Fine Music Magazine February 2015

February 2015

MAGAZINE

CELEBRATING THE ROMANTICS

David Robertson & Christian Tetzlaff

AUTHENTIC INSTRUMENTS

Early keyboards and a unique pipe organ

TAFELMUSIK’S HOUSE OF DREAMS Jeanne Lamon’s baroque

PIANIST ROGER WOODWARD

Going beyond black and white

FINE MUSIC ON DIGITAL

More music, more choices

COMING UP Chief Conductor David Robertson returns in February with symphonies

by Schumann and Beethoven.

CLASSICAL

THE SCHUMANN SYMPHONIES Be inspired. Be enchanted

Experience Schumann’s unique world of musical feeling, agility and exhilarating Romanticism.

A rare opportunity to enjoy four masterworks.

David Robertson conductor Christian Tetzlaff violin

SCHUMANN 1&2 Tetzlaff plays Mendelssohn APT MASTER SERIES

WED 11 FEB 8PM FRI 13 FEB 8PM SAT 14 FEB 8PM

SCHUMANN Symphony No.2 SCHUMANN Symphony No.1 (Spring) MENDELSSOHN Violin Concerto in E minor

SCHUMANN 3&4

Robertson conducts

Mon 16 Feb 7pm

(Schumann & Widmann)

Fri 20 Feb 11am*

Complimentary morning tea 10am

Sat 21 Feb 2pm

(Schumann & Lentz)

LENTZ Jerusalem (after Blake) [Australian Premiere] WIDMANN Violin Concerto [Australian Premiere] SCHUMANN Symphony No.4* SCHUMANN Symphony No.3 (Rhenish)*

BEETHOVEN 9 ODE TO JOY Season opening gala

Strap yourself in for one of the most powerful musical experiences of the year – Beethoven’s glorious Ninth with its “Ode to Joy”. The greatest of symphonies.

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CONTENTS

EDITOR’S DESK

4 COVER STORY David Robertson talks Schumann & Mendelssohn 4 Interview with Roger Woodward 7 The Schureck keyboard collection 8 Organ saved from a watery grave 9 Kathryn Selby invites you to ‘lunch’ 11 Musica Viva celebrates baroque 13 Neil Runcie: pioneer of FM in Australia 14 Flashback with Derek Parker 15 Contemporary Conductors: Sir Simon Rattle 16 What’s On 18 CD Reviews 21 Swinging on the Vine 22 Young Virtuosi 56 Crossword and Trivia Quiz

Digital Channel Fine Mus - P23

40 YEARS 1974 - 2014

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Subscribe to Fine Music Magazine: visit www.finemusicfm.com or email friends@finemusicfm.com The views expressed by contributors to this magazine do not necessarily reflect or represent the views of the publisher, Fine Music 102.5.

Cover image: Christian Tetzlaff. Photo – Giorgia Bertazzi

As I write this I’m listening to Mendelssohn’s Violin Concerto being played by Janine Jansen and the BBC Symphony Orchestra. It’s the same piece we will hear later this month, played by the Sydney Symphony Orchestra and soloist Christian Tetzlaff.

I was fortunate in my first few weeks of joining Fine Music 102.5, to attend an interview with the station’s Michael Morton-Evans and no less than the Artistic Director and Conductor of the Sydney Symphony Orchestra, David Robertson. They discussed the upcoming concert series featuring works by Schumann, Mendelssohn and Widmann. The resulting story (over the next two pages) provides a fascinating insight into the ‘conversation’ that Robertson speculates upon between the two older composers, one that unites the richness of romanticism with a love of classical forms.

The SSO will also host a series of concerts in March by Dutch virtuoso Janine Jansen, this time accompanied by her husband, conductor Daniel Blendulf, in a program that brings together Brahms’s great violin concerto and Sibelius’s Fifth Symphony.

But let’s not get too far ahead of ourselves. February has a fantastic selection of fine music events in Sydney - find the highlights on pages 16 and 17. We also have a feature focus on a number of events, including the upcoming tour of Tafelmusik’s House of Dreams with Musica Viva. The music director, Jeanne Lamon speaks to Fine Music magazine on what could be her last tour of Australia with the baroque group. We also hear from Kathryn Selby who reflects on her ninth year as Artistic Director of the series of A Little Lunch Music at City Recital Hall - about to kick off again on 26 February.

