.

SWR Music 19047 11 Debussy, C. Six epigraphes antiques (1914).

Duo Crommelynck, pf.

Claves 50-8508 16 Fauré, G. Songs: Autumn, op 18 no 3 (1878); Le secret, op 23 no 3 (1880-81); Chanson d’amour, op 27 no 1 (1882). Barbara Hendricks, sop; Michel Dalberto, pf.

EMI CDC 7 49841 2 7 Boëllmann, L. Two pieces, op 31 (c1896).

Mats Lidström, vc; Bengt Forsberg, pf.

Hyperion CDA66888 7 Satie, E. Sports et divertissements (1914).

Joanna MacGregor, pf.

Warner 2564 67263-5 12 Ravel, M. Piano trio in A minor (1914).

Rotraud Schneider, vn; Anthea Scott-Mitchell, vc; Daniel Herscovitch, pf.

Fine Music concert recording 25 10:30 CONCERT HALL Prepared by Stephen Wilson Respighi, O. Ancient airs and dances, suite no 2 (1924). Australian CO/Christopher Lyndon-Gee. Omega OCD 1007 20 Strauss, R. Violin concerto in D minor, op 8 (1881-82). Xue-Wei, vn; London PO/Jane Glover.

ASV DCA 780 30 Beethoven, L. Symphony no 4 in B flat, op 60 (1806). O Révolutionnaire et Romantique/ John Eliot Gardiner.

Archiv 439 900-2 32 22

13:00 MUSIC FOR THE THIRD AGE Prepared by Brendan Walsh The first of two programs featuring music by Australian composer David Reeves 14:00 BUSONI’S GREAT CONCERTO Prepared by Dan Bickel Busoni, F. Piano concerto in C, op 39 (1904).

Marc-André Hamelin, pf; City of Birmingham Symphony Ch & O/Mark Elder.

Hyperion CDA67143 1:14 Suite from Turandot, op 41 (1905/11). Hong Kong PO/Samuel Wong.

Naxos 8.555373 41 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Marilyn Schock 19:00 THE NEW JAZZ STANDARD with Frank Presley 20:00 MUSICAL PORTRAITS Famous American characters Prepared by Elaine Siversen Copland, A. Suite from Billy the Kid (1938).

New Zealand SO/James Judd.

Naxos 8.559106 21 Gershwin, G. Suite from Porgy and Bess (1935; arr. Gale). Center City Brass Quintet.

Chandos CHAN 4554 21 Perry, W. Adventures of Huckleberry Finn (1985). Slovak PO/William Perry.

Naxos 8.570200 18 Jong, M. de Hiawatha, symphonic epic, op 36 (1945). Antwerp PO/Frederik Devreese.

LP Culture 5072-5 14 Coleridge-Taylor, S. Hiawatha’s wedding feast, from The song of Hiawatha, op 30 no 1 (1898). Helen Field, sop; Arthur Davies, ten; Bryn Terfel, bass-bar; Welsh National Ch & O/ Kenneth Alwyn.

Decca 458 591-2 34

FOR A FULL DAB+ SCHEDULE VISIT WWW.FINEMUSICFM.COM

Haydn, J. String quartet in B flat, Hob.III:78, Sunrise (1797). Gagliano Quartet.

Fine Music concert recording 20 Goossens, E. Fantasy, op 36 (1924). Jamet Webb, fl; Guy Henderson, ob; Lawrence Dobell, cl; Christopher Tingay, cl; John Cran, bn; Fiona McNamara, bn; Robert Johnson, hn; Clarence Mellor, hn; Daniel Mendelow, tpt.

ABC 476 7632 10 Handel, G. Silete venti, HWV242 (c1724).

Miriam Allan, sop; Ironwood.

ABC 476 4997 28 Sculthorpe, P. Piano concerto (1982).

Anthony Fogg, pf; Melbourne SO/Myer Fredman.

ABC 426 483-2 22 Bach, J.S. Cello suite no 6 in D, BWV1012 (c1720). Zoe Knighton, vc.

Move MD 3422 32 Ferruccio Busoni was one of the greatest pianists of the late 19th and early 20th centuries so it is not surprising that most of his compositions are for the piano.

His monumental and innovative opus 39 Piano Concerto has several claims to fame: it is one of the longest works to be written in this genre; it has five movements; and it has a male chorus in the final movement. This chorus sings the words of the final scene of a verse drama, Aladdin, by Adam Oehlenschläger.

Busoni premiered the concerto at one of his Berlin concerts of modern music in 1904. The reviews were decidedly mixed, some being filled with outright hostility or derision. Very few performances have followed owing to the large orchestration, complex musical texture, the use of a male chorus and the staggering demands put on the soloist in a 70-minute virtuosic marathon.

Friday 14 September 12:00 A JAZZ HOUR with Barry O’Sullivan 13:00 MUSIC OF THE DANCE Prepared by Elaine Siversen Infante, M. Andalusian dances. Darryl Coote, pf; Robert Chamberlain, pf.

Move MCD 460 16

Georg Pedersen 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Janine Burrus 9:00 DIVERSIONS IN FINE MUSIC Something borrowed Prepared by Chris Blower Bach, J.S. Toccata in D, BWV912 (bef. 1710; arr. FeBland). Deborah de Graaf, cl; Georg Pedersen, vc; Len Vorster, pf.

Fine Music concert recording 13 Holst, G. St Paul’s suite, op 29 no 2 (191213; arr. Walsh). Guitar Trek.

ABC 432 698-2 13 Beethoven, L. Horn sonata in F, op 17 (1800; arr. for cello). Maria Kliegel, vc; Nina Tichman, pf.

Naxos 8.555785 14 Tchaikovsky, P. Suite from The Queen of Spades (1890; arr. Lindberg for trombone and piano). Christian Lindberg, tb; Roland Pöntinen, pf.

BIS CD-478 17 Mozart, W. Piano concerto in A, K414 (1782; arr. Mozart for piano and string quartet 1783).

Australia Ensemble.

Fine Music concert recording 23 10:30 CONCERT HALL Prepared by Paul Hopwood Respighi, O. Ancient airs and dances, suite no 2 (1924). Australian CO/Christopher Lyndon-Gee. Omega OCD 1007 20 Chopin, F. Piano concerto no 2 in F minor, op 21 (1830). Nikolai Demidenko, pf; Philharmonia O/Heinrich Schiff.

Hyperion CDA66647 32 Haydn, J. Symphony in D, Hob.I:104, London (1795). English Sinfonia/Charles Groves.

IMP PCD 916 29

Granados, E. Spanish dances, nos 1-3: Oriental; Andalouse; Rondalla (1892-1900; orch. de Grignon). Mexico City PO/Enrique Bátiz.

ASV DCA 735 13 Sarasate, P. de Spanish dances, op 21 (pub.

1878-82): no 2, Habanera; no 1, Malagueña.

Tianwa Yang, vn; Markus Hadulla, pf.

Naxos 8.557767 9 Turina, J. Danzas fantásticas, op 22 (1920).

Cincinnati SO/Jésus López-Cobos.

Telarc 80574 15 14:00 A DANISH CAVALCADE Prepared by Rex Burgess Scheibe, J. Flute concerto in D. Irene Spranger, fl; Concerto Copenhagen/Andrew Manze.

Chandos CHAN 0535 12 Kuhlau, F. Concertino for two horns and orchestra in F minor, op 45 (1821). Ib LanzkyOtto, hn; Frøydis Ree Wekre, hn; Odense SO/Othmar Maga.

Unicorn-Kanchana DKPCD 9110 23 Gade, N. Overture: Hamlet, op 37 (1861).

Danish National RSO/Dmitri Kitaienko.

Chandos CHAN 9422 10 Hartmann, E. Symphonic poem: Hakon Jarl, op 40 (1887). Copenhagen PO/Bo Holten.

Dacapo 8.226041 21 Langgaard, R. Symphony no 4, Fall of the leaf (1916). Danish National RSO/Neeme Järvi.

Chandos CHAN 9064 26 Holmboe, V. Trumpet concerto no 11, op 44 (1948). Håkan Hardenberger, tpt; Aalborg SO/ Owain Arwel Hughes.

BIS CD-802 16 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Lloyd Capps 19:00 FRIDAY JAZZ SESSION with Christopher Waterhouse 20:00 EVENINGS WITH THE ORCHESTRA Pastoral England Prepared by Katy Rogers-Davies Butterworth, G. The banks of green willow, idyll (1913). London PO/Adrian Boult.

Belart 461 3542 5

Vaughan Williams, R. Fantasia on a theme

by Thomas Tallis (1910). Australian CO; ACO2/Richard Tognetti. aco.com.au 16 Finzi, G. A Severn rhapsody, op 3 (1923).

Robert Plane, cl; Northern Sinfonia/Howard Griffiths.

Naxos 8.553566 7 Delius, F. Brigg Fair, an English rhapsody (1907). BBC SO/Andrew Davis.

Teldec 4509-90845-2 17 Warlock, P. Capriol suite (1926-28). Ulster O/ Vernon Handley.

Chandos CHAN 8808 9 Bax, A. Tone poem: Tintagel (1919). Royal Scottish NO/David Lloyd-Jones.

Naxos 8.557599 15 Moeran, E.J. Violin concerto (1937-42).

Tasmin Little, vn; BBC PO/Andrew Davis.

Chandos CHAN 10796 33 Holst, G. Brook Green suite (1933). English CO/Imogen Holst.

Lyrita SRCD 223 7 22:00 BAROQUE AND BEFORE Prepared by Andrew Dziedzic Buxtehude, D. Magnificat primi toni, BuxWV203. Piet Kee, org.

Chandos CHAN 0514 8 Handel, G. Organ concerto no 13 in F, HWV295, The cuckoo and the nightingale (1739). Warwick Dunham, org; Cove O/ Alexander Briger.

Fine Music concert recording 13 Bach, J.S. Prelude and fugue in C, BWV531, from Das Orgel Büchlein (bef. 1707). Piet Kee, org.

Chandos CHAN 0506 7 Jesu meine Freude, BWV227. Sydney Chamber Choir; Winsome Evans, org; HansDieter Michatz, cond.

Fine Music Tape Archive 18 Buxtehude, D. Prelude in C, BuxWV137. Piet Kee, org.

Chandos CHAN 0514 6 Handel, G. Suite in D (1805-06). Paul Plunkett, tpt; Julie Hewison, vn; Lucinda Moon, vn; Jenny Ingram, va; Miriam Morris, vc; Linda Kent, org.

Move MD 3127 9 Sweelinck, J. Echo fantasia. Piet Kee, org.

Chandos CHAN 0514 5 Handel, G. Dettingen Te Deum, HWV283 (1743). Stephanie Acraman, sop; Tim Chung, alto; Kaine Hayward, ten; Morgan Pearse, bass; Amy Johanson, org; Sydney University Graduate Choir & O/Christopher Bowen.

SUGC recording 42 SEPTEMBER 2018

23

Saturday 15 September Smetana, B. Overture to The bartered bride.

Cory Band/Robert Childs.

Doyen DOY 290 6

17:30 STAGING MUSIC Adaptations: King Lear, part 2 Prepared by Angela Cockburn

Davies, R. Jenny Wren. Phillip McCann, cornet; Fairy Band/Harry Mortimer.

LP EM! DUO 130 4

18:00 SOCIETY SPOT Classical Guitar Society Prepared by Darryl Rule

Rosenkrans, G. Greeting to Bethlehem.

Allentown Band/Ronald Demkee.

AMP 28229 3 12:00 URBAN JAZZ LOUNGE with Leita Hutchings Riccardo Muti

13:00 A CELEBRATION OF CLARA Prepared by Edwin Jiang

0:00 CLASSIC-ALL THROUGH THE NIGHT

Schumann, C. Romance in A minor (1853).

Yoshiko Iwai, pf.

Naxos 8.553501 4

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 PERIODS AND THEIR PEOPLE Late Classical 1801-1830 Prepared by Frank Morrison Donizetti, G. String quartet no 11 in C (1821).

Revolutionary Drawing Room. cpo 999 279-2 17 Schubert, F. Incidental music to Rosamunde, D797 (1823). Vienna PO/Riccardo Muti.

EMI CDC 7 54873 2 16 Rossini, G. Wind quartet no 3 in F (1804; arr.

Berr). Michael Thompson Wind Quartet.

Naxos 8.554098 13 Fesca, F. Symphony no 1 in E flat, op 6 (1810-12). North German Radio PO/Frank Beermann. cpo 999 889-2 32 10:30 MUSIC FOR SMALL FORCES Prepared by Paul Hopwood Brahms, J. String quintet no 1 in F, op 88 (1882). Norbert Brainin, vn; Siegmund Nissel, vn; Peter Schidlof, va; Cecil Aronowitz, va; Martin Lovett, vc.

DG 419 875-2 26 Elgar, E. Violin sonata in E minor, op 82 (1917-18). Yehudi Menuhin, vn; Hephzibah Menuhin, pf.

EMI 5 66122 2 29 11:30 ON PARADE Prepared by Owen Fisher Larsen, J. The call of the brave. Tredegar Town Band.

Avanti EE1 3 Bliss, A. Kenilworth. All Star Brass/Harry Mortimer.

LP EMI DUO 130 5 24

Brahms, J. Piano quartet in C minor, op 60 (1855-75). Isaac Stern, vn; Jaime Laredo, va; Yo-yo Ma, vc; Emmanuel Ax, pf.

Sony 88725443532 35 Schumann, C. Three romances, op 22 (1853). Lisa Batiashvili, vn; Alice Sara Ott, pf.

DG 479 0086 9 Piano trio in G minor, op 17 (1846). Joseph Silverstein, vn; Colin Carr, vc; Veronica Jochum, pf.

Pro Arte CDD 395 28

19:00 THE MAGIC OF STAGE AND SCREEN Prepared by Sue Jowell Duets that brought the House down 20:00 THE WORD TRANSFORMED Prepared by James Nightingale Myaskovsky, N. Alastor, op 14, symphonic poem after Shelley (1913). Russian Federation SO/Yevgeny Svetlanov.

Warner Classics 69689-8 25 Finzi, G. Let us garlands bring, op 18.

Roderick Williams, bar; Iain Burnside, pf.

Naxos 8.557644 15 Hadley, H. The ocean, op 99 (1921). Ukraine NSO/John McLaughlin Williams.

Naxos 8.559064 14 Walker, D. King Ludwig’s swans (2004-09).

Alison Morgan, sop; Belinda Montgomery, sop; Jenny Duck-Chong, mezz; Jo Burton, mezz; Genevieve Lang, hp.

Halcyon 2013 19

Schumann, R. Symphony no 4 in D minor (1841). O Révolutionnaire et Romantique/ John Eliot Gardiner.

Archiv 457 591-2 24

Rachmaninov, S. The bells, choral symphony, op 35 (1913). Suzanne Murphy, sop; Keith Lewis, ten; David Wilson-Johnson, bar; Scottish National Ch & O/Neeme Järvi.

Chandos CHAN 8476 37

15:00 OPERETTA IN THE AFTERNOON Prepared by Elaine Siversen

22:00 SATURDAY NIGHT AT HOME Prepared by Stephen Wilson

Strauss, J. II Jabuka, the apple festival.

Operetta in three acts. Libretto by Max Kalbeck and Gustav Davis. First performed Vienna,1894.

MIRKO: Thomas Tischler, ten VASIL: Wolfgang Veith, ten JOSCHKO: Franz Födinger, ten BAMBORA: Helmut Josef Ettl, bar ANNITA: Elisabeth Wolfbauer, mezz MISCHA: Michael Schober, bass JELKA: Veronika Groiss, sop Gaudeamus Choir; European Johann Strauss O/ Christian Pollack.

Naxos 8.660216-17 1:32

Debussy, C. La mer (1903-05). Cleveland O/ Lorin Maazel.

Decca 480 6630 23 Romberg, A. Clarinet quintet in E flat, op 57.

Thea King, cl; Britten String Quartet.

Hyperion CDA66479 23 Clementi, M. Piano concerto in C, op 33 no 3. Bruno Canino, pf; Rome Sinfonietta/ Francesco La Vecchia.

Naxos 8.573273 21

Synopsis at finemusicfm.com/Opera

Brahms, J. Four songs, op 17 (1860). RIAS Chamber Choir; Stefan Jezierski, hn; Manfred Klier, hn; Marie-Pierre Langlamet, hp; Marcus Creed, cond.

Harmonia Mundi HMC 901592 15

Ballet music from Ritter Pàsmàn, op 441.

National PO/Richard Bonynge.

Decca 430 852-2 18

Bizet, G. Symphony no 1 in C (1855). Munich RO/Lamberto Gardelli.

Orfeo C 184 891 A 29

Vienna blood, op 334 (1899); Wine, women and song, op 333 (1869). New York Vocal Arts Ensemble/Raymond Beegle.

Arabesque Z 6586 22

FOR A FULL DAB+ SCHEDULE VISIT WWW.FINEMUSICFM.COM

Composer and conductor Dan Walker is one of Australia’s choral specialists who has performed with many choral ensembles.

Sunday 16 September 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SUNDAY MORNING MUSIC with Terry McMullen 9:00 MUSICA SACRA Prepared by Rex Burgess Du Mont, H. Litanies of the Virgin. Ensemble Dumont/Peter Bennett.

Linn CKD 067 13 Brevi, G. O spiritus angelici. Delphine Galou, cont; Accademia Bizantina/Ottavio Dantone.

Alpha 371 11 Szymanowski, K. Stabat Mater, op 53 (1925-26). Jadwiga Gadulanka, sop; Krystyna Szostek-Radkowa, cont; Andrzej Hiolski, bar; Polish State Philharmonic Ch & O/Karol Stryja.

Marco Polo 8.223293 28

15:00 SUNDAY SPECIAL The reformer of opera and ballet Prepared by Elaine Siversen Gluck, C. Che puro ciel, from Orfeo ed Euridice (1762). Bejun Mehta, ct; Academy for Ancient Music, Berlin/René Jacobs.

Harmonia Mundi HMC 902172 6 Dance of the furies; Dance of the blessed spirits, from Orfeo ed Euridice. Australian Brandenburg O/Paul Dyer.

ABC 434 720-2 11 Chè farò senza Euridice? from Orfeo ed Euridice. Janet Baker, mezz; London PO/ Raymond Leppard.

Erato 4509-98524-2 5

10:00 THE CLASSICAL ERA Prepared by Frank Morrison

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

ABC 462 006-2 8

Beethoven, L. Sextet in E flat for two horns and string quartet, op 81b (1795). Gerd Seifert, hn; Manfred Klier, hn; Drolc Quartet.

DG 439 852-2 17

Figli, diletti figli! ... Ah, per questo già stanco, from Alceste (1767). Sophie Bevan, sop; Classical Opera Company/Ian Page.

Wigmore Hall WHLive0037 7

Pleyel, I. Violin concerto in D (1787).

Sebastian Bohren, vn; Padova and Veneto O/ Luca Bizzozero.

Sony 88843040932 34

Divinités du Styx, from Alceste (1776).

Suzanne Danco, sop; Suisse Romande O/ Alberto Erede.

Decca 467 909-2 5

Mozart, W. Concert aria: Ch’io mi scordi di te? .... Non temer, amato bene, K505 (1790).

Joan Carden, sop; John Winther, pf; O of Sydney/John Harding.

ABC 446 276-2 11

Suite du divertissement, from Iphigenia in Aulis (1774). Rhenish CO/Jan Corazolla.

Christophorus CHE 0064-2 10

Pössinger, F. String trio in F. Viennese String Trio.

Calig CAL 50876 18 Schubert, F. Symphony no 8 in B minor, D759, Unfinished (1822). Vienna SO/Nikolaus Harnoncourt.

Apex 0927 498132 28 12:00 A HISTORY OF JAZZ IN AUSTRALIA Prepared by Bruce Johnson 13:00 WORLD MUSIC: Whirled Wide 14:00 CARNIVAL Villa-Lobos, H. Children’s carnival (1920).

Sonia Rubinsky, pf; Tatiana Rankovich, pf.

Naxos 8.555717 15 Svendsen, J. Carnival in Paris, op 9 (1872).

Bergen PO/Neeme Järvi.

Chandos CHAN 10693 12 Paganini, N. Variations on The carnival of Venice, op 10 (1829). Salvatore Accardo, vn; CO of Europe/Franco Tamponi.

EMI 5 72854 2 12 Liszt, F. Hungarian rhapsody no 6 in D, Carnival in Pest (1846-85). London SO/Antal Dorati.

Mercury 432 015-2 12

Quel langage accablant, from Iphigénie en Tauride (1779). Roberto Alagna, ten; Royal Opera House O/Bertrand de Billy.

EMI 5 57012 2 6 O del mio dolce ardor, from Paride ed Elena (1770). Magdalena Kozená, mezz; Prague PO/Michel Swierczewski.

DG 471 334-2 3 Ballet: Don Juan (1761). Tafelmusik/Bruno Weill.

Sony SK 53119 45 17:00 HOSANNA Prepared by Richard Munge Hymns: Come down, O Love divine; Lord, your almighty word. Cantus Choro/Peter Chapman.

Move MD 3142 6 Psalms: no 24, The earth is the Lord’s; no 96, O sing unto the Lord a new song. Choir of St John’s College, Cambridge/George Guest.

Decca 452 941-2 6 Dyson, G. Magnificat in F. Cathedral Singers; Andrej Kouzketson, org; Brett McKern, cond.

Cathedral Singers TCS 02 3 Jenkins, K. Benedictus. Hayley Westenra, voice. 4 Adams, S. The Holy City. Harry Secombe, ten. 5 BBC 982 797-3 (2 above)

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

5 Gibbons, O. O clap your hands together. Roy Massey, cond. 6 Combined choirs of Gloucester, Hereford and Worcester Cathedrals; David Briggs, org (3 above) Griffin GCCD 4023 Hymns: Worship the Lord in the beauty of his holiness; Ye holy angels bright. Cantus Choro/Peter Chapman. 6 Reger, M. Toccata in D minor, op 59. Peter King, org.

Prelude PR 2553 4 18:00 A CLASSICAL INTERLUDE Prepared by Paul Hopwood Haydn, J. Piano trio in A flat, Hob. XV:14 (1789). Yuuko Shiokawa, vn; Boris Pergamentchikov, vc; András Schiff, pf.

Decca 444 862-2 21 Mozart, W. Violin sonata no 27 in G major/ minor, K379 (1781). Leonard Dommett, vn; Max Cooke, pf.

Move MCD 046 12 Paganini, N. Guitar quartet no 13 in F (1818-20). Bruno Pignata, vn; Lorenzo Lugli, va; Paolo Mosca, vc; Pino Briasco, gui.

Dynamic CDS 17/1-2 20 19:00 SUNDAY NIGHT CONCERT Prepared by Chris Blower Lalo, E. Suite no 1 from Namouna (1882).

Detroit SO/Paul Paray.

Mercury 475 6268 20 Strauss, R. Horn concerto no 2 in E flat (1942). Barry Tuckwell, hn; London SO/István Kertész.

Decca 478 6420 20 Stanford, C. Villiers Symphony no 4 in F, op 31 (1888). Bournemouth SO/David LloydJones.

Naxos 8.570285 43 20:30 NEW HORIZONS Prepared by Nev Dorrington Preisner, Z. The beautiful country (2005).

Polish RSO/Michal Niezlolowski.

MellowDrama MEL 102 24 Dekalog (1991). Katowice SO/Zozislaw Szostak.

Silva Classics SILKD 6029 10 The beautiful country, part 2 (2005). Polish RSO/Michal Niezlolowski.

MellowDrama MEL 102 26 Dekalog, part 2 (2005). Katowice SO/ Zozislaw Szostak.

Silva Classics SILKD 6029 26 22:00 AFTER HOURS JAZZ with Kevin Jones SEPTEMBER 2018

25

Monday 17 September

William Boyce

Jean-Jacques Kantorow

JoAnn Falletta

0:00 CLASSIC-ALL THROUGH THE NIGHT

10:30 CONCERT HALL Prepared by Stephen Wilson

Weber, C.M. Overture to Abu Hassan (1811; transcr.). Alexander Paley, Brian Zeger, pf.

Naxos 8.553308 3

6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with James Hunter 9:00 DIVERSIONS IN FINE MUSIC A year in retrospect: 1747 Prepared by Rex Burgess

Saint-Saëns, C. Overture: Spartacus (1863).

Orchestral Ensemble of Paris/Jean-Jacques Kantorow.

EMI 5 55587 2 15

Gluck, C. Symphony in D (1747). Orfeo Baroque O/Michi Gaigg. cpo 777 411-2 11

Hummel, J. Concerto in G for violin, piano and orchestra, op 17 (c1805). Alexander Trostiansky, vn; Polina Osetinskaya, pf; Russian PO/Gregory Rose.

Naxos 8.557595 37

Boyce, W. Trio sonata no 15 in D (1747).

Parley of Instruments/Peter Holman.

Hyperion CDD22063 14

Albeniz, I. Suite: Iberia (1906-08; orch.

Arbós). London SO/Enrique Batiz.

IMG IMGCD1607 30

Monn, M. Violin concerto in B flat (1747).

Camerata Bern/Thomas Füri, vn & dir.

Archiv 410 599-2 15

12:00 SWING SESSIONS with John Buchanan

Handel, G. March, from Judas Maccabeus, HWV63 (1747). Rachel Ann Morgan, hp; Edward Witsenburg, hp.

Etcetera KTC 1080 2 Father of Heaven, from thy eternal throne, from Judas Maccabaeus, HWV63 (1747).

Janet Baker, mezz; English CO/Charles Mackerras.

Philips 475 156-2 7 Bach, C.P.E. Bassoon sonata in D minor, Wq132 (1747). Matthew Wilkie, bn.

Melba MR 301124 12 Bach, J.S. Trio sonata in C minor, BWV1079 (1747). Jean-Pierre Rampal, fl; Isaac Stern, vn; Leslie Parnas, vc; John Steele Ritter, hpd.

Sony SMK 64 509 18

13:00 MUSICAL 15-YEAR OLDS Prepared by Derek Parker Mozart, W. Piano sonata in B flat, K281 (1771). Vladimir Horowitz, pf.

DG 479 2553 18 Beethoven, L. Piano quartet no 3 in C, WoO36 no 3 (1785). New Zealand Piano Quartet Naxos 8.570998 17 Schubert, F. Overture to The devil as engineer, D4 (1812). Prague Sinfonia/ Christian Benda.

Naxos 8.570328 4 Chopin, F. Rondo in C minor, op 1 (1825).

Lilya Zilberstein, pf.

DG 477 8445 10

K

Shostakovich, D. Theme and variations in B flat, op 3 (1921-22). USSR Ministry of Culture SO/Gennady Rozhdestvensky.

LP Melodiya C 10 19103 004 15 Britten, B. Quatre chansons françaises (1928). Jill Gomez, sop; City of Birmingham O/Simon Rattle.

Decca 478 5364 13 14:30 TEA AND SYMPHONY Prepared by Randolph Magri-Overend Donizetti, G. Mad scene, from Lucia di Lammermoor (1835). Joan Sutherland, sop; Elizabethan Sydney O/Richard Bonynge.

ABC 465 687-2 21 Schumann, C Piano concerto in A minor, op 7 (1835-36). Angela Cheng, pf; Women’s PO/ JoAnn Falletta.

Koch 3 7169 2H1 22 Beethoven, L. Symphony no 5 in C minor, op 67 (1807-08). Vienna PO/Simon Rattle.

EMI 5 57448 2 32 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Stephen Wilson 19:00 JAZZ PULSE with Chris Wetherall 20:00 STORMY MONDAY with Austin Harrison and Garth Sundberg 22:00 THE AUSTRALIAN JAZZ SCENE with Susan Gai Dowling and Peter Nelson

nown mainly as Beethoven’s pupil and loyal friend, Ferdinand Ries was at the great man’s bedside when he died. However, Beethoven’s association with Ferdinand’s family goes further back. His teacher in Bonn was the concertmaster of the Electoral Court orchestra, Franz Anton Ries, who later sent his three musically gifted sons, including Ferdinand, to Vienna to study with Beethoven. Franz Anton was the son of Johann Ries, a trumpeter at the court in Bonn. From Johann came a four-generation dynasty of exceptional musicians, with only Ferdinand known to us today as a composer. This dynasty lasted for just over 200 years until the death of the last musician in 1932.

Ferdinand composed about 200 works and had a distinguished career as pianist and conductor and he conducted eight of the Lower Rhine Festivals between 1825 and 1837. Hear a Sextet by Ferdinand Ries in Chamber Soirée on Tuesday 18 at 10pm.

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FOR A FULL DAB+ SCHEDULE VISIT WWW.FINEMUSICFM.COM

Tuesday 18 September

Bekova Sisters

Witold Rowicki

Ignaz Pleyel

0:00 CONTEMPORARY COLLECTIVE

13:00 KOECHLIN SHOWCASE Prepared by Rex Burgess

19:00 THE JAZZ BEAT with Lloyd Capps

Koechlin, C. Épitaphe d’une jeune femme, op 46 no 4 (1908-10, orch. 1913). 4

20:00 RECENT RELEASES with Charles Barton

3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Julie Simonds 9:00 DIVERSIONS IN FINE MUSIC Colours of the keyboard Prepared by Frank Morrison Mozart, W. Adagio and allegro in F minor, K594 (1790). George Malcolm, András Schiff, fp.

Decca 440 474-2 10 Bach, W.F. Polonaise in C. Steve Barrell, clvd.

Globe GLO 5035 4 Turina, J. Piano quartet in A minor, op 67 (1931). Members of Nash Ensemble.

Hyperion CDA67889 16 Esposito, M. Three piano pieces. Míceál O’Rourke, pf.

Chandos CHAN 9675 11 Grechaninov, A. Piano trio no 2 in G, op 128 (1930). Bekova Sisters.

Chandos CHAN 9461 19 Schubert, F. Piano sonata in A minor, D537 (1817). Jenö Jandó, pf.

Naxos 8.553235 19 10:30 CONCERT HALL Prepared by Frank Morrison Bizet, G. Overture: Patrie, op 19 (1873).

Montreal SO/Charles Dutoit.

Decca 452 102-2 13 Wagenseil, G. Cello concerto in C. Györgyi Körösi, vc; Salieri CO/Tamás Pál.

Arkadia CDAK 130.1 24 Prokofiev, S. Symphony no 5 in B flat, op 100 (1944). Czech PO/Zdenek Kosler.

Supraphon SU 4093-2 44 12:00 JAZZ RHYTHM with Jeannie McInnes

Le Docteur Fabricius, op 202 (1940-44, orch.

1946). Christine Simonin, ondes martenot. 51 South-West German RSO/Heinz Hollinger (2 above) SWR Music SWR19046 14:00 MUSICAL FAMILIES Wieniawski brothers Prepared by Jennifer Foong Wieniawski, J. - Wieniawski, H. Grand duo polonais in G, op 5 (1853). Liv Migdal, vn; Marian Migdal, pf.

Naxos 8.573404 16 Wieniawski, H. Violin concerto no 1 in F sharp minor, op 14 (1853). Oleg Krysa, vn; Warsaw National Philharmonic SO/Witold Rowicki.

LP Muza SX 0382 26 Souvenir of Moscow, op 6 (1853). Ruggiero Ricci, vn; Joanna Gruenberg, pf.

Unicorn-Kanchana UKCD 2048 7 Études-caprices, op 18 nos 2, 5 and 4. David Oistrakh, vn; Igor Oistrakh, vn.

DG 463 616-2 9 Tambourin chinois (arr. Kreisler). Shlomo Mintz, vn; Clifford Benson, pf.

DG 477 5448 3 La cadenza, from Six polyphonic studies, op 10 (1854). Ruggiero Ricci, vn.

Dynamic CDS 28 4 Variations on an original theme, op 15 (1854).

Joshua Bell, vn; Samuel Sanders, pf.

Decca 475 6715 13 Wieniawski, J. Piano concerto in G minor, op 20 (1858). Hamish Milne, pf; BBC Scottish SO/Michal Dworzynski.

Hyperion CDA67791 29 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Andrew Dziedzic

22:00 CHAMBER SOIRÉE Prepared by Sheila Catzel Ries, F. Sextet for winds, double bass, harp and piano, op 142. Dieter Klöcker, cl; Karl Hartmann, bn; Nury Guarnaschelli, hn; Wolfgang Güttler, db; Edward Witsenburg, hp; Werner Genuit, pf.

Schwann 310 001 H1 20 Coleridge-Taylor, S. Clarinet quintet in F sharp minor, op 10 (1895). Members of Nash Ensemble.

Hyperion CDA67590 30 Glazunov, A. String quintet in A minor, op 39 (1891-92). Academy of St Martin in the Fields Chamber Ensemble.

Chandos CHAN 9387 29 Pleyel, I. Trio concertant in F, op 11 no 3.

Viennese String Trio.

Calig CAL 50876 10 Klughardt, A. Schilflieder, op 28 (1873).

Albrecht Mayer, ob; Tabea Zimmerman, va; Markus Becker, pf.

Decca 478 3564 19 Schubert showed a particular interest in the piano sonata in 1817, writing six in that year, although two are incomplete. Written in March, the A minor Sonata is the first of these.

The composer was just 20 at the time but already had a large opus in many different genres including some of his most famous songs such as Erlkönig, Das Rosenband and An die Nachtigall.

Also written early in 1817 was the song Die Forelle (The trout). The wide range of styles of the 1817 sonatas, and some of the unusual keys he used, show that Schubert was experimenting in a genre in which he would excel.

SEPTEMBER 2018

27

Wednesday 19 September

Rivka Golani

Norbert Moret

Anna Ryberg

0:00 CONTEMPORARY COLLECTIVE

13:00 LESSER-KNOWN ORCHESTRAL Prepared by Giovanna Grech

INO/JUNO: Sally-Anne Russell, mezz JUPITER: Angus Wood, ten CADMUS/SOMNUS: Stephen Bennett, bass ATHAMAS: Tobias Cole, ct IRIS: Belinda Montgomery, sop Cantillation; Sirius Ensemble/Antony Walker: ABC 980 047-0 2:31

3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Troy Fil 9:00 DIVERSIONS IN FINE MUSIC Composer focus Prepared by Jennifer Foong Widor, C-M. Toccata, from Symphony no 5 in F, op 42 no 1. Marie-Claire Alain, org.

Erato 2292-45976-2 6

Madetoja, L. Symphony no 3 in A, op 55 (1926). Iceland SO/Petri Sakari.

Chandos CHAN 9036 32 14:00 IN CONVERSATION with Michael Morton-Evans

Introduction and rondo, op 72 (1898). Michael Collins, cl; Michael McHale, pf.

Chandos CHAN 10804 8

15:00 BORODIN EXPLORED Part 3 Prepared by Michael Morton-Evans

Valse oubliée, from Cinq pièces, op 71 (pub.

1903). Paul Rickard-Ford, pf.

RIAX RICA-2881 5

Borodin, A. Romance (1881). Tord Wallström, bar; Royal Stockholm PO/ Gennady Rozhdestvensky.

Chandos CHAN 9199 3

Suite, op 34 (1898). Robert Aitken, fl; Robin McCabe, pf.

BIS CD-184 16 Mass for two choirs and two organs, op 36.

Choir of Westminster Cathedral; Joseph Cullen, org; Andrew Reid, org; Hyperion Chorus of Baritones; James O’Donnell, cond.

Hyperion CDA66898 16

String quartet no 2 in D, mvts 3 and 4 (1881).

Takács Quartet.

Decca 476 280-2 16 Symphony no 2 in B minor, mvts 1 and 2 (1869-76). Czecho-Slovak RSO/Stephen Gunzenhauser.

Naxos 8.550238 12

Piano quintet in D minor, op 7 (1868). Ilona Prunyi, pf; New Budapest Quartet.

Naxos 8.555416 29

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

Naxos 8.572786 18

10:30 CONCERT HALL Prepared by Michael Field

Serenata alla spagnola (1886). Moscow String Quartet.

Brilliant Classics 94410 2

Alfvén, H. Suite from The mountain king (1916-23). Royal Stockholm PO/Neeme Järvi.

BIS CD-585 15 Berlioz, H. Harold in Italy, op 16 (1834).

Rivka Golani, va; San Diego SO/Yoav Talmi.

Naxos 8.553034 41 Haydn, J. Symphony in G, Hob.I:92, Oxford (1789). Austro-Hungarian Haydn O/Adám Fischer.

Nimbus NI 5417/8 27 12:00 JAZZ SKETCHES with Robert Vale 28

Moret, N. Violin concerto, Dreaming (1988).

Anne-Sophie Mutter, vn; Boston SO/Seiji Ozawa.

DG 431 626-2 20

16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Tom Forrester-Paton 19:00 JAZZ STARS AND STRIPES with Peter Mitchell 20:00 AT THE OPERA Prepared by Angela Cockburn Handel, G. Semele. Opera in three acts.

Libretto by William Congreve. First performed London, 1743.

SEMELE: Anna Ryberg, sop

FOR A FULL DAB+ SCHEDULE VISIT WWW.FINEMUSICFM.COM

Synopsis at finemusicfm.com/Opera Cara sposa, from Rinaldo, HWV7a (1711).

Jennifer Larmore, mezz; Lausanne CO/Jésus López-Cobos.

Teldec 4509-96800-2 10 23:30 KEYBOARD FANTASIES Prepared by Rex Burgess Field, J. Fantasie on a Russian air (1823).

Míceál O’Rourke, pf.

Chandos CHAN 9315 6 Alkan, C-V. Fantasy in A flat for the left hand, op 76 (c1838). Marc-André Hamelin, pf.

Hyperion CDA66765 9 Busoni, F. Chamber fantasy after Bizet’s Carmen (1920). Francesco Mazzonetto, pf.

Sony 88985403732 9 We find the story of Semele, the mother of Bacchus, in Ovid’s Metamorphoses and it was on this story that William Congreve based the libretto for an opera which Handel took for his ‘musical drama’ Semele. The work fuses elements of opera, oratorio and classical drama. It was first presented in 1744 ‘after the manner of an oratorio’ during Lent, a time when, traditionally, London audiences were treated to an oratorio. Despite it being a solemn season, the story of Semele involves an adulterous sexual relationship, not quite what the audience was expecting!

Nevertheless, it had four performances at that time and two more later that year.

Handel never saw the work staged but today Semele is frequently fully staged and receives regular performances in the world’s opera houses, as well as concert performances.

Thursday 20 September

Seiji Ozawa

Marin Marais

Kiri Te Kanawa

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

20:00 MUSICAL PORTRAITS Othello Prepared by Raj Gopalakrishnan

9:00 DIVERSIONS IN FINE MUSIC The music salon Prepared by Chris Blower Field, J. Fantasie sur l’air de Martini (c1811).

Míceál O’Rourke, pf.

Chandos CHAN 9315 11 Godard, B. Two pieces, op 61 (1882). Mats Lidström, vc; Bengt Forsberg, pf.

Hyperion CDA66888 10 Chaminade, C. Mélodies (1893-98). Nicky Spence, ten; Malcolm Martineau, pf.

Chandos CHAN 10893 15 Rossini, G. Prelude, theme and variations, from Sins of old age (1857-68). Hermann Baumann, hn; Leonard Hokanson, pf.

Philips 416 816-2 10

13:00 CONTEMPORARIES OF HANDEL Prepared by Albert Gormley Boyce, W. Symphony no 7 in B flat (pub.

1760). Bournemouth Sinfonietta/Ronald Thomas.

CRD 3356 9 Telemann, G. Quartet in E minor (pub. 1733).

Akademie Für Alte Musik.

Harmonia Mundi HMC901689 10 Marais, M. La gamme (pub. 1723). London Baroque/Charles Medlam.

Harmonia Mundi HMX 2908250.79 34 14:00 A BRITISH AFFAIR Prepared by Ron Walledge Brian, H. Comedy overture: The tinker’s wedding (1948). Charles Mackerras, cond.

EMI CDC 7 49558 2 7

Filtsch, C. Impromptus: no 1 in G flat; no 2 in B flat minor. Hubert Rutkowski, pf.

Naxos 8.572344 9

Howells, H. Concerto for string orchestra (1938).

Hyperion CDA66610 28

Offenbach, J. Cello duet in A minor, op 49 no 3 (c1847). Andrea Noferini, vc; Giovanni Sollima, vc.

Brilliant Classics 94475 8

Finzi, G. Eclogue, op 10 (c1949). Piers Lane, pf.

EMI 5 65742 2 10 Vernon Handley, cond (2 above)

Herz, H. Dramatic fantasy, op 89. Philip Martin, pf.

Hyperion CDA67606 14

Delius, F. Cello concerto (1920-21). Raphael Wallfisch, vc; Charles Mackerras, cond.

EMI 5 73113 2 22

10:30 CONCERT HALL Prepared by Rex Burgess

Royal Liverpool PO (4 above)

Strauss, R. Suite from Die Frau ohne Schatten, op 65 (1919). Staatskapelle Dresden/Giuseppe Sinopoli.

DG 480 0478 22 Liszt, F. Two episodes from Lenau’s Faust (1861). BBC Scottish SO/Ilan Volkov.

Hyperion CDA67856 28 Shostakovich, D. Violin concerto no 2 in C sharp minor, op 129 (1967). Gidon Kremer, vn; Boston SO/Seiji Ozawa.

DG 439 890-2 32

Vaughan Williams, R. Symphony no 7, Sinfonia Antartica (1949-52). Norma Burrowes, sop; London Philharmonic Choir; London PO/Adrian Boult.

EMI CDC 7 47216 2 41 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Sue Jowell 19:00 THE NEW JAZZ STANDARD with Frank Presley

Dvorák, A. Overture: Othello, op 93 (1891).