For history buffs there’s a range of stories to whet your appetite - from the early keyboard collection of Ralph Schureck to the discovery of the Britannica pipe organ. Closer to home, we speak with Neil Runcie whose role was critical in the development of 2MBS-FM (now Fine Music 102.5) and community broadcasting more broadly in Australia.

And last but not least, Fine Music’s Julie Simonds catches up with renowned pianist Roger Woodward, to talk about the release of his voluminous autobiography and CD box set. Pick up the story on page 4.

eastcoastmediagroup Content Producers TV Video Photography Post Production Animation Audio Production ACS Accredited Cinematographers

www.ecmediagroup.com.au 118 Victoria Rd | Rozelle | NSW | 2039 | T: +61 2 9818 0922 February 2015

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Sydney celebrates the romantics:

David Robertson talks Schumann & Mendelssohn allowing that to be your point of entry on a particular evening and then going to a work that’s relatively close in terms of time but is approaching it from an entirely different level, is the thing that I hope will make it a really fascinating concert experience.”

Robertson believes Schumann is the type of composer whose music is intensely evocative of different emotional state, that people feel there must be some connections from his life that they can read.

David Robertson, Chief Conductor and Artistic Director, Sydney Symphony Orchestra. Photo – Scott Ferguson

Works by Schumann and Mendelssohn make for an uplifting evening to start this special series of the Sydney Symphony Orchestra (SSO), from which it will dedicate a program to the 40th anniversary of broadcasting by Fine Music 102.5.

to the inspiration he found in Beethoven and Bach. His Spring Symphony blossoms with the joy of love and life.

For the first program, Chief Conductor and Artistic Director David Robertson has paired the first two Schumann symphonies with the violin concerto of Mendelssohn, the man who conducted their premieres. And bringing the theme of friendship full circle, Robertson has invited his own friend, Christian Tetzlaff, to be the soloist.

“There’s no way for the transmission ever just to be one way. Clearly the two of them were having a conversation which was of great musical depth. I’m sure the success of the first symphony came in not a little part from the fact that Mendelssohn was a very sympathetic interpreter,” said Robertson.

“I think what happens in this particular iteration is that you become aware of this continuity of music in central Germany after the period of Beethoven’s amazing explorations in music.

It’s a particularly lyric and lead-inspired way of looking at writing instrumental music,” he said.

Schumann and Mendelssohn were friends in life and they make good company in music.

Both unite the richness of romanticism with a love of classical forms; both were blessed with a marvellous melodic gift. Mendelssohn’s enchanting violin concerto evokes the elegance of an earlier age even as it pushes boundaries.

Schumann’s uplifting Second Symphony nods 2

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“

He spoke with Fine Music’s Michael MortonEvans about what people can expect from this concert series and the way the program is arranged.

particularly lyric and “ It’s alead-inspired way...

However, he notes that whenever we hear Schumann symphonies either in isolation or played in complete groups, “that people first of all get very concerned about the order of them and… they start throwing darts at questions of orchestration.

“Part of the idea of doing a cycle where they’re connected up in close proximity is to give one just an idea of what an incredibly imaginative composer Schumann was. And I think one of the dangers when we look at any series of symphonies is to look at them in a teleological fashion,” said Robertson.

His reading of Schumann’s creative output in orchestral terms and particularly with the symphonies, is one of exploration rather than a learning process.

“From that point of view the kind of vitality that he puts in the Second Symphony and then

He says, “I’m not sure that it’s as simple as that… he was clearly a very deep individual and felt things with a kind of clarity that we know from certain writers… they are able to look into specific qualities or shades of a particular emotional state and then be able to reproduce them in writing or in Schumann’s case in tones and in characterisations that are extremely subtle and rich”.

Robertson hopes the series underlines that although these are major masterpieces there was a period of time where, to borrow an analogy from sculpture, they were simply an unformed block of stone.

“And then you had these people who knew each other, who were interacting together who pulled out or saw that there was this incredible thing inside this block of stone and made it into the monument that it is today.”

Robertson notes that the whole nature of Schumann is the rather interesting relationship SSO to ‘light the sails’ Sydney Symphony Orchestra will salute the rich orchestral heritage of Vienna on 4 February from the Sydney Opera House in a Viennese program. In a first for the SSO, the second half of the concert (starting at about 9pm) will be projected on to the sails of the Sydney Opera House in a grand salute to the Austrian capital and the 150th anniversary celebrations of the famous Ringstrasse. Audiences around the world will be able to view the sails, as they are brought to life with footage of the SSO musicians performing inside the Concert Hall, in a live webcast of the spectacle.