Czech PO/Libor Pesek.

Virgin VC7 91144-2 15 Verdi, G. Excerpts from Otello (1887). Kiri Te Kanawa, sop; Elzbieta Ardam, cont; Luciano Pavarotti, ten; Chicago SO/George Solti.

Decca 478 6419 25 Fibich, Z. Othello, op 6 (1873). Czech NSO/ Marek Štilec.

Naxos 8.573197 17 Tjeknavorian, L. Adagio, from Othello, op 31 (1984). Armenian PO/Loris Tjeknavorian.

ASV DCA 1037 5 Verdi, G. Dio! mi potevi scagliar; Nun mi tema, from Otello. Jonas Kaufmann, ten; Franco Vassallo, bar; Teatro Municipale of Piacenza Ch; Parma Opera O/Pier Giorgio Morandi.

Sony 88765492002 11 Khachaturian, A. Suite from Othello (1956).

Jana Valásková, sop; Viktor Simcisko, vn; Slovak Philharmonic Ch; Slovak RSO/ Adriano.

Marco Polo 8.223314 33 22:00 SHOWCASING AUSTRALIAN ARTISTS Prepared by Elaine Siversen Shostakovich, D. Piano quintet in G minor, op 57 (1940). Members of Australia Ensemble.

Tall Poppies TP052 33 Schubert, F. String quintet in C, D956 (1828).

Richard Tognetti, vn; Helena Rathbone, vn; Caroline Henbest, va; Emma-Jame Murphy, vc; Melissa Barnard, vc.

ABC 476 102-6 55 Mozart, W. Quintet in E flat for winds and piano, K452 (1784). Alexander Oguey, ob; David Rowden, cl; Ben Hoadley, bn; Michael Dixon, hn; Kathryn Selby, pf.

Fine Music concert recording 24 SEPTEMBER 2018

29

Friday 21 September 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Janine Burrus 9:00 DIVERSIONS IN FINE MUSIC Something borrowed Prepared by Paul Cooke Martucci, G. Theme and variations, op 58 (1882). Lya De Barberiis, pf; Rome SO/ Francesco La Vecchia.

Naxos 8.570930 14 Rachmaninov, S. Vocalise, op 34 no 14 (1915). Catherine Hewgill, vc; Vladimir Ashkenazy, pf.

Decca 481 6562 6 Giuliani, M. Caprice in A minor, op 1 no 24 (c1807; arr. Grigoryan). Slava Grigoryan, gui.

ABC 472 224-2 8 Weill, K. Symphonic nocturne: Lady in the dark (1940; arr. Robert Russell Bennett).

Bournemouth SO/Marin Alsop.

Naxos 8.557481 18 Neefe, C. Sechs leichte Stücke from Mozart’s opera Die Zauberflöte (1793). Cullan Bryant, Dmitry Rachmanov, pf.

Naxos 8.572519-20 15 Corea, C. Excerpts from Children’s songs (1984; various arrangers). Nick Russoniello, sax; Acacia Quartet.

Fine Music concert recording 11 Faure, G. Pavane, op 50 (1887; arr. Almeida).

Debra Wendells Cross, fl; Robert Alemany, cl; JoAnn Falletta, gui.

Virginia Arts Festival VA901 5 10:30 CONCERT HALL Prepared by Sheila Catzel Bizet, G. Overture: Patrie, op 19 (1873).

Montreal SO/Charles Dutoit.

Decca 452 102-2 13 Stojowski, Z. Piano concerto no 2 in A flat, op 32 (1909-10). Jonathan Plowright, pf; BBC Scottish SO/Martyn Brabbins.

Hyperion CDA67314 33 Svendsen, J. Symphony no 1 in D, op 4 (1865-66). Danish National RSO/Thomas Dausgaard.

Chandos CHAN 9932 35 12:00 A JAZZ HOUR with Barry O’Sullivan 13:00 THE FALLING BOOKCASE AND OTHER ACCIDENTS Prepared by Derek Parker Alkan, C-V. Chamber concerto in A minor, op 10 no 1 (1832). Marc-André Hamelin, pf; BBC Scottish SO/Martyn Brabbins.

Hyperion CDA66717 14 30

Anton Bruckner

Henry Purcell

Lully, J-B. Chaconne, from Roland (1685).

Les Talens Lyriques/Christophe Rousset. naïve V5197 12

Symphony no 3, Pastoral (1921). Rebecca Evans, sop; London SO/Richard Hickox.

Chandos CHAN 10001 39

Leclair, J-M. Violin concerto in D, op 10 no 3 (1745). Collegium Musicum 90/Simon Standage, vn & dir.

Chandos CHAN 0589 14

Stravinsky, I. Suite no 2, from The firebird (1919). Chicago SO/Carlo Maria Giulini.

EMI 5 85974 2 23

Chausson, E. Soir de fête, op 32 (1897-98).

BBC PO/Yan Pascal Tortelier.

Chandos CHAN 9650 14 Tchaikovsky, P. Suite no 4 in G, op 61, Mozartiana (1887). Ruggiero Ricci, vn; Suisse Romande O/Ernest Ansermet.

Decca 476 2723 26 14:30 THE SYMPHONIES OF ANTON BRUCKNER Prepared by Ron Walledge Bruckner, A. Intermezzo in D minor (1879).

Enrique Santiago, va; Melos Quartet.

Harmonia Mundi HMC 901421 10 Psalm 150 (1892). Juliet Booth, sop; Jean Rigby, mezz; John Mark Ainsley, ten; Gwynne Howell, bass; Corydon Singers & O/Matthew Best.

Hyperion CDA66599 8 Symphony no 4 in E flat, Romantic (1874/80).

Berlin PO/Herbert von Karajan.

DG 439 522-2 1:04 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Peter Kurti 19:00 FRIDAY JAZZ SESSION with Christopher Waterhouse 20:00 EVENINGS WITH THE ORCHESTRA Symphonies of Vaughan Williams Prepared by David Brett Vaughan Williams, R. The lark ascending (1914/20). Pinchas Zukerman, vn; English CO/Daniel Barenboim.

DG 442 8333 14

FOR A FULL DAB+ SCHEDULE VISIT WWW.FINEMUSICFM.COM

Vaughan Williams, R. Symphony no 4 in F minor (1935). London SO/Bryden Thomson.

Chandos CHAN 8633 33 22:00 BAROQUE AND BEFORE Myths and legends Prepared by Elaine Siversen Purcell, H. The masque of Cupid and Psyche, from Timon of Athens (1694).

Musicians of the Globe/Philip Pickett.

Philips 446 218-2 24 Handel, G. Suite from Florindo and Daphne (1705-06). Frank de Bruine, ob; Parley of Instruments/Peter Holman.

Hyperion CDA67053 16 Montéclair, M. de Ariadne and Bacchus (1728). Fiona Campbell, mezz; Ensemble Battistin.

ABC 476 594-1 15 Monteverdi, C. Lasciate mi morire: Lamento d’Arianna, from Arianna (1608). Anne Sofie von Otter, mezz; Drottningholm Baroque Ensemble.

Proprius PRCD 9008 C 4 Locatelli, P. Concerto grosso in E flat, op 7 no 6, Il pianto d’Arianna (pub. 1741). Enrico Onofri, vn; Il Giardino Armonico/Giovanni Antonini. naïve OP 30399 18 Clérambault, L-N. Cantata: Orphée (c1727).

Sandrine Piau, sop; Les Solistes du Concert Spirituel.

Naxos 8.553744 17 Schenck, J. Sonata no 10 in G, from The nymphs of the Rhine, op 8 (c1700). Susie Napper, va da gamba; Margaret Little, va da gamba.

Naxos 8.554415 14

Saturday 22 September Rodgers, R. Suite from The king and I (1951). O/Richard Hayman.

Naxos 8.578039-40 12

0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SATURDAY MORNING MUSIC with Stephen Wilson

Slade, J. Excerpts from Follow that girl.

Susan Hampshire, Patricia Routledge, Peter Gilmore, James Cairncross, voices; original London cast.

Sepia SEPIA 1156 MCPS 19

9:00 WHAT’S ON IN MUSIC Our weekly guide to musical events in and around Sydney 9:05 PERIODS AND THEIR PEOPLE Late Classical 1801-1830 Prepared by Mariko Yata Jadin, H. Piano sonata in F, op 6 no 3 (pub.

1804). Jean-Claude Pennetier, pf.

Harmonia Mundi HMC 901189 15 Rossini, G. Terra amica, ove respira, from Zelmira (1822). Rockwell Blake, ten; Ambrosian Singers; London SO/Maximiano Valdes.

Arabesque Z 6612 11 Paganini, N. Variations on The carnival of Venice (1829). Franco Mezzena, vn; Adriano Sebastiani, gui.

Dynamic CDS 03 13 Schubert, F. An die untergehende Sonne, D457 (1816-17). Janet Baker, sop; Raymond Leppard, pf.

BBC Music BBCL 4218-2 7 Dussek, J. Piano concerto in E flat, op 70 (1810). Ulster O/Howard Shelley, pf & dir.

Hyperion CDA68027 31 10:30 SMALL FORCES String quartet plus one Prepared by Rebecca Zhong Weber, C.M. Introduction, theme and variations in B flat. Dieter Klöcker, cl; members of Consortium Classicum.

Teldec 8.44051 10 Foote, A. Nocturne and scherzo (1918).

Jeani Muhonen Foster, fl; Da Vinci Quartet.

Naxos 8.559014 13 Guastavino, C. Jeromita Linares. Maria Isabel Siewers, gui; Stamic Quartet.

ASV DCA 933 13 Mozart, W. Horn quintet in E flat, K407 (1782). Robert Johnson, hn; Susan Collins, vn; Tony Gault, va; Roger Benedict, va; Catherine Hewgill, vc.

Fine Music concert recording 17 11:30 ON PARADE Prepared by Paul Hopwood Lucas, L. The amethyst march. 3 Goodwin, R. 633 Squadron (1964). 3 Trad. Lilliburlero. 3 Stuart, L. Soldiers of the Queen. 2 Trad. Sarie Marais; The pride o’ them ‘a’...

We’re no awa to bide awa; Men o’ Wales ...

Men of Harlech (arr. Lewis). 12 Addison, J. Reach for the sky. 3 Regency Noble Footwear Band (all above) Soho SOHOCD051

20:00 THE WORD TRANSFORMED Prepared by Elaine Siversen Léo Delibes 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 HENRYK SZERYNG, MASTER VIOLINIST Prepared by Stephen Wilson Bartók, B. Rumanian dances (1917). Charles Reiner, pf.

Mercury 434 339-2 6 Mozart, W. Violin sonata no 24 in F, K376 (1781). Ingrid Haebler, pf.

Philips 462 185-2 16 Ponce, M. Violin concerto (1942). Royal PO/ Enrique Bátiz.

EMI CDC 7 49785 2 32 Henryk Szeryng, vn (all above) 15:00 LA SOURCE Prepared by Chris Blower Delibes - Minkus. Ballet: La source (1870).

Royal Opera House O/Richard Bonynge.

Decca 460 418-2 1:29 Mozart, W. Serenade in D, K250, Haffner (1776). O of the 18th Century/Frans Brüggen.

Philips 432 997-2 51 17:30 THE VOICES, THE ROLES Castrati Prepared by Angela Cockburn 18:00 SOCIETY SPOT Sydney Schubert Society Prepared by Ross Hayes 19:00 THE MAGIC OF STAGE AND SCREEN Prepared by Maureen Meers Besoyan, R. Excerpts from Little Mary Sunshine (1962). Patricia Routledge, Bernard Cribbins, Joyce Blair, voices; original London cast.

DRG 13108 19

Hanson, H. The lament for Beowulf, op 25 (1925). Eastman School of Music Ch; Eastman-Rochester O/Howard Hanson.

Mercury 478 5092 18 Le Gallienne, D. Four divine poems of John Donne (1950). Elizabeth Campbell, mezz; Anthony Fogg, pf.

Fine Music concert recording 12 Davis, C. Suite from A Christmas carol (c1987). Northern Ballet TO/John PryceJones.

Naxos 8.553495 18 Ireland, J. Five poems by Thomas Hardy (1926). Roderick Williams, bar; Iain Burnside, pf.

Naxos 8.570467 10 Lanchbery, J. The tales of Beatrix Potter, music from the film (1970). Royal Opera House O/John Lanchbery.

EMI 7 54537 2 52 22:00 SATURDAY NIGHT AT HOME Prepared by Rex Burgess Weber, C.M. Overture to Oberon (1826).

Israel PO/Zubin Mehta.

Decca 475 7470 8 Ozean, du Ungeheuer! from Oberon. Gundula Janowitz, sop; German Opera O/Ferdinand Leitner.

Decca 467 910-2 9 Grieg, E. Violin sonata no 1 in F, op 8 (1865).

Augustin Dumay, vn; Maria João Pires, pf.

DHM 479 5964 24 Schumann, R. Forest scenes, op 82 (184849). Mitsuko Uchida, pf.

Decca 478 5393 24 Bach, J.S. Concerto in D minor for two violins and orchestra, BWV1043 (1730-31). Rachel Podger, vn; Academy of Ancient Music/ Andrew Manze, vn & dir.

Harmonia Mundi HMU 907155 14 Shostakovich, D. Suite from The bolt, op 27a (1933). Russian State SO/Dmitri Yablonsky.

Naxos 8.555949 29 Shostakovich’s ‘flippant’ score for the ballet The bolt was judged by Soviet authorities to show ‘dangerous levity’.

SEPTEMBER 2018

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Sunday 23 September 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SUNDAY MORNING MUSIC with David Garrett 9:00 MUSICA SACRA Prepared by Di Cox Palestrina, G. da Motet: Sicut cervus desiderat (1581). Choir of Westminster Cathedral/James O’Donnell.

Hyperion CDA66490 7 Liszt, F. Missa choralis (1865). Académie Vocale de Suisse Romande; Benjamin Righetti, org.

K617 229 29 Mendelssohn, F. Psalm 114: When Israel came out of Egypt, op 51 (1839). Gulbenkian Ch & O/Michel Corboz.

Erato 4509-94359-2 13 Mozart, W. Church sonata no 15 in C, K328 (1779). István Ella, org; Corelli CO/István Kertész.

Hungaroton HCD 12866-2 4 10:00 THE CLASSICAL ERA Prepared by Chris Blower Salieri, A. 26 Variations on La folia di Spagna (1815). London Mozart Players/Matthias Bamert.

Chandos CHAN 9877 18 Clementi, M. Piano sonata in C, op 34 no 1 (1795). Howard Shelley, pf.

Hyperion CDA67814 19 Viotti, G. Violin concerto no 23 in G (179293). Symphonia Perusina/Franco Mezzena, vn & dir.

Dynamic CDS 680 (238) 23 Boccherini, L. Symphony in A, op 12 no 6 (1776). New Philharmonia O/Raymond Leppard.

Philips 438 314-2 25 Molino, F. Guitar concerto in E minor, op 56.

Pepe Romero, gui; Academy of St Martin in the Fields/Iona Brown.

Decca 478 5669 24 12:00 CLASSIC JAZZ AND RAGTIME with John Buchanan 13:00 WORLD MUSIC: Whirled Wide 14:00 MUSIC OF THE DANCE Prepared by Elaine Siversen Machado, C. Brazilian folk dances. Guitar Trek.

ABC 476 3389 10 Salinas, H. Danza. Inti-Illimani.

CBS MK 44574 6 Chávez, C. The daughter of Colchis (1943).

State of Mexico SO/Enrique Bátiz.

ASV DCA 927 23 32

Piazzolla, A. Le grand tango (1982). Trish O’Brien, vc; Renate Turrini, pf.

MBS 41 12 15:00 SUNDAY SPECIAL What you hear on a French mountain Prepared by Dan Bickel Liszt, F. Symphonic poem no 1: Ce qu’on entend sur la montagne (1848-49/50/54).

London PO/Bernard Haitink.

Philips 438 751-2 30 d’Indy, V. Symphony on a French mountain air, op 25 (1886). Marie-Françoise Bucquet, pf; Monte Carlo Opera NO/Paul Capolongo.

Philips 454 127-2 27 Canteloube, J. La pastoura als camps; Baïléro; L’aïo dè rotso; Ound’ onorèn gorda?; Obal din lou Limouzi; Pastourelle; L’Antouèno; N’aï pas iéu de mio; Lo calhé; Passo pel prat, from Songs of the Auvergne (1923-30). Véronique Gens, sop; Lille NO/ Jean-Claude Casadesus.

Naxos 8.557491 31 Franck, C. Symphonic poem: What you hear on the mountain (1846). Belgian RTO/Alfred Walter.

Schwann 311 105 H1 22 17:00 HOSANNA Prepared by Jeremy Hall Lloyd, R. The call. Bede Singers/David Hill.

Priory PRCD 838 2 Hymn: Come down, O love divine. Choir of Trinity College, Cambridge; Christopher Allsop, org; Richard Marlow, cond.

Conifer CON 51249 4 Gibbons, O. Magnificat; Nunc dimittis, from Second Evening Service. Oxford Camerata; Laurence Cummings, org; Jeremy Summerly, cond.

Naxos 8.553130 10 Hymn: God that madest earth and heaven.

Choir of Trinity College, Cambridge; Christopher Allsop, org; Richard Marlow, cond.

Conifer CON 51249 2 Rutter, J. Hymn to the creator of light (1992).

Choir of Jesus College, Cambridge/Mark Williams.

Signum SIGCD269 7 Mendelssohn, F. Die deutsche liturgie (1846). Choir of Trinity College, Cambridge/ Richard Marlow.

Chandos CHAN 10363 6 Plainchant: Ubi caritas et amor. Rob Hansen, bass. 3 Briggs, D. Ubi caritas et amor. 3 Nardone, P. I give you a new commandment. 4

FOR A FULL DAB+ SCHEDULE VISIT WWW.FINEMUSICFM.COM

Choir of Trinity College, Melbourne/Michael Leighton-Jones (3 above) ABC 481 6969 Gabrieli, G. Jubilate Deo. Choir of Westminster Cathedral/James O’Donnell.

Hyperion CDA66850 5 Rutter, J. A Clare benediction. Choir of Clare College, Cambridge/Timothy Brown.

Naxos 8.557130 3 18:00 A CLASSICAL INTERLUDE Prepared by Paul Hopwoood Schobert, J. Trio in F, op 16 no 4 (pub. 176167). Chiara Banchini, vn; Philipp Bosbach, vc; Luciano Sgrizzi, fp.

Harmonia Mundi HMC 901294 17 Beethoven, L. Piano sonata no 14 in C sharp minor, op 27 no 2, Moonlight (1801). András Schiff, pf.

ECM 476 5875 14 Danzi, F. Wind quintet in F, op 56 no 3 (pub.

1821). Berlin Philharmonic Wind Quintet.

BIS CD-552 22 19:00 SUNDAY NIGHT CONCERT Prepared by Rex Burgess Rimsky-Korsakov, N. Suite from The snow maiden (1898). Czecho-Slovak RSO/Donald Johanos.

Naxos 8.553247 13 Medtner, N. Piano concerto no 1 in C minor, op 33 (1914-18). Dmitri Alexeev, pf; BBC SO/ Alexander Lazarev.

Hyperion CDA66744 34 Shostakovich, D. Suite from Hamlet. Berlin RSO/Leonid Grin.

Capriccio 49533 35 20:30 NEW HORIZONS Prepared by Lyn Chong Koehne, G. Tivoli dances (2005). Tasmanian SO/Richard Mills.

ABC 476 650-2 21 Glass, P. String sextet (2009). Cian O’Dúill, va; Gemma Rosefield, vc; Carducci String Quartet.

Naxos 8.559766 23 Shore, H. Piano concerto, Ruin and memory (2010). Lang Lang, pf; China PO/Long Yu. Sony 88985348732 30 Mavroedes, G. The journey (2001). Eva Fampas, gui.

Naxos 8.573322 5 Greenbaum, S. Opalescence (2013). Alison Morgan, sop; Jenny Duck-Chong, mezz; Geoffrey Gartner, vc; William Jackson, perc.

Tall Poppies TP236 4 22:00 AFTER HOURS JAZZ with Kevin Jones

Monday 24 September

Engelbert Humperdinck

Mikhail Glinka

Frederick Delius

0:00 CLASSIC-ALL THROUGH THE NIGHT

10:30 CONCERT HALL Prepared by Derek Parker

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

BIS BIS-2009 19

6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Robert Small 9:00 DIVERSIONS IN FINE MUSIC A year in retrospect: 1919 Prepared by Derek Parker Stravinsky, I. Suite: Pulcinella (1919-20; arr.

Dorough). Judy Dines, fl; Scott Holshouser, pf. araleedorough.com 18 Humperdinck, E. String quartet in C (191920). Diogenes Quartett. cpo 777 547-2 18 Coates, E. Suite: Summer days (1919). New Philharmonia O/Adrian Boult.

Lyrita SRCD 246 12 Falla, M. de Suite no 1 from The three cornered hat (1919). Eduardo Fernández, gui; Ulster O/Josep Caballé-Domenech.

BBC Music MM255 9 Korngold, E. Suite: Much ado about nothing, op 11 (1919). Detlef Hahn, vn; Andrew Ball, pf.

ASV DCA 1080 12

Tchaikovsky, P. Fantasy overture: Hamlet, op 67a (1888). SO of Russia/Veronika Dudarova.

Olympia OCD 512B 21 Sibelius, J. Violin concerto in D minor, op 47 (1903). Kyung Wha Chung, vn; London SO/ André Previn.

Decca 425 080-2 31

Rodrigo, J. Concerto-serenade for harp and orchestra (1952). Nicanor Zabaleta, hp; Berlin RSO/Ernst Märzendorfer.

DG 463 648-2 23

Spohr, L. Symphony no 9 in B minor, op 143, The seasons (1850). Bavarian RSO/Karl Anton Rickenbacher.

Orfeo C 094-841 A 31

15:00 SOME DELIUS Prepared by Dan Bickel

12:00 SWING SESSIONS with John Buchanan 13:00 SERENADE Prepared by Stephen Wilson Dvorák, A. Serenade in D minor, op 44 (1878). London SO/István Kertész.

Decca 478 6420 24

Gershwin, G. Lullaby for string orchestra (1919). Indianapolis SO/Raymond Leppard.

Decca 458 157-2 8

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

Olympia MKM 76 20

Grainger, P. Spoon River, from American folk-music settings (1919-29). Bournemouth Sinfonietta/Kenneth Montgomery.

Chandos CHAN 8377 5

Schubert, F. Ständchen, D920 (1827).

Bernarda Fink, mezz; Ensemble Pygmalion/ Raphaël Pichon.

Harmonia Mundi HMC 902239 5

T

Mozart, W. Serenade no 8 in D, K286, Notturno (1776-77). London SO/Peter Maag.

Decca 466 500-2 16

Delius, F. Florida suite (1887). Welsh National Opera O/Charles Mackerras.

Argo 430 206-2 38 Brigg Fair, an English rhapsody (1907). BBC SO/Andrew Davis.

Teldec 4509-90845-2 17 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with David Brett 19:00 JAZZ PULSE with Chris Wetherall 20:00 STORMY MONDAY with Austin Harrison and Garth Sundberg 22:00 THE AUSTRALIAN JAZZ SCENE with Susan Gai Dowling and Peter Nelson

he compositions of Jean Sibelius that emerged from his study of Finnish folk history and myth, the seven great symphonies, his symphonic poems, the Violin Concerto and his many songs, are the substance of his great contribution to music. As his only concerto, the Violin Concerto is unique. It is symphonic in scope, with the solo violin and all sections of the orchestra being equal voices. Indeed, an extended cadenza for the soloist takes on the role of the development section in the first movement.

After an unsuccessful premiere when the violinist was unprepared because of little rehearsal time, Sibelius withdrew the work and made substantial revisions. The initial version was noticeably more demanding on the advanced skills of the soloist. It was unknown to the world at large until 1991 when Sibelius’ heirs permitted one live performance and one recording. The revised version still requires a high level of technical facility on the part of the soloist but some of the original themes were lost in the revision. Nevertheless, the revised version is full of beautiful melodies and is highly emotive. It’s so entrancing that it’s one of those ‘I can’t turn off the radio’ works.

SEPTEMBER 2018

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Tuesday 25 September

C. P. E. Bach 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Julie Simonds 9:00 DIVERSIONS IN FINE MUSIC Colours of the keyboard Prepared by Jennifer Foong Couperin, F. Huitième concert dans le goût théatral (pub. 1724). Owen Watkins, baroque ob, rec; Geoffrey Burgess, baroque ob, rec; Catherine Finnis, va da gamba; Nicholas Parle, hpd.

Fine Music concert recording 21 Inglott, W. The leaves bee greene. Nicholas Parle, virginals.

MBS 26 CD 4 Purcell, H. Suite no 6 in D, Z667. Nicholas Parle, English spinet.

Fine Music concert recording 4 Grandi, A. Egredimini filiae Sion. Andrew Dalton, ct; Catherine Finnis, vc; Nicholas Parle, org.

Fine Music concert recording 5 Frescobaldi, G. Canzona no 8 (1628).

Christian Lindberg, tb; Neal Peres da Costa, hpd, org.

BIS CD-1688 4 Bach, C.P.E. Concerto in E flat for two keyboards and orchestra, Wq47 (1788).

Neal Peres da Costa, fp; Australian Haydn Ensemble/Erin Helyard, hpd & dir.

Fine Music concert recording 19 Handel, G. Cantata: La Lucrezia, HWV145 (1709). Fiona Campbell, mezz; Catherine Jones, vc; Michael Leopold, theorbo, gui; Neal Peres da Costa, hpd, org.

Fiona Campbell FC 111 21 10:30 CONCERT HALL Prepared by Michael Field Puccini, G. Preludio sinfonico (1876). Berlin RSO/Riccardo Chailly.

Decca 410 007-2 9 34

Henryk Górecki

Howard Shelley

Schoenberg, A. Concerto for string quartet and orchestra, after Handel’s Concerto grosso, op 6 (1933). American String Quartet; New York Chamber SO/Gerard Schwarz.

Apex 79675 2 21

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

Górecki, H. Symphony no 3, op 36, Symphony of sorrowful songs (1976). Dawn Upshaw, sop; London Sinfonietta/David Zinman.

Elektra 7559-79282-2 54 12:00 JAZZ RHYTHM with Jeannie McInnes 13:00 FINAL STRING QUARTETS Prepared by Gael Golla Haydn, J. String quartet in E flat, op 76 no 6, Fifths (c1799). Vienna Konzerthaus Quartet.

Westminster RC 8808678121735 25 Mozart, W. String quartet no 23 in F, K590 (1790). Talich Quartet.

Calliope CAL 3244.5 29 Beethoven, L. String quartet in F, op 135 (1826). Goldner String Quartet.

ABC 476 3541 27 14:30 TEA AND SYMPHONY Prepared by Randolph Magri-Overend Sibelius, J. The swan of Tuonela, op 22 no 2 (1895/97). Gerhard Stempnik, cora; Berlin PO/Herbert von Karajan.

DG 479 0540 8 Karelia suite (1893). Hallé O/John Barbirolli.

EMI 1 66451 2 16 Finlandia, op 26 no 7 (1899/1900). Helsinki PO/Leif Segerstam.

Ondine ODE 1037-2 9 Valse triste, from Kuolema, op 44 (1903/06).

Berlin PO/Herbert von Karajan.

DG 413 755-2 6 Symphony no 2 in D, op 43 (1901-02). Vienna PO/Lorin Maazel.

Decca 478 8541 43

FOR A FULL DAB+ SCHEDULE VISIT WWW.FINEMUSICFM.COM

19:00 THE JAZZ BEAT with Lloyd Capps 20:00 RECENT RELEASES with David Garrett 22:00 CHAMBER SOIRÉE Prepared by Brian Drummond Beethoven, L. Piano trio in B flat, op 97, Archduke (1810-11). Itzhak Perlman, vn; Lynn Harrell, vc; Vladimir Ashkenazy, pf.

EMI CDC 7 47010 2 37 Schoenberg, A. Transfigured night, op 4 (1899). Walter Trampler, va; Yo-Yo Ma, vc; Juilliard String Quartet.

Sony SMK 62019 29 Czerny, C. Fantasy no 2, from Three brilliant fantasies after Schubert, op 339 (1836). Barry Tuckwell, hn; Daniel Blumenthal, pf.

Etcetera KTC1121 17 Rachmaninov, S. Piano sonata no 2 in B flat minor, op 36 (1913). Howard Shelley, pf.

Hyperion CDS 44043 26 Schoenberg wrote of his Concerto for string quartet and orchestra based on a Handel concerto grosso: “I was mainly intent on removing the defects of the Handelian style.” Was he serious? Yes, he was! “I have had to get rid of whole handfuls of rosalias and sequences, replacing them with real substance. I also did my best to deal with the other main defect of the Handelian style, which is that the theme is always best when it first appears and grows steadily more insignificant and trivial in the course of the piece.” In May 1933 Schoenberg fled Berlin after the rise of the Nazi Party. He composed this work mainly in a French seaside resort near Bordeaux before leaving for the United States in October.

Wednesday 26 September Nocturne, from String quartet no 2 in D (1885). Isaac Stern, vn; Columbia SO/Frank Brieff.

Sony SMK 64 537 6 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Trisha McDonald 19:00 JAZZ STARS AND STRIPES with Peter Mitchell

Zuzana Ruzicková

Pietro Mascagni

0:00 CONTEMPORARY COLLECTIVE

13:00 REVELLING IN RAVEL Prepared by Gael Golla

3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Troy Fil 9:00 DIVERSIONS IN FINE MUSIC Composer focus Prepared by Rex Burgess Poulenc, F. Concerto champêtre (1927-28).

Zuzana Ruzicková, hpd; Czech PO/Kurt Sanderling.

Supraphon SU 4117-2 28 Sextet for wind quintet and piano (1931).

Elizabeth Powell, pf; Sydney Wind Quintet.

LP Cherry Pie LA07889 17 Four motets for a time of penitence (193839). Ormond College Choir/Douglas Lawrence.

Move MD 3130 12 Violin sonata (1942). Isabell van Keulen, vn; Ronald Brautigam, pf.

Schwann 3-1527-2 16 La dame de Monte-Carlo (1961). Mady Mesplé, sop; Monte Carlo PO/Georges Prêtre.

EMI 7 47550 2 7 10:30 CONCERT HALL Prepared by Gerald Holder Dvorák, A. Overture: In nature’s realm, op 91. Royal Concertgebouw O/Antal Dorati.

Newton 8802073 15 Mozart, W. Piano concerto no 10 in E flat, K365 (1779). Alfred Brendel, pf; Imogen Cooper, pf; Academy of St Martin in the Fields/Neville Marriner.

Philips 416 364-2 25 Brahms, J. Symphony no 1 in C minor, op 68 (1876). O Révolutionnaire et Romantique/ John Eliot Gardiner.

Sol Deo Gloria SDG 702 44 12:00 JAZZ SKETCHES with Robert Vale

Ravel, M. Pavane pour une infante défunte (1910). Orpheus CO. DG 449 186-2 7 Concert rhapsody: Tzigane (1924). Gil Shaham, vn; Gerhard Oppitz, pf.

DG 429 729-2 10 Introduction and allegro for harp, flute, clarinet and string quartet (1906). Sylvia Kowalczuk, hp; Hungarian Virtuosi CO/Aristid von Würtzler.

Hungaroton HCD 31550 11 Trois chansons (1915). Parsons Affayre/Dan Walker.

Vox Foris MMPA004 8 Rhapsodie espagnole (1907). New Philharmonia O/Leopold Stokowski.

BBC BBCRD 9107 16 14:00 IN CONVERSATION with Michael Morton-Evans 15:00 BORODIN EXPLORED Part 4 Prepared by Michael Morton-Evans Borodin, A. Overture to Prince Igor (1887; orch. Glazunov). Royal Liverpool PO/Charles Mackerras.

Virgin VC 7 91174-2 11 Khan Konchak’s aria, from Prince Igor (1887).

Feodor Chaliapin, bass; O/Albert Coates.

EMI CDH 7 61009 2 5 Choir of the settlers; Polovtsian dances, from Prince Igor. Bolshoi Ch & SO/Alexander Lazarev.

Erato 4509-91723-2 14 Music as popularised in Kismet (1882-87; arr Kunzel). Cincinnati Pops O/Erich Kunzel.

Telarc CD-80703 6 Scherzo in E (1861). Daniela de Santis, pf. 5 Scherzo in A flat (1885). 3 Marco Rapetti, pf (2 above) Brilliant Classics 94410

20:00 AT THE OPERA Prepared by Camille Mercep Mascagni, P. Cavalleria rusticana. Opera in one act. Libretto by Giovanni Targioni-Tozzetti and Guido Menasci based on a short story by Giovanni Verga. First performed, Rome, 1890.

SANTUZZA: Zinka Milanov, sop TURIDDU: Jussi Björling, ten ALFIO: Robert Merrill, bar LOLA: Carol Smith, cont MAMMA LUCIA: Margaret Roggero, mezz Robert Shaw Chorale; RCA Victor O/Renato Cellini.

RCA 6086510 1:11 Synopsis at finemusicfm.com/Opera Intermezzo, from L’amico Fritz (1891). BBC PO/Gianandrea Noseda.

Chandos 10634 5 Leoncavallo, R. I Pagliacci. Opera with prologue and two acts. Libretto by the composer. First performed Milan, 1892.

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

Naxos 8.110155 1:13 Synopsis at finemusicfm.com/Opera Venetian barcarolle; Pretty waltz; Song of the eyes; Farewell. Plácido Domingo, ten; Lang Lang, pf.

DG 477 6633 13 Mascagni, P. Inno al sole; Dances from Iris, from Cavalleria rusticana. La Scala O/Pietro Mascagni.

Naxos 8.110714-15 14 Puccini, G. Crisantemi (1890). London SO/ Antonio Pappano.

EMI 5 57159 2 7 23:30 CHAMBER FANTASIES Prepared by Rex Burgess Lawes, W. Fantasia no 1 in G minor. Purcell Quartet.

Chandos CHAN 0552 10 Rossini, G. Fantasy pieces (c1860). Gershon Dembinsky, cl; Jonathan Zak, pf.

CDI 18807 9 Nielsen, C. Fantasy pieces, op 2 (1889).

Steinar Hannevold, ob; Leif Ove Andsnes, pf.

BIS CD-428 6 SEPTEMBER 2018

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Thursday 27 September

Niccolò Paganini

Charles Gounod

Fritz Kreisler

0:00 CONTEMPORARY COLLECTIVE

12:00 JAZZ, PURE AND SIMPLE with Maureen Meers

Novák, V. Lady Godiva, op 41 (1907). BBC PO/Libor Pesek.

Chandos CHAN 9821 17

3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Simon Moore 9:00 DIVERSIONS IN FINE MUSIC The music salon Prepared by Frank Morrison Haydn, J. String quartet in D minor, op 42 (1785). The Lindsays.

ASV QS 6145 14 Ravel, M. Sonatine (1905). Jean-Philippe Collard, pf.

EMI 5 72376 2 11 Beethoven, L. Adelaïde, op 46 (1794-95).

Peter Schreier, ten; Walter Olbertz, pf.

Teldec 8.44061 7 Scarlatti, D. Piano sonata in D minor, Kk90.

Colleen Lee, pf.

Naxos 8.570511 11 Brahms, J. Holy lullaby, op 91 no 2 (pub.

1884). Kathleen Ferrier, cont; Max Gilbert, va; Phyllis Spurr, pf.

Decca 421 299-2 5 Paganini, N. Caprice in A minor, op 1 no 24 (1801-07). Itzhak Perlman, vn.

EMI CDB 7 62988 2 4 Mozart, W. Piano quartet no 1 in G minor, K478 (1785). Menuhin Festival Piano Quartet.

Mediaphon MED 72.117 25 10:30 CONCERT HALL Prepared by Di Cox MacCunn, H. Overture: Land of the mountain and the flood (1887). Scottish NO/Alexander Gibson.

Chandos CHAN 10412X 10 Paganini, N. Violin concerto no 2 in B minor, op 7 (1826). Salvatore Accardo, vn; London PO/Charles Dutoit.

DG 437 210 2 31 Delius, F. Florida suite (1887). Welsh National Opera O/Charles Mackerras.

Argo 430 206-2 38 36

13:00 MUSIC OF THE THIRD AGE Prepared by Brendan Walsh The second of two programs featuring music

by Australian composer David Reeves 14:00 DRAMA! Prepared by Ron Walledge Offenbach, J. Overture to La belle Hélène (1864). Suisse Romande O/Ernest Ansermet.

Decca 425 083-2 9 Strauss, R. Four symphonic interludes, from Intermezzo (1933). Vienna PO/André Previn.

DG 437 790-2 24

Barber, S. Suite from ballet Medea (1947).

Eastman-Rochester O/Howard Hanson.

Mercury 478 5092 25 Glazunov, A. Salomé, op 90 (1908). Moscow SO/Igor Golovschin.

Naxos 8.553838 18 Dreyfus, G. Mary Gilmore goes to Paraguay, from And their ghost may be heard (1975).

Melbourne SO/George Dreyfus.

Move MD 3098 14

Copland, A. El Salón México (1934-36). New Philharmonia O/Aaron Copland.

CBS MK 42429 11

Offenbach, J. Overture to La belle Hélène (1864). Polish National RSO/Richard Hayman.

Naxos 8.553264 5

Barber, S. Music for a scene from Shelley, op 7 (1935). Detroit SO/Neeme Järvi.

Chandos CHAN 9908 10

22:00 SHOWCASING AUSTRALIAN ARTISTS Prepared by Chris Blower

Gounod, C. Ballet music from Faust (1859).

London SO/Richard Bonynge.

Decca 452 767-2 19

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

ABC 476 4435 20

Tchaikovsky, P. Piano concerto no 1 in B flat minor, op 23 (1875/79/80). Nikolai Demidenko, pf; BBC SO/Alexander Lazarev.

Helios CDH55304 35 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Marilyn Schock 19:00 THE NEW JAZZ STANDARD with Frank Presley 20:00 MUSICAL PORTRAITS Women of interest Prepared by Robert Small Castelnuovo-Tedesco, M. Overture to Antony and Cleopatra, op 134 (1947). West Australian SO/Andrew Penny.

Naxos 8.572500 18 Dussek, J. Sufferings of the Queen of France, Marie Antoinette, op 23 (1793). Jean-Michel Forest, narr; Andreas Staier, fp; Concerto Cologne.

Capriccio 5072 12

FOR A FULL DAB+ SCHEDULE VISIT WWW.FINEMUSICFM.COM

Mozart, W. Kiss my backside, K231 (1782); Oh you earnest-headed donkey, K560 (1788); Every man is fond of nibbling, K433 (c1783); Dearest lover, wear a cover, K441 (1786).

Song Company/Roland Peelman.

Tall Poppies TP009 10 Haydn, J. Flute trio in D, Hob.XV:16 (1790).

Canterbury Belles.

Move MCD 063 13 Grieg, E. Piano concerto in A minor, op 16 (1868). Simon Tedeschi, pf; Queensland SO/ Richard Bonynge.

ABC 481 011-7 31 Whitwell, S. Downsized. Sally Whitwell, perc; Acacia Quartet. 6 Kreisler, F. String quartet in A minor (1919).

Acacia Quartet. 29 Fine Music concert recordings (2 above)

Friday 28 September op 19 (1794-95). Melvyn Tan, fp; London Classical Players/Roger Norrington.

EMI CDC 7 49509 2 27 Dvorák, A. Symphony no 9 in E minor, op 95, From the New World (1893). London SO/ Istvan Kertesz.

Decca 417 724-2 44 12:00 A JAZZ HOUR with Barry O’Sullivan 13:00 TALLY HO! Prepared by Michael Morton-Evans Melvyn Tan 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Janine Burrus 9:00 DIVERSIONS IN FINE MUSIC Something borrowed Prepared by Di Cox Handel, G. Water music, HWV348-50 (c1715/36; arr. Harty). Ulster O/Bryden Thomson.

Chandos CHAN 6583 16 Giuliani, M. Qual mesto gemito, after Rossini’s Semiramide. Konrad Hünteler, fl; Reinbert Evers, gui.

Pantheon D 14 112 6 Pasculli, A. Omaggio a Bellini, after Bellini’s Il pirata, La sonnambula. Heinz Holliger, cora; Ursula Holliger, hp.

Philips 426 288-2 8 Beethoven, L. String quartet in F, after Piano sonata, op 14 no 1 (1800). Tokyo String Quartet.

RCA 09026 61284 2 13 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 Liszt, F. Fantasy on themes from Mozart’s The marriage of Figaro (1842; arr. Busoni).

Vladimir Horowitz, pf.

Larrikin DDC 931 14 Geminiani, F. Concerto grosso in D minor, after Corelli op 5 no 12, La follia (c1716).

Academy of Ancient Music/Andrew Manze.

Harmonia Mundi HMU 907261.62 11 10:30 CONCERT HALL Prepared by Melissa Evans Mendelssohn, F. Overture: The Hebrides, op 26, Fingal’s Cave. Slovak PO/Oliver Dohnányi.

Naxos 8.554433 11 Beethoven, L. Piano concerto no 2 in B flat,

Lanner, J. Galop: Hunter’s lust, op 82.

Boskovsky Ensemble/Willi Boskovsky.

Decca 436 784-2 2 Franck, C. The accursed huntsman (1882).

Paris O/Daniel Barenboim.

DG 476 2800 16 Hartmann, E. The elf-maids and the hunters, op 6b (pub. 1876). Copenhagen PO/Bo Holten.

Dacapo 8.226041 4 Gottschalk, L. Overture: Young Henry’s hunt, after Méhul (1861; reconstructed; ed.