Find out more at: www.sydneysymphony.com

have collaborated on a wide variety of violin repertoire over the years. He looks forward to putting it in a context “where the intense romanticism and expression of Christian’s playing and Widmann’s music will actually parallel a lot of the kind of striving that you see in the Schumann symphonies”.

“What I really enjoy is the way in which Christian approaches each piece of music with this tremendous encyclopedic knowledge of how music works in terms of just the enormity of repertoire and at the same time a real freshness,” said Robertson.

The two played Mendelssohn with the Metropolitan Opera Orchestra in Carnegie Hall several years’ ago and Robertson was said to remark that Sydney audiences must have the opportunity to hear it played in such a way.

with tradition, whether that’s ecclesiastical or in terms of the prevailing social mores.

“We can see this both in his personal life and the way he approached writing about new music and embracing new music and new artists coming in.

“And yet there’s this reverence and understanding for the music of the past and so it is fascinating to see him referring to notions of counterpoint yet at the same time trying to really look at what is the modern, for them, take on this music,” he said.

… Christian really plays with “incredible intensity and fire.

“

“One of the things I love in the second symphony of Schumann is precisely this incredible freedom of the form, where there are certain forms we know from other contexts and yet his incredible generosity of themes,” Robertson said, noting the “magic moment” in the last movement that gives it a poetic life of its own, quite apart from the sonata form that preceded it.

He sees Schumann as absolutely pivotal in the journey of the Romantic symphony and this is exemplified in the second and final program in the series. In Schumann’s Fourth the symphony is transformed for a new age: unified in vision and full of Romantic fantasy. Schumann’s Rhenish Symphony, inspired by the great unfinished cathedral of Cologne, brings the concert to a vibrant conclusion with spirited rhythms and sunny colours.

The program also includes the concerto written by Jörg Widmann in 2007 for Christian Tetzlaff that does the same thing: transforming the classical concerto into a creation for the modern era.

Robertson first saw Widmann’s work when he was an unknown composer and immediately saw that he was “a musician of real depth and individuality”.

“This concerto is one that Christian really plays with incredible intensity and fire,” he said.

It’s Robertson’s first time doing the piece with Christian Tetzlaff although the two Celebrating 40 years of Fine Music On 15 December, founders and supporters alike gathered at the St Leonards’ studios of Fine Music 102.5FM to celebrate an historic occasion – the 40th consecutive year of broadcasting and the beginning of Australia’s first FM station.

The celebration was led by 12 of the station’s founders, who raised their glasses at precisely noon to mark the occasion of the first broadcast back in 1974.

Two of the founders of Fine Music (then 2MBS-FM), Charles Barton (l) and Andrew Parker.

Station General Manager David Sidebottom said, “The founders can and should look back in pride at the organisation that has

“It’s a very familiar piece and yet there are subtle differences in the way that he [Christian] maintains tempos and looks at phrases in such a way that it’s almost as if the Mendelssohn is influenced by Schumann in a curious way,” he said.

fearlessness with “… absolute regard to repertoire.

“

Christian Tetzlaff. Photo – Giorgia Bertazzi

“You see this period of time in which the Mendelssohn concerto is sitting where Christian plays it and we understand where early Wagner comes from and how Schumann really took so much from the ideas that Mendelssohn was putting forward.”

Looking back over his first year with the Sydney Symphony Orchestra, Robertson is struck by its “absolute fearlessness with regard to repertoire”.

“The thing that is fascinating about the Australian side of things is that there’s an openness to almost anything… which I find extremely refreshing,” he said. - Paula Wallace

developed over the last four decades thanks to the legions of volunteers that have contributed right up to today”.

Over the course of the year, Fine Music, will undertake a number of projects related to its 40th Anniversary including, but not limited to, an online display of historical photographs; special programs and promotions; a broadcast on 7 March - Live from Studio C; and a broadcast live from the heart of Sydney in July. So, stay tuned for details!

February 2015

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Beyond Black and White

Interview with Roger Woodward Sverjensky and composition with Raymond Hanson. He won the piano section of the 1964 ABC Instrumental and Vocal Competition, beating David Helfgott in the final.