Rosenberg). John Contiguglia, pf; Richard Contiguglia, pf; Angela Draghicescu, pf; ChinMing Lin, pf; Joshua Pepper, pf; Hot Springs Festival SO/Richard Rosenberg.

Naxos 8.559320 11 Liszt, F. Halloh!: Hunting chorus and Steyrer, from Duke Ernst’s Tony (1849). Leslie Howard, pf.

Hyperion CDS44538 7 Anon. A hunting we will go (arr. Barlow).

Broadside Band/Jeremy Barlow.

Saydisc SDL 400 3 Berlioz, H. Royal hunt and storm, from The Trojans (1856-58). City of Birmingham SO/ Louis Frémaux.

EMI CDM 1 66434 2 9 14:00 A RUSTLE OF SPRING Prepared by Chris Blower Sinding, C. Rustle of Spring, op 32 no 6 (1896). David Stanhope, pf.

ABC 476 4621 2 Romance in D, op 100 (1910). Henning Kraggerud, vn; Bournemouth SO/Bjarte Engeset.

Naxos 8.557266 10 Spring day, op 75 no 3; Narcissus, op 90 no 3; Amber, op 19 no 2; Little Kirsten, op 18 no 4; A bird cried, op 18 no 5; It is summer evening as before, op 36 no 7; Sylvelin, op 55 no 1; The maiden in the poppy field, op 50 no 5; There once was a little hen, op 50 no 1. Bodil Arnesen, sop; Erling Ragnar Eriksen, pf.

Naxos 8.553905 15

Violin concerto no 3 in A minor, op 119 (1916). Andrej Bielow, vn; NDR RPO/Frank Beermann. cpo 777 114-2 21 Seven caprices, op 44 (1898). Helge Antoni, pf.

Etcetera KTC 1047 18 Piano quintet, op 5. Take 5 Piano Quintet. shue65@yahoo.com.sg 42 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with James Hunter 19:00 FRIDAY JAZZ SESSION with Christopher Waterhouse 20:00 EVENINGS WITH THE ORCHESTRA Prepared by Frank Morrison Goldmark, K. Overture: Prometheus bound, op 38 (1889). Philharmonia O/Yondani Butt.

ASV DCA 934 17 Dohnányi, E. Variations on a nursery song, op 25. Zoltán Kocsis, pf; Budapest FO/Iván Fischer.

Philips 456 874-2 23 Liszt, F. Symphonic poem no 11: Battle of the Huns (1857). London PO/Bernard Haitink.

Philips 438 754-2 15 Kodály, Z. Dances of Galánta (1933).

Hungarian State SO/Adám Fischer.

Nimbus NI 5284 17 Bartók, B. Concerto for orchestra (1943).

Seattle SO/Gerard Schwarz.

Delos DE 3095 37 22:00 BAROQUE AND BEFORE Music of Scotland, Ireland and Wales Prepared by Paul Cooke Anon. Antiphons for the feast of St Columba (c1340). Barnaby Brown, triplepipes; Choir of Gonville and Caius College, Cambridge/ Geoffrey Watson.

Delphian DCD34137 15 Trad. Mary Scott, the flower of Yarrow; Cuckold, come out of the Amrey (arr. Crabb).

Genevieve Lacey, rec; James Crabb, classical accordion.

ABC 481 1874 9 Roseingrave, T. Organ concerto in D (c1739; arr. Holman). Parley of Instruments Baroque O/Paul Nicholson, hpd & dir.

Hyperion CDA66700 11 Carver, R. O bone Jesu. The Sixteen/Harry Christophers.

Collins 14782 13 Kinloch, W. The batell pavie set be William Kinloche. John Kitchen, hpd.

ASV GAU 134 12 O’Carolan, T. Carolan’s dream. Harp Consort/Andrew Lawrence-King.

DHM 05472 77375 2 19 Tomkins, T. Third or Great Service (pub.

1668). Tallis Scholars/Peter Phillips.

Gimell GIM 024 30 SEPTEMBER 2018

37

Saturday 29 September 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SATURDAY MORNING MUSIC 9:00 WHAT’S ON IN MUSIC Our weekly guide to musical events in and around Sydney 9:05 PERIODS AND THEIR PEOPLE Late Classical 1801-1830 Prepared by Derek Parker Beethoven, L. Romance no 1 in G, op 40 (1802). Anne-Sophie Mutter, vn; New York PO/Kurt Masur.

DG 471 349-2 7 Weber, C.M. Symphony no 2 in C (1807).

London SO/Hans Hubert Schönzeler.

Guild GMCD 7138 20 Schubert, F. The Lord is my shepherd, D706 (1820). Choir of Westminster Cathedral; Iain Simcock, org; James O’Donnell, cond.

Hyperion CDA66669 6 Hummel, J. Potpourri, op 94 (1820). James Ehnes, va; London Mozart Players/Howard Shelley.

Chandos CHAN 10255 19 Pixis, J. Piano concerto in C, op 100 (1829).

Tasmanian SO/Howard Shelley, pf & dir.

Hyperion CDA67915 26 10:30 SMALL FORCES Prepared by Derek Parker

Ernest Chausson

Borodin, A. In the steppes of Central Asia (1880). Armenian PO/Loris Tjeknavorian.

Brilliant Classics 94410 8

Szymanowski, K. Mythes: Three poems, op 30 (1915). Konstanty Andrzej Kulka, vn; Jerzy Marchwinska, pf.

Muza PNCD 065 22

Rimsky-Korsakov, N. Song of India, from Sadko (1898; arr. Bateman). Aida Garifullina, sop; ORF Radio SO/Cornelius Meister.

Decca 478 8305 3 Balakirev, M. Symphonic poem: Tamara (1867-82; transcr.). Aurora Piano Quartet.

Naxos 8.557717D 19 Mussorgsky, M. Dance of the Persian girls, from Khovanshchina (1872). USSR SO/ Yevgeny Svetlanov.

Melodiya SUCD 10-00178 7

Vaughan Williams, R. String quartet no 1 in G minor (1908/21). Maggini Quartet.

Naxos 8.555300 30

Glazunov, A. Oriental rhapsody, op 29 (1889). Moscow SO/Igor Golovchin.

Naxos 8.553512 27

Schubert, F. String trio no 2 in B flat, D581 (1817). Members of Vienna Konzerthaus Quartet.

Westminster RC 8808678121735 26

17:30 STAGING MUSIC Adaptations: A winter’s tale Prepared by Angela Cockburn

11:30 ON PARADE Prepared by Paul Cooke Lloyd, G. Royal parks. Black Dyke Mills Band.

Chandos CHAN 4509 15 Sparke, P. The land of the long white cloud: Aotearoa (1979). William Fairey Band.

Polyphonic QPRL 065D 12 Peter Parkes, cond (2 above) 12:00 FINE MUSIC LIVE Jazz and classical music brought to you live from the Founders’ Studio 16:00 RUSSIA AND THE ORIENT Prepared by Krystal Li Tchaikovsky, P. Arabian dance, from The nutcracker (1892). Queensland SO/Werner Andreas Albert.

ABC 438 195-2 3 Balakirev, M. Islamey: oriental fantasy, op 19 no 6 (1869/1902). Mikhail Pletnev, pf.

DG 471 157-2 9 38

Mily Balakirev

18:00 TEA AND SYMPHONY Prepared by Randolph Magri-Overend Mozart, W. Divertimento in D, K136 (1772; arr. Kain). Guitar Trek.

ABC 432 698-2 12 Finale I, from Don Giovanni, K527 (1787; arr.

Triebensee). Members of Netherlands Wind Ensemble.

Philips 464 940-2 7 Symphony no 41 in C, K551, Jupiter (1788).

Dresden State O/Colin Davis.

Philips 410 046-2 35 19:00 THE MAGIC OF STAGE AND SCREEN Prepared by Sue Jowell The art of the disguise 20:00 THE WORD TRANSFORMED Prepared by Di Cox Berlioz, H. Overture: Rob Roy (1831).

Scottish NO/Alexander Gibson.

Chandos CHAN 10412X 13

FOR A FULL DAB+ SCHEDULE VISIT WWW.FINEMUSICFM.COM

Janácek, L. Taras Bulba, rhapsody after Gogol (1915-18). Vienna PO/Charles Mackerras.

Decca 478 2826 23 Chausson, E. Poem of love and the sea, op 19 (1882-90). Victoria de los Angeles, sop; Lamoureux Concerts O/Jean-Pierre Jacquillat.

EMI CMS 5 65061 2 28 Dukas, P. Symphonic poem: The sorcerer’s apprentice (1897). Toulouse Capitole O/ Michel Plasson.

EMI 5 55385 2 11 Beethoven, L. Overture no 3 to Leonore, op 72a (1806). New York PO/Leonard Bernstein.

CBS MK 42222 13 22:00 SATURDAY NIGHT AT HOME Prepared by Chris Blower Bayer, J. Ballet: The fairy doll (1888). Slovak RSO/Andrew Mogrelia.

Naxos 8.557098 38 Brumby, C. Three baroque angels (1978).

30th Intervarsity Choral Festival Ch; Queensland Youth O/John Nickson.

Jade JAD 1049 11 Mendelssohn, F. Cello sonata no 1 in B flat, op 45 (1838). Zoe Knighton, vc; Amir Farid, pf.

Move MD 3338 31 Reinecke, C. Violin concerto no 2 in G minor, op 141 (1877). Ingolf Turban, vn; Berne SO/ Johannes Moesus. cpo 777 105-2 34 Balakirev, a virtuoso pianist, once admitted that there were passages in his Islamey that he ‘couldn’t manage’.

Skryabin damaged his right hand while fanatically practising the work but the injury eventually healed.

Sunday 30 September 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SUNDAY MORNING MUSIC with Peter Poole 9:00 MUSICA SACRA Prepared by Elaine Siversen Bliss, A. The world is charged with the grandeur of God (1969). Finzi Singers; Finzi Wind Ensemble/Paul Spicer.

Chandos CHAN 8980 14 Bach, J.S. Cantata, BWV80: Ein feste Burg ist unser Gott (1724). Susanne Ryden, sop; Pascal Bertin, alto; Gerd Türk, ten; Peter Kooij, bass; Bach Collegium Japan/Masaaki Suzuki.

BIS CD-9030/32 24 Stradella, A. Benedictus Dominus Deus.

Sandrine Piau, sop; Gérard Lesne, ct; Il Seminario Musicale.

Virgin VC 5 45175 2 15 10:00 THE CLASSICAL ERA Prepared by Di Cox Boïeldieu, A. Overture to The Caliph of Baghdad (1800). New Philharmonia O/ Richard Bonynge.

Decca 466 431-2 8 Mozart, W. String quintet no 4 in G minor, K516 (1787). Ferdinand Stangler, va; Vienna Konzerthaus Quartet.

Westminster RC 8808678121735 32 Quantz, J. Flute concerto in G. Per Øien, fl; Norwegian CO. BIS CD-118 15 Haydn, J. To women, Hob.XXVb:4 (c1799).

Netherlands Chamber Choir; Glen Wilson, fp; Uwe Gronostay, cond.

Globe GLO 5080 3 Hummel, J. Piano trio no 1 in E flat, op 12 (c1803). Borodin Trio.

Chandos CHAN 9529 21 Dittersdorf, C. Symphony in C, The four ages of the world (pub. 1767). Failoni O/ Hanspeter Gmür.

Naxos 8.553368 17 Bach, C.P.E. Sinfonia in A, Wq182 no 4 (1773). English Concert/Trevor Pinnock.

Archiv 415 300-2 12 12:00 CLASSIC JAZZ AND RAGTIME with Jeannie McInnes 13:00 WORLD MUSIC: Whirled Wide 14:00 FINAL MEMORIES AND JOURNEY Prepared by Dan Bickel Sibelius, J. Valse triste, op 44 no 1 (190304). Helsinki PO/Leif Segerstam.

Ondine ODE 1112-2 6 Strauss, R. Death and transfiguration, op 24 (1888-89). Vienna PO/Fritz Reiner.

Decca 480 5006 24 Rachmaninov, S. Isle of the dead, op 29 (1909). BBC Welsh SO/Tadaaki Otaka.

Nimbus NI 5344 22

15:00 SUNDAY SPECIAL Rinaldo, Tasso, Goethe and Brahms Prepared by James Nightingale

Rutter, J. Gloria; A Gaelic blessing; The Lord is my shepherd; God be in my head.

Cambridge Singers; Philip Jones Brass Ensemble; City of London Sinfonia/John Rutter.

Collegium COL 100 13

Dvorák, A. Overture to Armida, op 115 (1904). CSSR State PO/Robert Stankovsky.

Marco Polo 8.223272 6 Monteverdi, C. Oratorio: Il combattimento di Tancredi e Clorinda (pub.1624). Magdalena Kozená, mezz; La Cetra Baroque O/Andrea Marcon.

Archiv 479 4595 21 Handel, G. Let me weep, from Rinaldo, HWV7a (1711). Yvonne Kenny, sop; Australian Brandenburg O/Paul Dyer.

ABC 480 8207 4 Haydn, J. Sinfonia from Armida (1783).

Concentus Musicus Vienna/Nikolaus Harnoncourt.

Teldec 8573-81108-2 6 Beethoven, L. Aus Goethes Faust, op 75 no 3 (1809). Peter Schreier, ten; András Schiff, pf.

Decca 444 817-2 3 Mendelssohn, F. Charlotte to Werther (c1830).

Katherine Broderick, sop; Eugene Asti, pf.

Hyperion CDA67753 3 Massenet, J. Je ne sais si je veille ... Ô nature, pleine de grâce, from Werther (1892).

José Carreras, ten; Royal Opera House O/ Colin Davis. 4 Va! Laisse couler mes larmes, from Werther.

Marilyn Horne, mezz; Vienna Opera House O/Henry Lewis. 3 Decca 478 3964 (2 above) Liszt, F. Gretchen aus Faust-Symphonie (1854-57; transcr. 1867). Leslie Howard, pf.

Hyperion CDS44517 16 Brahms, J. Cantata: Rinaldo, op 50 (186368). James King, ten; Ambrosian Ch; New Philharmonia O/Claudio Abbado.

Decca 478 5365 40

18:00 SYDNEY SOCIETY OF RECORDER PLAYERS Prepared by Susan Foulcher Handel, G. Recorder concerto in F, HWV369.

Academy of St Martin in the Fields/Iona Brown.

Philips 400 075-2 8 Nielsen, M. Stream (2007). Chen Yue, xiao.

OUR 6.220600 6 Michala Petri, rec (2 above) Norgård, P. Nova genitora (1975). Bente Vist, sop; Marit Ernst, rec; Bodil Røbech, vn; Toke Moldrup, vc; Gert Sørensen, crotales; Allan Rasmussen, hpd; Casper Schreiber, cond.

Dacapo 8.226067 16 Monrad, A. East-west project 16 (2007).

Michala Petrie, rec; Chen Yue, xiao.

OUR 6.220600 6 Holmboe, V. Canto e danza, op 191 (1992).

Bolette Roed, rec; Jesper Siveboek, gui.

Dacapo 8.226143 8 Bononcini, G. Divertimento da camera no 6 in C minor, mvts 2, 3 and 4. Michala Petri, rec; George Malcolm, hpd.

Philips 476 7072 5

17:00 HOSANNA Prepared by Meg Matthews Hymns: All people that on earth do dwell; Rejoice the Lord is King; Love divine. Choir of Westminster Abbey; Robert Quinney, org; James O’Donnell, cond.

Hyperion CDA68013 11 Handel, G. Let the bright seraphim, from Samson, HWV57 (1743). Max Emanuel Cencic, treb; CO of Vienna Folk Opera/Uwe Christian Harrer.

Philips 426 307-2 6 Bach, J.S. Cantata: Herr Gott, dich loben alle wir, BWV130 (1725). Yukari Nonoshita, sop; Robin Blaze, ct; Jan Kobow, ten; Dominik Wörner, bass; Bach Collegium Japan/ Masaaki Suzuki.

BIS 9055SACD 15

19:00 SUNDAY NIGHT CONCERT Prepared by Stephen Matthews Telemann, G. Overture in C, Water music.

Musica Antiqua Koln/Reinhard Goebel.

Archiv 413 788-2 24 Graupner, C. Cantata: Ich bin zwar Asch und Koth. Klaus Mertens, bass; Accademia Daniel/Shalev Ad-El. cpo 777 644-2 13 Mozart, W. Divertimento no 10 in F, K247.

Camerata Academica Mozarteum/Sandor Vegh.

Capriccio 7024 32 Abel, C. Symphony, op 17 no 4. Hanover Band/Anthony Halstead. cpo 999 214-2 13 20:30 NEW HORIZONS Prepared by Robert Small Pärt, A. Lamentate (2002). Alexei Lubimov, pf; South-west German RSO/Andrey Boreyko.

ECM New series ECM 476 3048 37 Norgård, P. Terrains vagues (2000-01).

Danish NSO/Thomas Dausgaard.

Chandos CHAN 9904 22 Gunning, C. Symphony no 4 (2005). Royal PO/Christopher Gunning.

Chandos CHAN 10525 24 22:00 AFTER HOURS JAZZ with Kevin Jones SEPTEMBER 2018

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The following composers have works of at least five minutes on the September dates listed Abel, C. 1723-1787 30 Adès, T. b1971 9 Albeniz, I. 1860-1909 17 Albinoni, T. 1671-1751 28 Alfvén, H. 1872-1960 19 Alkan, C-V. 1813-1888 19,21 Arnold, M. 1921-2006 6 Arriaga, J. 1806-1826 8 Bach, C.P.E. 1714-1788 2,17,25,30 Bach, J.S. 1685-1750 2,4,9,13,14,17,22,30 Balakirev, M. 1837-1910 4,29 Banchieri, A. 1568-1634 7 Barber, S. 1910-1981 27 Barié, A. 1884-1915 8 Bartók, B. 1881-1945 3,22,28 Bax, A. 1883-1953 4,14 Bayer, J. 1852-1913 29 Beach, A. 1867-1944 10 Beethoven, L. 1770-1827 2,4,6,7,9,11,13,14,16,17,23, 25,27,28,29 Benda, G. 1722-1795 6 Berlioz, H. 1803-1869 3,6,8,19,28,29 Besoyan, R. 1924-1970 22 Biber, H. 1644-1704 6 Bishop, H. 1786-1855 1 Bizet, G. 1838-1875 12,15,18,21 Bliss, A. 1891-1975 30 Boccherini, L. 1743-1805 9,23,27 Boëllmann, L. 1862-1897 13 Boïeldieu, A. 1775-1834 30 Bonporti, F. 1672-1749 8 Borodin, A. 1833-1887 2,5,12,26,29 Bottesini, G. 1821-1889 5 Boyce, W. 1711-1779 17,20 Boyd, A. b1946 5 Boyle, M. 1902-1976 16 Brahms, J. 1833-1897 1,3,4,5,11,15,26,27,30 Brevi, G. c1650-c1725 16 Brian, H. 1876-1972 7,20 Britten, B. 1913-1976 1,17 Brophy, G. b1953 9 Bruckner, A. 1824-1896 7,9,21 Brumby, C. 1933-2018 29 Busoni, F. 1866-1924 13,19 Butterworth, G. 1885-1916 14 Buxtehude, D. 1637-1707 14 Canteloube, J. 1879-1957 23 Caplet, A. 1878-1925 1 Carulli, F. 1770-1841 2,7,11 Carver, R. c1490-c1546 28 Castelnuovo-Tedesco, M. 1895-1968 27 Chabrier, E. 1841-1894 4 Chaminade, C. 1857-1944 20 Chan, L. b1967 9 Charpentier, M-A. 16351704 6 Chausson, E. 1855-1899 21,29

Chávez, C. 1899-1978 23 Chédeville, N. 1705-1782 6 Chopin, F. 1810-1849 1,14,17 Ciurlionis, M. 1875-1911 8 Clementi, M. 1752-1832 15,23 Clérambault, L-N. 1676-1749 6,21 Coates, E. 1886-1957 24 Colbran, I. 1785-1845 6 Coleridge-Taylor, S. 1875-1912 13,18 Cook, R. 1936-1989 8 Copland, A. 1900-1990 13,27 Corea, C. b1941 21 Corelli, A. 1653-1713 9 Corigliano, J. b1938 11 Couperin, F. 1668-1733 11,25 Czerny, C. 1791-1857 6,25 d’Albert, E. 1864-1932 1 d’Indy, V. 1851-1931 3,23 Danzi, F. 1763-1826 23 Davies, P. Maxwell 1934-2016 6 Davis, C. b1936 22 Debussy, C. 1862-1918 4,8,10,11,13,15 Delius, F. 1862-1934 14,20,24,27 Dittersdorf, C. 1739-1799 30 Dohnányi, E. 1877-1960 28 Donizetti, G. 1797-1848 15,17 Doyle, P. b1953 8 Dreyfus, G. b1928 27 Du Mont, H. 1610-1684 16 Dukas, P. 1865-1935 29 Duparc, H. 1848-1933 12 Dupré, M. 1886-1971 8 Dussek, J. 1760-1812 22,27 Dvorák, A. 1841-1904 3,7,9,10,20,24,26,28,30 Edwards, R. b1943 6 Elgar, E. 1857-1934 3,7,8,15 Esposito, M. 1855-1929 18 Falla, M. de 1876-1946 24 Fanshawe, D. b1942 2 Farkas, F. 1905-2000 8 Farrenc, L. 1804-1875 8 Fauré, G. 1845-1924 4,6,13,21 Fesca, F. 1789-1826 15 Fibich, Z. 1850-1900 20 Field, J. 1782-1837 19,20 Filtsch, C. 1830-1845 20 Finzi, G. 1901-1956 14,15,20 Foote, A. 1853-1937 22 Françaix, J. 1912-1997 11 Franck, C. 1822-1890 5,23,28 Gabrieli, G. c1556-1612 23 Gade, N. 1817-1890 14 Geminiani, F. 1687-1762 28 Gershwin, G. 1898-1937 13,24 Gesualdo, C. c1561-1613 2 Giazotto, R. 1910-1998 10 Gibbons, O. 1583-1625 16,23 Giuliani, M. 1781-1829 5,9,21,28

Glanville-Hicks, P. 1912-1990 2 Glass, P. b1937 23 Glazunov, A. 1865-1936 6,8,11,18,27,29 Glinka, M. 1804-1857 5,24 Gluck, C. 1714-1787 2,16,17 Godard, B. 1849-1895 20 Goldmark, K. 1830-1915 7,8,28 Goossens, E. 1893-1962 13 Gorb, A. b1958 8 Górecki, H. 1933-2010 6,25 Gossec, F-J. 1734-1829 2 Gottschalk, L. 1829-1869 28 Gounod, C. 1818-1893 27 Granados, E. 1867-1916 14 Grandi, A. c1575-1630 25 Graupner, C. 1683-1760 30 Grechaninov, A. 1864-1956 18 Grétry, A-E-M. 1741-1813 3 Grieg, E. 1843-1907 3,10,22,27 Guami, G. c1540-1611 7 Guastavino, C. 1912-2000 22 Gunning, C. b1944 30 Hadley, H. 1871-1937 15 Halvorsen, J. 1864-1935 4 Handel, G. 1685-1759 9,13,14,19,21,25,28,30 Hanson, H. 1896-1981 22 Harris, W. 1883-1973 16 Hartmann, E. 1836-1898 14 Harvey, J. b1939 2 Haydn, J. 1732-1809 2,3,9,11,13,14,16,19,25,27,30 Heise, P. 1830-1879 3 Herrmann, B. 1911-1975 8 Herz, H. 1803-1888 20 Hoffmeister, F. 1754-1812 5 Holmboe, V. 1909-1996 14,30 Holst, G. 1874-1934 14 Honegger, A. 1892-1955 5 Hovhaness, A. 1911-2000 2 Howells, H. 1892-1983 20 Hummel, J. 1778-1837 2,6,8,12,17,29,30 Humperdinck, E. 1854-1921 24 Hurlstone, W. 1876-1906 11 Ibert, J. 1890-1962 6 Infante, M. 1883-1958 14 Ireland, J. 1879-1962 22 Jacob, G. 1895-1984 6 Jadin, H. 1769-1802 22 Jadin, L. 1768-1853 1 Janácek, L. 1854-1928 29 Janson, A. b1937 2 Jong, M. de 1891-1984 13 Khachaturian, A. 1903-1978 20 Kinloch, W. fl c 1600 28 Klughardt, A. 1847-1902 18 Kodály, Z. 1882-1967 3,28 Koechlin, C. 1867-1950 13 Koehne, G. b1956 23 Korngold, E. 1897-1957 24

Kreisler, F. 1875-1962 27 Krommer, F. 1759-1831 1 Kuhlau, F. 1786-1832 14 Lachenmann, H. b1935 2 Lalo, E. 1823-1892 16 Lanchbery, J. 1923-2003 22 Langgaard, R. 1893-1962 14 Langlais, J. 1907-1991 8 Lawes, W. 1602-1645 26 Le Gallienne, D. 1915-1963 22 Leclair, J-M. 1697-1764 21 Leifs, J. 1899-1968 7 Leoncavallo, R. 1857-1919 26 Limmer, F. 1808-1857 4 Liszt, F. 1811-1886 4,6,16,20,23,28,30 Lloyd, G. 1913-1998 29 Locatelli, P. 1695-1764 21 Lully, J-B. 1632-1687 21 Lutoslawski, W. 1913-1994 9 Lyapunov, S. 1859-1924 2 MacCunn, H. 1868-1916 27 Machado, C. b1953 23 Mackey, J. b1973 8 Maclean, C. b1958 6 Madetoja, L. 1887-1947 19 Mahler, G. 1860-1911 12 Marais, M. 1656-1728 5,20 Markevitch, I. 1912-1983 1 Marsh, J. 1752-1828 7 Martinu, B. 1890-1959 6 Martucci, G. 1856-1909 12,21 Mascagni, P. 1863-1945 26 Mavroedes, G. b1967 23 Medtner, N. 1880-1951 23 Méhul, É-N. 1763-1817 11 Mendelssohn, F. 1809-1847 6,11,23,28,29 Mills, R. b1949 8 Moeran, E.J. 1894-1950 14 Molino, F. 1768-1847 1,23 Monn, M. 1717-1750 17 Monrad, A. b1981 30 Montéclair, M. de 1667-1737 21 Monteverdi, C. 1567-1643 30 Moret, N. 1921-1998 19 Mozart, W. 1756-1791 2,3,4, 7,12,14,16,17,18,20,22,24,25, 26,27,29,30 Mussorgsky, M. 1839-1881 29 Myaskovsky, N. 1881-1950 5,15 Nagasawa, K. 1923-2008 6 Naumann, J. 1741-1801 2 Neal, K. b1972 9 Neefe, C. 1748-1798 21 Nielsen, C. 1865-1931 6,9,26 Nielsen, M. b1985 30 Norgård, P. b1932 12,30 Novák, V. 1870-1949 27 O’Carolan, T. 1670-1738 28 Offenbach, J. 1819-1880 1,20,27 Onslow, G. 1784-1853 8 Pachelbel, J. 1653-1706 3 Paganini, N. 1782-1840

16,22,27 Palestrina, G. da c1525-1594 23 Pärt, A. b1935 30 Pasculli, A. 1842-1924 28 Pergolesi, G. 1710-1736 6 Peri, J. 1561-1633 7 Perry, W. b1930 13 Piazzolla, A. 1922-1992 23 Piccinini, A. 1566-1638 5 Pisador, D. d c1557 5 Pitts, A. b1969 2 Pixis, J. 1788-1874 29 Pleyel, I. 1757-1831 16,18 Ponce, M. 1882-1948 22 Pössinger, F. 1767-1827 16 Poulenc, F. 1899-1963 7,8,26 Preisner, Z. 20th c 16 Prokofiev, S. 1891-1953 2,5,12,18 Puccini, G. 1858-1924 25,26 Purcell, H. 1659-1695 2,21 Puts, K. b1972 8 Quantz, J. 1697-1773 1,30 Rachmaninov, S. 1873-1943 1,15,21,25,30 Rameau, J-P. 1683-1764 8 Ravel, M. 1875-1937 8,13,26,27 Rebel, J-F. 1666-1747 3 Reicha, A. 1770-1836 2 Reinecke, C. 1824-1910 29 Respighi, O. 1879-1936 13,14 Ries, F. 1784-1838 18 Rimsky-Korsakov, N. 1844-1908 23 Rinck, J. 1770-1846 11 Rodgers, R. 1902-1979 22 Rodrigo, J. 1901-1999 24 Romberg, A. 1767-1821 15 Ropartz, J. 1864-1955 2 Roseingrave, T. 1690-1766 28 Rosetti, F. 1746-1792 11 Rossini, G. 1792-1868 6,12,15,20,22,26 Rutter, J. b1945 23,30 Saint-Saëns, C. 1835-1921 3,4,9,10,11,17 Salieri, A. 1750-1825 23 Salinas, H. b1951 23 Sarasate, P. de 1844-1908 3,14 Satie, E. 1866-1925 8,12,13 Scarlatti, A. 1659-1725 6 Scarlatti, D. 1685-1757 27 Scheibe, J. 1708-1776 14 Schenck, J. 1660-1712 21 Schobert, J. 1740-1767 23 Schoenberg, A. 1874-1951 25 Schreker, F. 1878-1934 5 Schubert, F. 1797-1828 2,8,11,15,16,18,20,22,29 Schumann, C. 1819-1896 15,17 Schumann, R. 1810-1856 1,4,12,15,22 Schütz, H. 1585-1672 6 Sculthorpe, P. 1929-2014 2,13

Shephard, R. 16th c 9 Shore, H. b1946 23 Shostakovich, D. 1906-1975 9,11,17,20,22,23 Sibelius, J. 1865-1957 6,7,8,9,24,25,30 Slade, J. 1930-2006 22 Smetana, B. 1824-1884 10,15 Soler, A. 1729-1783 4 Sparke, P. b1951 29 Spohr, L. 1784-1859 7,24 Stanford, C. Villiers 1852-1924 16 Stenhammar, W. 1871-1927 24 Stojowski, Z. 1870-1946 21 Stradella, A. 1644-1682 30 Strauss, J. II 1825-1899 10,15 Strauss, R. 1864-1949 13,16,20,27,30 Stravinsky, I. 1882-1971 3,6,21,24 Sullivan, A. 1842-1900 3 Svendsen, J. 1840-1911 16,21 Szymanowski, K. 1882-1937 16,29 Tallis, T. c1505-1585 2 Tchaikovsky, P. 1840-1893 1,3,9,10,11,14,21,24,27 Telemann, G. 1681-1767 6,20,30 Thalberg, S. 1812-1871 7 Thomas, J. 1826-1913 7 Tomkins, T. 1572-1656 28 Trabaci, G. c1575-1647 7 Turina, J. 1882-1949 14,18 Tüür, E-S. b1959 9 Vaughan Williams, R. 1872-1958 2,14,20,21,29 Vecchi, O. 1550-1605 7 Verdi, G. 1813-1901 10,20 Vierne, L. 1870-1937 8 Vierne, R. 1878-1918 8 Villa-Lobos, H. 1887-1959 12,16 Viotti, G. 1755-1824 23 Vivaldi, A. 1678-1741 6,9 Wagenseil, G. 1715-1777 2,18 Wagner, R. 1813-1883 4,6 Walker, D. 21st c 15 Walton, W. 1902-1983 4 Warlock, P. 1894-1930 14 Weber, C.M. 1786-1826 22,29 Weill, K. 1900-1950 11,21 Weir, J. b1954 9 Westlake, N. b1958 7,11 Whitwell, S. b1974 27 Widor, C-M. 1844-1937 19 Wieniawski, H. 1835-1880 18 Wieniawski, J. 1837-1912 18 Wild, E. 1915-2010 11 Williams, J. b1932 1 Wolf-Ferrari, E. 1876-1948 4 Wranitzky, P. 1756-1808 10 Xenakis, I. 1922-2001 2 Zamfir, G. b1941 6 Zelenka, J. 1679-1745 2

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

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bar: baritone bshn: basset horn bass: bass bn: bassoon bass bar: bass baritone cl: clarinet clvd: clavichord cont: contralto cora: cor anglais ct: counter-tenor

db: double bass dbn: double bassoon did: didjeridu elec: electronic fl: flute fp: fortepiano gui: guitar hn: french horn hp: harp hpd: harpsichord

mand: mandolin mar: marimba mezz: mezzo-soprano narr: narrator ob: oboe org: organ perc: percussion pf: piano picc: piccolo rec: recorder

sax: saxophone sop: soprano tb: trombone ten: tenor timp: timpani tpt: trumpet treb: treble voice va: viola vc: cello vn: violin

A GREAT VIOLINIST AND HUMANITARIAN STEPHEN WILSON CELEBRATES THE LIFE OF HENRYK SZERYNG and by age nine was sent to Berlin to study with Carl Flesch. Two years later, he made his debut in Warsaw with the Beethoven concerto under Bruno Walter.

He settled in Paris for further study and came under the influence of the legendary violinist George Enescu and studied with Jacques Thibaud at the Paris Conservatoire where he won a premier prix. He also contemplated composition as a career and, for six years, took lessons from Nadia Boulanger.

Henryk Szeryng He was born in Poland and, after his wartime work with refugees, travelled on a Mexican diplomatic passport. He was also one of the pre-eminent concert violinists of the second half of the 20th century.

Henryk Szeryng was born in 1918 to a wealthy Polish industrialist whose wife had a great love of music. Henryk had early piano lessons but these were abandoned for the violin. He progressed quickly on his new instrument

At the outbreak of war in 1939, he enlisted with the Polish army. Being fluent in seven languages, he was assigned to General Sikorski as a translator. With Sikorski, he helped relocate hundreds of Polish refugees to Mexico. During that time, he also gave numerous concerts for Allied troops around the globe. In 1943, during a concert series in Mexico City, he premiered Manuel Ponce's Violin concerto; a delightful work with

references to Ponce’s 1910 song, Estrellita.

An invitation to take over the string department at the University of Mexico followed and he assumed his duties there in 1946.

His next ten years were spent in Mexico and he became a Mexican citizen. He was largely forgotten outside of Mexico but a chance encounter with fellow Pole, Artur Rubinstein, convinced him to re-enter the musical scene.

A New York debut in 1956 immediately established him as a leading violinist of the day and for the next 30 years his time was divided between a globe-trotting concert schedule and his teaching duties in Mexico.

As a violinist Szeryng was unique; sometimes criticised for being too restrained, he was nevertheless capable of playing with warmth and fire when he felt compelled to do so.

Until his death in 1988 he was involved in various humanitarian projects through the United Nations. He never ceased to believe in music as a unifying, healing power.

On the 100th anniversary of Henryk Szeryng’s birth you can hear his performances of the Ponce Violin concerto and works of Bartók and Mozart.

That’s at 2pm on Saturday 22 September.

RUSTLE OF SPRING

CHRIS BLOWER RECALLS ITS CREATOR The rustle of Spring! There can hardly be an amateur pianist who hasn’t, at some time, battled with this piece without, perhaps, even knowing who wrote it.

Christian Sinding’s two elder brothers were a painter and a sculptor, but the family's financial circumstances (his father had died at an early age) limited Christian’s career choices. He was supposed to learn the cobbler's trade but then he found an apprenticeship at a piano factory where he received thorough training in violin, piano and organ playing.

At age 18, he went to the Leipzig Conservatory.

Here, his ability as a composer became evident and he abandoned his violin classes. Sinding is one of the few Norwegian composers of the 19th and early 20th centuries whose music brought them recognition not only in their native country but also beyond it. Unlike Grieg, however, after his studies in Leipzig, Sinding did not dedicate himself to folk music and its characteristic idioms; instead he turned to the ‘new German style’ and to the musical language of Richard Wagner.

The first longer work with which Sinding may be said to have emancipated himself was his Piano quintet, op 5, composed during 188385. Its major public performance in 1889 at the Gewandhaus in Leipzig sparked an enduring discussion in two of the leading music journals, both with a broad circulation beyond a single region. The composer himself described the ‘consequences’ in a letter to Delius: “You should have seen how the old fellows wooed me as if I were a pretty young maiden. Two years ago the same men on a similar occasion regarded me as a shameless interloper.” The production of collections of piano pieces and songs earned Sinding his livelihood, and he did not have to depend on giving lessons or on other ‘side jobs’ that were regarded as unrewarding.

After World War I Sinding spent a year in the United States teaching theory and composition at the Eastman School of Music in New York State, but he hardly composed anything from the 1920s onwards. The reason seems to be the increasing elimination of the basis for Sinding’s high-romantic musical language: the

Christian August Sinding collapse of middle-class life, the breakup of the concert network and the process of stylistic change initiated by the younger generation of composers. Still, The rustle of Spring lives on.

You can hear this and more of Sinding’s music at 2pm on Friday 28 September.

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What’s On PASSION David Fung, piano Willoughby SO/Nicholas Milton The Concourse, Chatswood Saturday 15 September, 7pm Sunday 16 September, 2pm Bookings: 8075 8111 or theconcourse.com.au/tickets Pianist David Fung, described as ‘jawdropping’ virtuosic, and Dr Nicholas Milton AM last worked together with the Melbourne Symphony Orchestra in a wildly successful collaboration at the Melbourne Town Hall.

This month in the Willoughby Symphony’s PASSION concert, they will be reunited for a performance of Dmitri Shostakovich’s Second Piano Concerto. It is one of the composer’s most remarkable and intimately textured concertos. Composed for his son, Maxim, it is a work of dazzling virtuosity, poetry, passion and elegant beauty.

The concert will commence with a magical portrayal of glimmering atmosphere in an evocative and imaginative orchestral poem, Shimmering blue by Composer-inResidence, Nigel Westlake. Tchaikovsky’s

powerful Pathétique Symphony will conclude the concert. It was composed from the abyss of personal and emotional despair and it takes listeners on a heartbreaking internal odyssey of the human soul.

ENJOY, LEARN, DISCUSS SERIES: How the Guitar Went Global Presenter: Darryl Rule Sunday 16 September, 2.30pm Fine Music Centre 72-76 Chandos St, St Leonards Bookings and information: 9439 4777 or finemusicfm.com

own particular traditions in each locale.

Darryl Rule will present a talk on how the classical guitar tradition developed in Southern Spain and then migrated to all corners of the globe, creating its

He will discuss major centres of guitar activity, the players, the composers and the teachers in each country and will describe how these exponents of guitar-playing added their voices to the global guitar tradition as it is now.

Although the heyday of the guitar in modern times appears to have been in the 1970s, he’ll demonstrate that it is probably stronger now than it has been in the intervening years.

Ioana Cristina Goicea, the 2017 Michael Hill International Violin Competition First Prize winner, will perform this month with outstanding Russian pianist Andrey Gugnin, winner of the 2016 Sydney International Piano Competition.

so impressed with their passionate artistry as Ioana Cristina Goicea and Andrey Gugnin perform a fiery program of Schubert, Debussy and Enescu. This concert, given by these award-winning artists, should not be missed!

In the beautiful Independent Theatre, see why the judges of both competitions were

Dixon Advisory has been a proud sponsor of the Musica Viva Coffee Concerts since 2015.

MUSICA VIVA COFFEE CONCERTS PRESENT: Ioana Cristina Goicea and Andrey Gugnin Wednesday 3 October, 11am Complimentary morning tea at 10am Independent Theatre, North Sydney Tickets $53 Bookings: musicaviva.com.au or 1800 688 482

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MUSICAL FAMILIES

ELIZABETH HILL COMPARES WUNDERKIND BROTHERS When Paganini died, the newspapers lamented that there would never again be a virtuoso who would be able to play with such brilliance. Little did they know his successor had already been born. With his brilliant virtuosity, his flamboyant personality, and his jet black flowing hair, black eyes and pale skin Henryk Wieniawski was regarded by many critics as the reincarnation of Paganini: “Critics have hesitated before comparing, or even contemplating comparing any superior violin virtuoso with Paganini, that maestro of consummate technique.

But Mr Henryk Wieniawski has forced me to declare that the noble style of his technique, right through to his ‘devilish leaps’, not only equals that of the blessed Paganini, but is sometimes even more brilliant.”

Three years after Paganini’s death, Henryk, at the age of eight, was enrolled at the Paris Conservatoire under the sponsorship of Tsar Nicholas I. At 11 he graduated with the gold medal, and a gift from the Tsar of the famous 1742 Guarneri del Gesù violin. At 13 he began touring Europe as a concert violinist, dazzling audiences with his technique, expressive phrasing and rich tone. The emphasis in his early compositions was on technical difficulty and virtuoso effects: ‘without risk it does not work’ was his motto. Unfortunately he also took the risk to the gambling tables, and on one occasion had to sell his Guarneri.

From 1862 to 1869 he taught at the St Petersburg Conservatory, where his unusual bowing style became a trademark of Russian violinists. Three years later he resumed his career as an international virtuoso but after several years, exhausted from touring, he died in Moscow from a heart attack at the age of 45.

Józef Wieniawski’s reputation was not as robust as that of Henryk, but he was still considered one of Europe’s finest musicians.

After several tours in Russia performing with his brother, he embarked on a separate career as a piano virtuoso, conductor and composer. His standing as a prominent pedagogue brought him universal recognition and engagements at the renowned conservatories of Moscow, Paris and Brussels. He was acclaimed by critics as a great artist with extraordinary musical memory, which he often demonstrated

by performing pieces from memory after one hearing. In the early 20th century, Józef almost completely confined himself to teaching and died in Brussels at the age of 75.