“I would have been about two when I first heard music played somewhere beyond the chicken run and dilapidated palings at the top of the back garden. I entered our neighbour’s house through the back door and followed the sound to its source. The elegant old lady playing the black and white keys was as surprised as I was, but she seated me at the keyboard and coaxed me into having a turn ...”

Recalling Sverjensky, he said: “This bald head with horn rimmed black glasses would invite you into this death chamber and you’d sit there and wait until you were spoken to and you wouldn’t dare not memorise anything. But he was a very good teacher”.

The rest is history, and a long and glorious one at that. These early memories of internationally acclaimed musician and one of Australia’s most prolific recording artists, Roger Woodward, are recounted in his recently released autobiography Beyond Black and White: My Life in Music.

He spoke to Fine Music’s Julie Simonds about writing the book, a massive volume of more than 600 pages, and the release of a CD box set – A Concerto Collection – to coincide with its publication.

Roger Woodward.

Photo from Roger Woodward’s personal collection

“

I would have been about two when I first heard music played…

“

Although he lives in San Francisco, where he is a professor at San Francisco State University, Woodward frequently returns to Australia and is committed to performing in regional and rural areas. His contribution to music has been recognised by nations worldwide and at home with the Australian Centenary Medal and Companion of the Order of Australia.

Woodward’s memories of “the Con” are filled with “wonderful people” a genuine love of what was “the place to be” for musicians. He’s just as full of praise for the Sydney Symphony Orchestra of the time, under the direction of Goossens.

“I thought I’d get rid of Sydney in one chapter but… I ended up devoting six chapters to childhood in Sydney and then another nine chapters to student years in Poland. Then I talk about the composers I’ve worked with and other musicians,” said Woodward, adding that the book is so heavy it could be used as a doorstop.

In Beyond Black And White, he documents a rich life’s journey in this part memoir, part manifesto: from boyhood lessons at the piano in Miss Pope’s lounge room, to working with the world’s most celebrated musicians, conductors and orchestras in a career that spans more than fifty years in Europe, China, Japan and the Americas.

From his earliest years in post-war Sydney, Woodward dreamed of a life of music. He was initially under the tutelage of Miss Pope, someone he describes as “probably the best piano teacher I ever had”.

“She made the whole thing a lot of fun… she just transported me into another world,” he said, describing the sitting room that was her classroom and the piano adorned with a jar of jelly beans and a metronome.

Woodward has written the definitive musical autobiography 4

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Woodward studied church music with Kenneth Long in Sydney, and, at the New South Wales State Conservatorium of Music, conducting with Sir Eugene Goossens, piano with Alexander

As a brilliant young artist in the early 1960s Woodward left Sydney to pursue piano studies behind the Iron Curtain, in Poland, at the height of the Cold War. His experiences awakened a profound sense of social justice and a deep appreciation of the relationship between art and revolution that has informed a lifelong dedication to human rights.

It is here that he actually met his wife, Trish, to whom the book is dedicated, and worked with the late Australian composer Richard Meale who had always wanted to write a concerto for him.

“Well he came to Warsaw,” said Woodward, “He’d spend weeks putting things together and I’d be getting really excited with these fantastic looking passages… I’d come back from a concert or from wherever I was, and he’d have thrown the lot in the fire”.

There’s no doubt that classical music fans will be enchanted by the book’s insights into recent and traditional musical masterpieces, as well as Woodward’s perceptive recollections of his collaborations with composers such as Cage, Takemitsu, Radulescu, Xenakis, Barraque, Boulez and Stockhausen.

He tells Simonds of the difficulties of working with Toru Takemitsu while residing in communist Poland.

“I was living in a house outside Warsaw in the sticks, and getting a phone call from Takemitsu connected… was really very difficult,” not only due to the presence of the KGB. “When Toru didn’t like something he’d just go silent and then it was silent for such a long time that you began wondering.

interview. His concert subsequently sold out.

Simonds notes a couple of highlights from A Concerto Collection, namely Rachmaninoff’s Piano Concerto No. 2, with the Sydney Symphony Orchestra conducted by Charles Dutoit; and Xenakis’ Kraanerg, with the Alpha Centauri Ensemble conducted by Woodward.