When Renaud Capuçon was nominated as New Talent of the Year in 2000 and an international jury named him Rising Star of 2000, his place was confirmed among the leading violinists of his generation. By the age of 26, he had performed with many of the most prestigious orchestras and conductors in the world. Yet he finds much of his artistic nourishment in chamber music and often collaborates with his younger brother, cellist Gautier Capuçon. For Renaud, to find the right balance is the very essence of music making: “I want to be better than the day before, and I want to be innovative. When I would not have this anymore, I should stop playing in public.”

Renaud once asked Claudio Abbado why he spent so much time with young people.

Abbado laughed and said, “You’ll understand when you’re my age”. Although Abbado was in his 60s at the time Renaud says that he already understands this at the age of 40. On top of a demanding concert schedule, he now directs two festivals in Aix-en-Provence and Gstaad, but says that he is happiest when mentoring the next generation of talented musicians.

Gautier Capuçon is a true 21st century ambassador for the cello. He boasts an impressive list of achievements, enjoys global success as a soloist and chamber musician, and has a close musical relationship with his brother Renaud. He is also the founder and leader of the ​Classe d’Excellence de Violoncelle, a kind of ‘finishing school’ for top cellists from around the world who deepen their musical awareness and understanding of what it takes to embark on a professional career.

Henryk Wieniawski

Józef Wieniawski

Yet, in spite of this acclaim, he belongs to a generation of musicians who don’t care much about all the pomp and circumstance that comes with fame. Even after 17 years of playing Gautier says he is always searching for different colours, different dynamics, different inspirations.

These brothers are featured in Musical Families on Tuesdays 4 and 18 September at 2pm.

Renaud and Gautier Capuçon

THE VIOLIN FAMILY This family of instruments, comprising violin, viola, cello and double bass, emerged in the early part of the 16th century. Some might think that these instruments are descendants of the viol family but they are radically different and most informed opinion is that, if there was a common ancestor, it was very remote. The violins in fact existed side by side in rivalry with the viols which were ultimately ousted by the end of the 17th century. The greatest age in the making of these violin family instruments was that of the several generations of the Amati, Guarneri and Stradivari families from the mid-16th to the early 18th centuries. These Northern Italian families were all based in Cremona.

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Classical CD Reviews THE THIN BLUE LINE

Ken Murray plays the solo guitar music of Stuart Greenbaum Lyrebird Productions LB151217

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RETURN JOURNEY

Ensemble Three play Sonatas by Stuart Greenbaum Lyrebird Productions LB061116

::::

I’LL WALK BESIDE YOU

Teddy Tahu Rhodes, bass-baritone Southern Cross Soloists ABC 481 6826

:::½

My first impression on listening to Thin Blue Line, which features six compositions

by Stuart Greenbaum, was that he seems extraordinarily reluctant to get going. There’s no rushing into the music with Greenbaum. Each track begins in a slow, laidback, gentle way. You need to be a real aficionado of the solo guitar to appreciate Greenbaum’s work, as his old university buddy and guitarist Ken Murray obviously is, being Head of Guitar at the Melbourne ‘Con’, to Greenbaum’s

Teddy Tahu Rhodes started his musical career (as opposed to his operatic career) by starring with Lisa McCune in South Pacific and later in The King and I. Before, and in between, he has sung the lead in Don Giovanni and The Love for three oranges with Opera Australia and other operatic roles at the New York Metropolitan, San Francisco Opera, Austin Lyric Opera, Washington National Opera and many others. His voice is big, and lately (by using a microphone on stage) he has learned how to temper his volume; but on this album he mixes

Ambient CD Review LET THERE BE LIGHT Tom Moore, Sherry Finzer Heart Dance Records www. heartdancerecords.com

:::: “All the elements that form the galaxies, planets and stars, down to all matter in the entire universe are essentially vibrations and sound.” This statement in the brief notes with this disc affirms the concept behind this album.

It is a kaleidoscope encompassing sounds of nature, such as bird song and rippling water, with ethereal-sounding instrumentation: keyboard synthesizers, guitars, double bass, percussion, flute, alto flute and bass flute.

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The compositions are collages by the performers Tom Moore and Sherry Finzer.

While the tracks are named, it is difficult to ascertain any difference in the music in relation to titles such as Timeless journey, A celebration of life, Sacred ground or Waves of light. There are no notes to explain the various compositions so it is recommended that one lets the music sweep over one’s consciousness in a continuous stream. It could be enjoyed at any time when one feels the need for some quiet time in a busy life. Conversely it can also serve as background music to relieve stress even when working.

Elaine Siversen

Head of Composition there. Greenbaum says that ‘pop’ music, and specifically 1970s British rock, has left an indelible mark on his musical language. I can’t help feeling that a bit more of that might have enlivened Thin Blue Line.

Return Journey is better. Apart from reprising the Sonata for guitar from Thin Blue Line, this disc gives us sonatas for trombone and piano and for trumpet and piano. They both have the same laid-back feel to them but, in these tracks, Greenbaum gives the instruments more interesting things to do. The Melbourne group Ensemble Three makes a good job of it but I get the feeling even they might like to see things move along a bit.

Nevertheless this is very listenable music and that laid-back approach of the composer leads to a feeling of relaxation.

Michael Morton-Evans his dynamics just a ‘tad’ too often.

He starts off melodiously enough, his rendition of She was beautiful, I’ll walk beside you and Roses of Picardy are lyrical, sung in a pleasant combination of sotto voce and falsetto and are all stylishly done. However, his voice is much too loud in songs like Still, still, still and Shall we gather at the river.

Otherwise, his selections are mostly folk songs with a couple of New Zealand songs scattered here and there. I realise that he has many fans who admire his big voice but I do think he’d be much better developing his sotto voce / falsetto voice and forgetting his deaf-defying(!) dynamic explosions.

Randolph Magri-Overend

A MYSTERIOUS BEAUTY

ELAINE SIVERSEN TELLS OF A STRANGE BEGINNING “Exactly how it arises, this strange atmosphere of L’enfance du Christ, which one feels in every bar ‒ so old, so patient and timeless in its consolation, so clear in its piercing beauty ‒ must remain a mystery.”

Music critic David Cairns was explaining the ‘enchantment’ of a sacred trilogy that had its origins in a musical joke, which successfully fooled the public and critics. To relieve the tedium of a dull party, Berlioz had jotted down a few lines of an andantino for organ.

He wrote afterwards that ‘a certain character of primitive rustic mysticism’ in the music intrigued him and ‘the fancy takes hold of me to add some words in the same feeling’.

With this in mind, he transformed the organ piece into the Chorus of the shepherds at Bethlehem bidding farewell to the infant Jesus as the Holy Family depart for Egypt.

It had been a crushing blow for Berlioz when the public and critics condemned The damnation of Faust. He enlisted his protesting friend Joseph-Louis Duc as an accomplice in passing this chorus off as the work of an imaginary Pierre Ducré, a 17th century

choirmaster at Sainte-Chapelle.

It was performed in public under this name and the critics were completely fooled. One society lady even commented that Berlioz could never have composed anything as charming as the music of this Ducré!

The dramatic idea begun so capriciously in 1850 would not let go of Berlioz, and the simple shepherds’ chorus grew into a larger work now called The flight into Egypt. This was Flight into Egypt by Eugène Girardet greatly acclaimed in France, England and Germany and Berlioz set about The work was composed ‘with the utmost expanding it into a larger work. This was delicacy and purity’ according to David Cairns, delayed for several years because of the who also wrote: “Restraint is a characteristic demands of earning a living as a journalist of Berlioz’ music, even in the works that and music critic, but eventually he returned are the most notorious for their supposed to it. The original composition became part extravagance … Listening to this enchanting two and Berlioz next composed the third part, work, we begin to realise that Berlioz, far The arrival at Sais. He followed this, in the from having no melody, is all melody.” middle of 1854, with the first part, Herod’s dream and massacre of the infants, thus Join us in listening to this beautiful work completing the trilogy The childhood of Christ. on Saturday 8 September at 3pm.

IT TAKES MORE THAN ONE

REBECCA ZHONG SHOWS WHY COMPOSERS COLLABORATE The creation of a piece of music as a work of art, rather than a commodity, should be a process so personal that only total creative control can ensure that the artist’s vision is manifested in its purest form.

Unlike today’s popular music, where multiple artists commonly work together in the production of a recording, in Western art music the role of composition typically remains under the control of a sole individual. Thus the score for the 1866 ballet La source, composed jointly

by Léon Minkus and Léo Delibes, was an unusual occurrence in the Western art tradition.

So why did Delibes and Minkus, both skilled composers in their own right, share the compositional duty in La source? Research into this area unfortunately yields no definite answer: perhaps a time-pressured Minkus, who had already garnered considerable fame, needed to offload some of his burden onto an emerging, still-unknown Delibes. What is clear, however, is that this practice of collaborative composition is more common than one would expect. After La source, the two composers collaborated again on other projects.

There can be good reason for a work’s joint compositional status. First, there are the works that are written for a greater cause, a purpose larger than the personal expression of a single composer. This includes nationalistic music; for example, the Variations on a Russian theme (1899) composed jointly by ten Russian composers and the Gallipoli symphony (2015) written by 11 composers from Australia, New Zealand and Turkey to celebrate the centenary

of the Gallipoli Campaign of WWI. Works dedicated to important individuals include the F-A-E sonata (1853), a gift and tribute to Joseph Joachim by three friends who each composed one movement: Robert Schumann, Johannes Brahms and Albert Dietrich.

Then there are the professional collaborations that arise when a composer requires a performer’s technical expertise, especially in ascertaining the capabilities of a particular instrument. Frédéric Chopin jointly composed the Grand duo concertant for piano and cello with cellist Auguste Franchomme, who was responsible for the cello parts.

Finally, there are collaborations that simply result from a creative friendship between composers. This can be exemplified by the recent discovery of a cantata, Per la ricuperata salute di Ofelia, composed by Wolfgang Mozart and Salieri: bitter rivals in film, but evidently close associates in reality.

Pas de deux from La Source

This shows that the collaborative process can result in creative musical works of art and the ballet, La source, by Minkus and Delibes can be heard on Saturday 22 September at 3pm.

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Classical CD Reviews AMERICA: BRILLIANT & BOLD Various artists ABC 482 9612

:::: America: brilliant & bold is an eight-CD set encompassing two centuries of American classical music released to commemorate the 100th anniversary of Leonard Bernstein’s birth this year. It is packaged in two volumes, each of four CDs, but both have been released simultaneously. It feels to me as if the first volume is intended to carry the heavy historical weight while the second gathers up, fairly haphazardly, music that is either more contemporary or more peripheral. For this reason I will concentrate more on the first four CDs. The compilers note that the collection ‘showcases the most popular masterworks and hidden treasures from a broad, rich and exciting musical heritage’. I did find it an enjoyable listening experience, coming across familiar works in unfamiliar contexts and being introduced to music I had not heard before. I do have some reservations, but to a certain extent they have been determined by the source material available: most, but not all, performances are by Australian artists, ensembles and orchestras, and as a result tend towards the more popular repertoire.

Nevertheless, one could be forgiven for thinking that American classical music was an exclusively male preserve: there is, for example, nothing by Amy Beach or by the Pulitzer Prize–winning Jennifer Higdon (ten of the composers represented have been recipients of that award), who perhaps could have been licensed from another label. Similarly, I believe that African-American composers have been included only in the ‘snappy rhythms’ of Disc 7.

The organisation of this box set is quirky rather than chronological. Disc 1 is devoted to the music of Aaron Copland, beginning appropriately with Fanfare for the common man. There are two substantial compositions here, Eight songs of Emily Dickinson, featuring the soprano Emma Matthews, and Appalachian Spring, in a version for 13 instruments. These works juxtapose the quiet and spiritual with the joyous and exultant, and highlight his command of orchestration and rhythm, but they tend to concentrate on one phase only of Copland’s output, the ‘big sky’ panoramas perhaps intended to boost morale through years of depression and war.

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Disc 2 is devoted to Samuel Barber, born ten years after Copland but displaying a more conservative musical palette. The first work on the disc is the Adagio for strings.

There is also a performance of his Violin concerto by Dene Olding and, one of the joys of this compilation, a focus on his attractive, expressive vocal music, with Teddy Tahu Rhodes singing Dover Beach and Renée Fleming with Knoxville: summer of 1915.

We change tack with Disc 3, which is essentially a survey of some of the more ‘difficult’ American composers and how they came to terms with the lack of a local composing tradition, often through the incorporation of the vernacular sounds of gospel, ragtime and Sousa marches. Charles Ives is well represented, with two songs sung by the soprano Clare Gormley and two orchestral works that juxtapose contrasting groups of instruments.

Also given his due is the French-born Edgard Varèse, whose Amériques, more than any other composition in the box set, deserves the appellation of ‘brilliant & bold’. Varèse devoted his life to ‘new ideas, new instruments and new music’, and this piece, a vision of an imagined future, employs an orchestra of 150, including 11 percussionists playing 21 instruments. Less well represented, through single movements or brief pieces, are Crumb, Carter and Corigliano.

Disc 4 is devoted to two composers: Gershwin with the ‘urban clatter’ of Rhapsody in blue and An American in

Paris, and Bernstein, surprisingly since this release is in his honour, with short pieces from Candide and West Side story. We experience the boldness and brashness of Bernstein’s music, but are deprived of a more substantial orchestral or choral work.

I have concentrated on the first volume, but there are treasures to be found in the second volume too. Disc 5 looks at John Cage and those composers regarded as ‘minimalists’, the outstanding piece being Steve Reich’s Different trains, which blends string quartet with recorded speech fragments. Disc 6 is unaccountably entirely given over to the piano music of Philip Glass played by Sally Whitwell, including a number of études from her very recent release.

The final discs appear to be rather randomly put together. Disc 7 gathers together a variety of music not generally regarded as being in the classical mainstream such as Sousa marches, light music and ragtime, along with piano miniatures by MacDowell, Hovhaness and Menotti. Disc 8 concentrates on the film music of John Williams but also includes Walter Piston’s Clarinet concerto.

All in all, there is much to enjoy here, perhaps best listened to on shuffle on a long journey that takes you through both urban cacophony and wide open rural spaces. Phillip Sametz’s notes provide a succinct overview of each disc.

Paul Cooke

MIKE NOCK: A LIFE IN JAZZ

BARRY O’SULLIVAN PROFILES A MULTI-TALENTED ARTIST As a pianist, composer, educator and bandleader, Mike Nock has made a huge impact on the Australian jazz scene over the past three decades, an outstanding contribution that has been acknowledged by his receipt of the prestigious Don Banks Award in 2014.

Born in Christchurch in 1940 Mike’s life in music as a prolific composer and recording artist spans some 60 years from his early days in New Zealand to playing jazz on the world stage. During this time he has performed in a broad range of contemporary musical styles. “What I love to do is improvise," says Mike. “I allow myself to be in the moment musically. The whole thing about jazz is spontaneity. To me, that’s very important.”

From the age of 11 Mike began playing the piano under the tuition of his father after hearing Charlie Parker’s recording Jazz at Massey Hall on the radio in New Zealand. He says: “Something in his music really spoke to me. I was hooked.”

After leaving school as soon as it was legally permissible, Mike Nock befriended a group of musicians from Nelson and began performing jazz and dance music. By the age of 18, he had arrived in Sydney and was soon embedded in the local scene. His group, The 3-Out Trio with bassist Freddie Logan and drummer Chris Karan, became one of the most popular jazz groups in Sydney. They played four nights a week in Kings Cross at the jazz club El Rocco and recorded Move for EMI’s Columbia label in 1960. The album sold like hotcakes.

While Nock was grateful for the opportunities to perform and the financial benefits of the group’s high profile he was also aware that such local acclaim was a trap that might entice him to stay in Australia. His plan had always been to get to the United States where he had applied for a scholarship to the prestigious Berklee College of Music in Boston. After hearing that his application had been successful, Nock and The 3-Out Trio set sail for the United Kingdom where the band spent a few months performing before Nock travelled on alone to Boston to study.

Nock quickly established himself on the local scene where he played with many jazz luminaries including Coleman Hawkins, Zoot Sims and Buck Clayton. Some of his most formative experiences during the 1960s included playing with multiinstrumentalist Yusef Lateef. Appearances on Lateef’s recordings during that period propelled Nock to national exposure.

Despite good opportunities, making a living as a jazz musician on the East Coast of

Mike Nock

Photo: Karen Steains

the United States during the 1960s was challenging. After relocating to the West Coast Nock formed a new band with violinist Michael White called The Fourth Way, which also included drummer Eddie Marshall and bassist Ron McClure. Although relatively short-lived as a group, it has been celebrated as one of the first fusion groups, mixing jazz with rock music and playing amplified instruments.

Nock recalled: “Life was pretty intense; you had no money, you had very little to eat and you were getting paid very little for jobs. The pressures were there but you didn’t care. You loved it, you played, and that’s all you cared about – playing.”

A high point during this period was performing as the opening act for The Miles Davis Quintet.

The Fourth Way was on fire that night and Davis found himself upstaged by the young San Francisco group. Miles reportedly said, “Man, I’m never going on second again!”

Returning to New York in the mid-1970s Nock frequently performed and recorded as leader of a group, and a high-water mark from this period was Nock's Trio recording of Ondas.

Including bassist Eddie Gomez and drummer

Jon Christensen, and recorded in just two hours, the album was released by the ECM record label. About this beautiful recording with pristine sound and austere performances, Nock has said, “I am amazed at just how good it is”.

After returning to Australia in the mid1980s, Nock settled in Sydney where he enjoyed an extensive teaching career at the Sydney Conservatorium until his recent retirement. His biography Serious Fun – The Life and Music of Mike Nock captures some of his illustrious career moments.

Nock, with his wife Yuri, now balances a full life that includes music composition, regular touring and plenty of new recordings.

Compositionally the last 30 years have been very rich and have included works for jazz groups, as well as writing for big bands and a variety of chamber group pieces. Nock has also written a great deal of fully notated music for solo piano that has been recorded individually by Australian virtuosos Michael Kieran Harvey and Simon Tedeschi.

The music of Mike Nock will be featured on A Jazz Hour at midday on Friday 14 September.

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Jazz CD Reviews time with Ornette Coleman. It’s interesting to note that Coltrane only attempted this tune in the studio a few times and these rediscovered four takes, by all indications, are the last time he ever recorded the tune.

BOTH DIRECTIONS AT ONCE: THE LOST ALBUM John Coltrane and his Band Impulse 49299

::::: As the legendary saxophonist Sonny Rollins so rightly put it, ‘This is like finding a new room in the Great Pyramid’. The musical implications of this album, the original compositions, the arrangements, the band, 1963 the year it was recorded, all amount to a rediscovery and re-contextualisation of one of the most important jazz musicians of our time.

On this album, there are two completely unknown and never-heard-before originals played on soprano sax: Untitled original 11383 and Untitled original 11386. 11383 features an arco bass solo by Jimmy Garrison, a relative rarity, and 11386 marks a significant structural change for the quartet, in that the players keep returning to the theme between solos. In addition One up, one down (released previously only on a bootleg recording from Birdland Records) is heard here as a studio recording for the first and only time.

It contains a fascinating exchange between the drummer Elvin Jones and Coltrane.

Tyner laying out. Also on the album is Vilia from Franz Lehár’s operetta The merry widow, popularised by clarinetist Artie Shaw’s big band in 1939. Coltrane approaches this composition with a light-hearted effect, first on tenor and then, more convincingly, on the soprano.

Impressions, one of Coltrane’s most famous and oft-recorded compositions, is played here by the piano-less trio. It’s one of the more interesting aspects of this session and reflects the harmonic possibilities that Coltrane was known to be discussing regularly around this

This studio session also yielded Coltrane’s first recording of Nature boy which he would record again in 1965. The two versions differ greatly.

Intriguingly, Coltrane approaches this present version as a tight and solo-less trio with McCoy

BLUED DHARMA

Adrean Farrugia, Joel Frahm GB Records GBCD1804 ::::½

This album is a major addition to the Coltrane catalogue and the most important jazz discovery in recent years.

Barry O’Sullivan

The last time I heard a saxophone/piano duo sound as good as this was the album Dave Liebman and Mike Nock released in 2007 entitled Duologue. This album sees Toronto-based pianist Adrean Farrugia team up with New York tenor stalwart Joel Frahm.

Like Duologue, this album also features two jazz standards, Ray Noble’s well-worn Cherokee and the Kern/Hammerstein Showboat classic Nobody else but me. In fact the musical rapport is so strong on Cherokee that two takes are included.

The five other originals are provided by the pianist whose soulful writing is matched by his melodic stylings as an improviser.

Both players’ timing is akin to two friends enjoying conversation and finishing each other’s sentence. For me there are several highlights. Farrugia’s title track Blued dharma is a great example of the simpatico between

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As night fell on that recording session, the master tapes were shelved with other Impulse sessions. Coltrane packed his horn and left with the rest of the quartet. What happened to these recordings after that point is partly conjecture based on the habits of Coltrane and his label. We do know that they were never mixed or mastered into an album and there was no paperwork reflecting a plan to release the music. In multiple interviews the producer Van Gelder maintained that, after Coltrane’s death in July 1967, all master tapes in his possession were retrieved by Impulse and ended up in a storage facility. In the early 1970s, as part of a general cost-cutting effort, reel after reel of precious music was discarded to reduce storage fees. These tapes survived due to another privilege that Coltrane enjoyed at Impulse. After each session he received seven-inch tape reels to take home for review.

Some he shared with Naima his wife and it’s these mono audition reels, in good shape for plastic and oxide ribbon more than 55 years old, that have delivered to jazz fans historical music that would have been lost forever.

these artists. The pianist allows Frahm’s tenor to soar into cosmic territory while always maintaining the orderly melody. Gospell has a spiritual feel as Farrugia leads the tenor on a path of righteousness that is later reconciled back to the soulful melody line.

Both takes on the favourite Cherokee find the piece cleverly and harmonically deconstructed by Farrugia complete with dissonant edges but neither interpretation loses its fundamental resemblance to Noble’s evergreen composition. Cool beans kindles Horace Silver’s Blue Note memories: Farrugia with a heavy left-handed bass line setting a platform for Frahm’s crisp utterances, sending sparks flying back for Farrugia to launch into his own series of ascending and descending rapids over the deep undercurrent.

Frank Presley

NINA SIMONE: ONE SEPTEMBER Years, they will come and go / Sometimes the tears will flow / Some of my memories will fade / but I’ll always remember that one September day / We met by chance / as people often do / but it blossomed, yes, it blossomed / into something I never knew / Now, it is in the past, / they said it would never last / I’ll not forget the moment, babe / not May or December / nor June or November / but one September day. - Rudy Stevenson Eunice Kathleen Waymon, known to you and me as Nina Simone, was one of the most exceptional musicians of the 20th century.

Hers was an extraordinary life, very often full of hardship, abuse, rejection and obstacles.

Perhaps what makes her music so powerful is that she draws on all those experiences to inform her art. These aren’t saccharine songs about life and love, sung with vocal perfection and clinical precision. Instead, Nina Simone’s catalogue comprises some of the most heartfelt and powerful musical performances by any singer at any time in any genre.

Eunice Waymon was a gifted classical pianist and gave her first classical recital when she was 12. It was on this occasion that she first encountered racism when her parents, seated in the front row, were forced to move to the back to make way for a white couple who wished to sit at the front. Young Eunice refused to start her recital until her parents were returned to their original seats. That spirit of equality and justice was to be the hallmark of her life, her politics and her art.

After high school, she spent a summer at the Juilliard School under Carl Friedberg in preparation for an entry audition to the Curtis Institute of Music in Philadelphia. The audition was not successful and she would later suggest that this was a result of racial prejudice. This blow changed the course of her musical career.

Her ambition to become a classical concert pianist was put to one side as she began to

Nina Simone

Nina Simone sing and play jazz, blues and classical music in bars and clubs. Convinced that her mother would not approve of her singing ‘the Devil’s music’, she adopted the stage name Nina Simone in 1954. In 1958 she published her debut album Little Girl Blue, which included her rendition of I loves you Porgy, the song that kick-started her career and which became her only Billboard Top 20 success in the USA. She would continue to perform it as part of her core repertoire for the remainder of her career.

Nina Simone was somewhat unlucky in love.

She was briefly married to Don Ross, a fairground attendant, and later to New York police detective Andrew Stroud, who became her manager. The story of their marriage and their life together is anything but the romantic dream that she may have desired. Stroud was abusive: physically, emotionally, financially.

Perhaps this is why when she sings of love, or heartbreak, it carries such meaning.

Throughout the civil rights era of the mid-60s and 70s, Nina Simone became a political campaigner, using her music to convey civil rights messages. Unlike Martin Luther King who had campaigned for peaceful protests, Nina Simone advocated a violent revolution. That aggression is most obvious in songs like Mississippi goddam which she wrote in response to the murder of

Medgar Evers in Mississippi in 1963 and the bombing of the 16th Street Baptist Church in Birmingham, Alabama in that same year.

She said that the song came to her ‘in a rush of fury, hatred and determination’.

Keep on sayin’ ‘go slow’ / To do things more gradually would bring more tragedy / Why don’t you see it? Why don’t you feel it? / I don’t know, I don’t know / You don’t have to live next to me, just give me my equality!

Here, the urgency, the passion and the determination are evident. More protest songs would follow including Four women, To be young, gifted and black, Backlash blues and Jim Crow, a song in protest against the local laws of the time that enforced racial segregation in southern states of the USA. For me, one of her finest recordings is In love in vain. It opens with a brief classical piano solo, followed by Nina Simone vocally in top form, strong, dynamic, focused, and showcasing her vast range. Jim Farber writing in The Guardian earlier this year said, ‘the final vocal arc may be the most virtuosic of her career’. I’m inclined to agree.

A special edition of Friday Jazz Session titled One September Day will feature the music of Nina Simone, and other artists paying tribute to her, on Friday 21 September at 7pm.

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FOUR DECADES OF INTERVIEWS DEREK PARKER’S REMINISCENCES OF NOTABLE PEOPLE

Prime Minister). I never heard that anything came of any plans that His Imperial Highness Grand Duke Vladimir of Russia, in his small semi-detached near Oxford, may have been making to return to St Petersburg as Tsar.

The hundreds of interviews I recorded between about 1960 and 2000 for the BBC sound archives were no doubt sometimes pedestrian, but more often than not were worth preserving. The people I met (mostly working in the arts) were usually overwhelmingly agreeable, friendly and cooperative. If that sounds dull, it wasn’t.

There were often delightful surprises, such as the first time I interviewed Yehudi Menuhin.

Shown into his study by his wife, the beautiful ballerina Diana Gould, I found him standing on his head. It seems he often started a rehearsal that way. He was a great devotee of yoga, collaborating on a book on yoga for musicians.

He was one of those people who took endless trouble to give one what one wanted, for instance inviting me (and my wife) to his music school at Stoke D’Abernon in Surrey, where a boy of ten, neatly dressed in school blazer and tie, played the violin like an angel. The boy shyly said a few words in a very middleclass voice, calling me ‘Sir’. About eight years later he turned into Nigel Kennedy, dressed very differently and calling nobody ‘Sir’.

I never ‘caught’ Kennedy again (nor, indeed, tried to) but Menuhin was a regular and, to a lesser degree, Malcolm Sargent. It became, sadly, all too common for people to ‘send up’ Sargent, ‘Flash Harry’ as they called him, for his impeccable dress and his elegance on the podium. It’s certainly true that he ‘loved a lord’: the full-size grand piano in his flat overlooking the Albert Hall was overcrowded with signed photographs of royalty. Among many anecdotes it may be true that he once invited Paul Beard (leader of the BBC Symphony Orchestra) to come to his dressing-room to meet ‘a very dear friend of mine’. When the party in the dressing-room ended, Beard found himself left with only Sargent and a tall, cadaverous man standing in a corner. Sargent led him forward. “Your

To return to musicians, among the performers some became friends: dear Eva Turner, for instance, the second (and Puccini thought the best) of the Turandots. When she telephoned she seemed still to inhabit the role, and one had to hold the receiver at arm’s length. She would happily gossip for hours about her life in music: how much against her will Vaughan Williams, when he wrote the Serenade for Music, insisted on separating her voice from that of the other two sopranos, writing a passage only for her.

Derek Parker majesty,” he said, “may I present Mr Paul Beard, our current leader. Paul, this is my very good friend the King of Sweden.” The king drew himself up, bowed slightly, and said, ‘Norway’. But one mustn’t forget Sargent was a splendid conductor, especially of choral works, and a brave man who gave his last interview from bed a week before his death.

My royal bag was not over-full, although the present Duke of Gloucester, an enthusiastic motorist, was happy to talk about cars while the sheer charm of Princess Alexandra made it a pleasure to talk to her about anything.

Then there were the demi-semi-royals: His Imperial Highness Archduke Otto von Habsburg of Austria was a hard-working member of the European Parliament who, as we sat and talked in his small palace in Vienna, flicked spent cigarette-ends across the room into an enormous vase: “Mother loves it; I hate it.” His Majesty King Simeon still considered himself rightful monarch of Bulgaria and was busily planning his return to the throne (he did later become, briefly,

I never managed to capture Britten, but Peter Pears was good value (invariably arriving with his effects in a bag advertising Pears Soap).

Michael Tippett was always accessible, and usually surrounded by young students. He recalled the Australian pianist Noel MewtonWood with whom he worked right up until the latter’s suicide. At lunch one day, eating chicken and coming upon a bone, Tippett sucked it dry before carefully wrapping it in a napkin and placing it in his pocket.

Odd. He was astonishingly trustful. As my producer and I left him one afternoon, he asked if we were going back to Broadcasting House, and when we said yes, produced a rather untidy package wrapped in brown paper and insecurely fastened with string.

“Could you please pass that in to the Head of Music?” he asked. “Please don’t mislay it. It’s the only copy of my third symphony.”

These are some of the stories Derek Parker recounted during his August talk Is it on Tape? in the Enjoy, Learn, Discuss series. These talks are held on the third Sunday every month in the Fine Music Centre. Details are published each month on the What’s On page of this magazine.

THANK YOU FROM THE EDITOR Thank you to all of our subscribers for your support of the Fine Music magazine and for the many messages of congratulations on the excellent articles written by volunteers during the time I have been the Editor since the May 2017 edition.

It was quite unexpected that our Chair, David, would mention me in his editorial this month but this magazine is not my work alone.

The driving force behind the magazine now is the Programming Committee of which I have been a member for most of the 33 years I have been a volunteer. The Committee decides on special broadcasts and I plan the magazine articles around these. Having surveyed contributors over 19 editions, I find that there have been 11 sub-editors and proofreaders (currently seven) and 60 writers and reviewers (mostly programmers and/or presenters), many writing regularly. Without their superb musical knowledge, this magazine would not be interesting. As well, Simon Moore designs the logos that you see with special programming projects and Allan Ford finds the majority of the images for the Program Guide and the articles.

Thank you to all. Elaine 50

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A DREAM COME TRUE

PAUL COOKE TALKS TO ANDREW DZIEDZIC When Andrew Dziedzic became a Fine Music 102.5 volunteer in 2007, it was a logical culmination of an interest in classical music. Growing up in Albury, he learned piano and was able to attend ABC concerts.

After moving to Sydney to study law at Sydney University, he was able to go to many more concerts. When 2MBS-FM/Fine Music first went to air, and while he was still a student, he became a regular listener and subscriber, and dreamed of becoming a presenter. When funds were sought to assist in the purchase of its premises at 76 Chandos Street he made a modest donation.

Becoming a volunteer after his retirement from the legal world, where he worked as a solicitor and then barrister, was also his starting point for a deeper and wider involvement in classical music. Andrew is always learning about new or unfamiliar composers, works and performers, and he is able to share that sense of discovery, and his love and appreciation of classical music in general, with listeners and colleagues.

His dream of becoming a presenter came true and now he is involved in the training of new presenters to the high standards

required for a pleasant listening experience.

Andrew and his wife, Lynden, a Fine Music librarian, have been ‘loyal and enthusiastic subscribers’ to the Australian Brandenburg Orchestra for a few decades.

This love of baroque music is evident in Andrew’s talks on the sacred choral works of J.S. Bach in the Enjoy, Learn, Discuss series. He also helps to organise other volunteers to give talks in this series.

His involvement as a volunteer at Fine Music extends further, having twice been elected to the Board.

This has led to an awareness of the complex day-today running of the station, and of the issues relating to the future of radio in a changing media landscape.

He is supportive of new, young and inexperienced volunteers, and conducts presenter auditions to enable visiting Year 10 students to experience being 'on air'.

Away from the station, Andrew teaches and attends classes in Aikido, a non-violent, anticompetitive martial art. While Aikido is far more physical in nature than classical music appreciation, he is interested in the way that both ‘look to the unseen and mysterious ways of understanding yourself, others and the world’.

He feels privileged and honoured to be one of Fine Music's volunteers who, he says, give ‘far, far more than anyone would imagine possible’. This is demonstrably true of Andrew.

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; Lloyd Capps, Andrew Dziedzic; Jeannie McInnes, Simon Moore, Katy Rogers-Davies COMMITTEE CHAIRS Management: David James; Programming: James Nightingale; Presenters: Ross Hayes; Jazz: Barry O’Sullivan; Technical: Stephen Wilson; Library: Susan Ping Kee; Volunteers: Sue Nicholas; Finance: Norm Chosid; Work Health and Safety: Dennis Oppenheim; Emerging Artists: Rebecca Beare

PROGRAMMERS AND PRESENTERS FOR SEPTEMBER Andari Anggamulia, Charles Barton, Peter Bell, Dan Bickel, Chris Blower, Adam Bowen, David Brett, Barrie Brockwell, John Buchanan, Andrew Bukenya, Rex Burgess, Janine Burrus, Lloyd Capps, Vince Carnovale, Sheila Catzel, Colleen Chesterman, Lyn Chong, 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, Melissa Evans, Michael Field, Troy Fil. Owen Fisher, Jennifer Foong, Tom Forrester-Paton, Susan Foulcher, Carole Garland, David Garrett, Robert Gilchrist, Nicky Gluch, Gabi Goddard, Gael Golla, Raj Gopalakrishnan, Albert Gormley, Andrew Grahame, Giovanna Grech, Jeremy Hall, Austin Harrison, Celeste Haworth, Ross Hayes, Gerald Holder, Paulo Hooke, Paul Hopwood, James Hunter, Leita Hutchings, Anne Irish, Edwin Jiang, Bruce Johnson, Kevin Jones, Rhiannon Jones, Sue Jowell, David Knapp, Peter Kurti, Ray Levis, Krystal Li, Christina MacGuinness, Lachlan Mahoney, Linda Marr, Meg Matthews, Stephen Matthews, Randolph Magri-Overend, Trisha McDonald, Jeannie McInnes, Terry McMullen, Maureen Meers, Camille Mercep, Heather Middleton, John Milce, Peter Mitchell, Simon Moore, Frank Morrison, Michael Morton-Evans, Richard Munge, Gerry Myerson, Peter Nelson, James Nightingale, David Ogilvie, Barry O’Sullivan, Calogero Panvino, Derek Parker, Denis Patterson, Peter Poole, Frank Presley, Karoline Ren, Katy Rogers-Davies, Paul Roper, Darryl Rule, Marilyn Schock, Debbie Scholem, Jon Shapiro, Julie Simonds, Elaine Siversen, Robert Small, Garth Sundberg, Rob Thomas, Anna Tranter, Madilina Tresca, Robert Vale, Richard Verco, Simone Vitiello, Ron Walledge, Brendan Walsh, Christopher Waterhouse, Ken Weatherley, Chris Wetherall, Stephen Wilson, Glenn Winfield, Chris Winner, Mariko Yata, Orli Zahava, Tom Zelinka, Rebecca Zhong PROGRAM SUB-EDITORS Jan Akers, Chris Blower, Paul Cooke, Di Cox, Colleen Chesterman, Amal Fahd, Noelene Guillemot, Elaine Siversen, Jill Wagstaff, Teresa White LIBRARIANS Jan Akers, John Clayton, Helen Dignan, Lynden Dziedzic, Peter Goldner, David Hilton, Dawn Jackson, Michael Marchbank, Phillip McGarn, Judy Miller, Rachel Miller, Helen Milthorpe, Susan Ping Kee, Mark Renton, Gary Russ, Jonathan Wood, Ricky Yu STATION OPERATIONS Transmitter: Max Benyon, John Shenstone; Studio operations: Roger Doyle, Robert Tregea; Live broadcasts and recordings: Jayson McBride; IT: Alice Roberts STAFF Station Manager: Rebecca Beare; Office Manager: Sharon Sullivan; Community Access Manager: Sophie McCulloch; Community Engagement Manager: Mona Omar; Administration Assistants: Krystal Li, Joe Goddard SEPTEMBER 2018

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Fine Music Patrons

Mr Robert O Albert AO, Mr J D O Burns, Mrs Patricia McAlary, Anonymous 5

Ruby Patrons $5,000 - $9,999

Bronze Patrons $250 - $499

Mr Max Benyon OAM, Mr Roger Doyle, Dr Jennifer Foong, Anonymous 2

Platinum Patrons $25,000 - $49,999

Family Frank Foundation, Mr Michael Ahrens, Prof Clive Kessler, Mr Ron Walledge, Mr Cameron Williams, Anonymous 1

Diamond Patrons $10,000 - $24,999

Mrs Barbara Brady, Mr David Brett, Ms Janine Burrus, Mr Bernard Coles QC, Mrs Dorothy Curtis, Hon Mr Justice David Davies SC, Mr Francis Frank, Ms Jill Hickson Wran, Dr Janice Hirshorn, Mr Peter & Dr Linda Kurti, Mr Ian & Mrs Pam McGaw, Mrs Judith McKernan, Ms Nola Nettheim, Mr Anthony C Strachan, Mr Stephen and Mrs Therese Wilson, Anonymous 3

Emerald Patrons $2,500 - $4,999

Mrs Halina Brett, Mr Lloyd & Mrs Mary Jo Capps, Mrs Lorna Alison Carr, Prof Michael Field AM, Mrs Freda Hugenberger, Dr Peter Ingle, Mr Ian Juniper, Mr D & Mrs R Keech, Ms Jeannie McInnes, Dr Andrew Mitterdorfer, Mr Jude Rushbrooke, Mr John Selby, Mrs Joyce Sproat, Ms Wendy Trevor-Jones, Ms Ann Whyte, Yim Family Foundation, Anonymous 5

Gold Patrons $1000 - $2,499

Mrs Di Cox, Mr Ray McDonald, Mrs E M McKinnon, Ms Alice Roberts, Mr Anthony G Whealy QC, Anonymous 5

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Silver Patrons $500 - $999

Mr David Branscomb, Mrs Ann Carr-Boyd, Mr David Clark, Ms Prudence Davenport, Mrs Margaret Epps, Mr John Fairfax AO, Mr Richard Farago, Mr Heinz Gager, Mr Michael and Mrs Rochelle Goot, Mr Paul Hopwood, Ms Sue Jowell, Ms Cynthia Kaye, Mr Gerhard Koller, Mr R J Lamble AO, Mrs Beatrice Lang, Dr Peter Lindberg, Mr Ian K Lloyd, Mrs Meryll Macarthur, Mr M F Madigan, Mr Michael Morton-Evans OAM, Mr Ken Nielsen, Mrs Monica Olave, Dr Robert Osborn, Ms Susan Ping Kee, Mr J A Roberts, Ms Catherine Ruff, Mr Gregory L Sachs, Mrs Valerie Stoney, Mrs Margaret Suthers, Mrs Marie Thompson, Mr Richard Thompson, Mr Larry Turner, Dr Pye Twaddell, Mr Edward John Wailes, Mr Richard Wilkins, Dr Paul Wormell, Mr Peter Zipkis, Anonymous 13

Titanium Patrons $50,000 and above

SEPTEMBER 2018

Ms Jacqui Axford, Ms Lily Bao, Mr John Bell, Mr Harold John Benyon OAM, Mrs Patricia and Mr Geoffrey Biggers, Mrs Marion Blin, Mr Christopher Blower, Mr Claus Blunck, Mr Colin Boston, Mr Geoffery Brennan, Mr Barrie Brockwell, The Hon John P Bryson QC, Mrs A Buchner, Ms Deanne Castronini, Ms Mary Choate, Mr Norman and Mrs Elizabeth Chosid, Mr Dom Cottam & Ms Kanako Imamura, Mrs T Cox, Prof S J Dain, Prof C E Deer AM, Mrs Marie Digby, Hon J R Dunford QC, Mr Andrew Dziedzic, Mr Paul Evans, Mr William G Fleming, Mr Douglas J Fraser, Dr David Gorman, Ms Marilyn Gosling, Ms Diana Ruth Hanaor, Mr Geoffrey Hogbin, Dr David Jeremy, Ms Ruth Jeremy, Mrs Barbara Johnson, Mr Bill and Mrs Eva Johnstone, Ms M Laurie, Mrs Sarah Lawrence, Mr Geoffery Magney, Mrs M A Marsh, Dr Jim Masselos, Dr D S Maynard, Mrs Shirley Ann McEwin, Ms Maureen Meers, Ms Alison Meldrum, Mr Simon Moore, Mr Donald Nairn, Mr Pieter Oomens, Mr Julius Opit, Dr Gordon H Packham, Mr Trevor Parkin, Mr Denis Patterson, Mr Peter Poole, Mr Mike Price, Dr Brian Quinn, Dr Neil A Radford, Mr Gwynn Roberts, Dr Michael Shellshear, Ms Wei Mah So, Mrs Ruth A Staples, Mr J Stevenson and Ms J McInnes, Ms Kathryn Tiffen, Dr Robin Torrence, Mr Kevin James Vaughan, Mr Alastair Wilson, Mrs Lynette Windsor, Mrs Robin Yabsley, Mr Thomas Zelinka, Anonymous 25