In regard to Rachmaninoff, he said: “Just because something is very well known and is very popular it doesn’t necessarily mean it’s rubbish as critics very often have us believe.

Well Mr Takemitsu, “what’s all this silence ended up devoting six “Ichapters to childhood

“

in Sydney…

“Then I’d hear a cough and I thought it was him and asked him if he was alright and he said, ‘no, no I didn’t cough’ and I didn’t cough either… but somehow we’d get cut off. So we’d get the phone all connected up again and it would take hours,” said Woodward.

When he was directing the London Music

Digest Series for the BBC, Woodward set up an interview with Takemitsu in an attempt to promote his concert.

When he came on air the announcer asked, “‘Well Mr Takemitsu, what’s all this silence about then?’ It’s just not the right way to go about it,” said Woodward.

“Toru kind of clammed up… and then suddenly this little voice came out, ‘I think music mother of silence, no, maybe grandmother’,” he recalls, adding that’s all Takemitsu said during the CD set worthy of collection In this new collection, ABC Classics presents over seven hours of recordings, many of them never heard before, bringing together seminal interpretations of the Baroque, Classical and Romantic repertoire alongside rare recordings of contemporary works.

The set features leading international conductors including Charles Dutoit, Edo de

“

about then?

Roger Woodward.

“It’s a very well written work and the opening chords, the way he uses them right throughout the whole work organically, it’s quite wonderful”.

Of the latter work Woodward said, “He [Xenakis] wrote me three works which I love very much and still play often. Of all composers, he and Toru I like the most I think”.

For more information on Roger Woodwards’ autobiography and CD box set visit: https://shop.abc.net.au/t/artists/rogerwoodward - Paula Wallace Waart, Diego Masson and David Porcelijn, and Australian orchestras including the Sydney, Adelaide and Queensland Symphony Orchestras.

Tracks include works by Bach, Chopin, Haydyn, Beethoven, Prokofiev, Skryabin, Schoenberg, Rachmaninoff, Xiao-Song, Sitsky, Conyngham and Xenakis.

Marathon could be worth flying south Fine Music 102.5’s sister station in Melbourne, 3MBS, has started a trend with a new milestone in Melbourne’s fine music calendar. In 2013 they attempted all 32 Beethoven Sonatas in a Marathon performance across a full day, the first time this had been attempted in Australia.

This year 3MBS branched out into lieder and chamber music to present a Schubert Marathon, and on February 22, will follow this with a 14-hour Brahms Marathon.

Across seven 2-hour sessions, 50 of Australia’s finest chamber and vocal musicians will perform 45 of Johannes Brahms’ greatest masterpieces, including the gorgeous clarinet quintet, the serene piano Intermezzi, the melodic string sextets, the complex string quartets, the

vivacious piano quintet, the mammoth Handel Variations and Fugue, the Four Serious Songs, the ever-popular first piano quartet, and much more.

Artist include some of Australia’s most beloved classical musicians, including Ian Munro, Kristian Winther, William Hennessy, Kristian Chong, David Griffiths, Wilma Smith, Stefan Cassomenos, Songmakers Australia, Paul Dean, Daniel de Borah, Rebecca Chan, Alex Raineri, SSO’s Tobias Breider, and members of the Melbourne Symphony Orchestra and the Australian Octet.

While they expected that the individual sessions would be popular, 3MBS have been

surprised by the number of people who choose the ‘full immersion’ option to gain a deeper relationship with the composer in question over the course of the nearly 14-hour day. The diehards may be relieved though, that this year’s venue, the stunningly refurbished heritage Hawthorn Town Hall, features padded seats. And with all-day passes starting from $100, and single session tickets start from just $20, it may be worth flying south for the day.

The entire 3MBS Brahms Marathon will be broadcast live on 3MBS. Fine Music 102.5 will also broadcast excerpts, but Brahms fanatics can tune in via 3mbs.org.au.

February 2015

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Sydney Opera House presents

2015 Program highlights Marshall McGuire & Friends Harry Christophers Gabriela Montero Florian Boesch & Malcolm Martineau Australian World Orchestra’s Berlin Trio Zukerman Trio London Haydn Quartet Benjamin Grosvenor

15

Cameron Carpenter

Single Tickets on sale from 2 February Buy 3 or more concerts and save over 20%

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THE SCHURECK COLLECTION

CELEBRATING THE SOUNDS OF EARLY KEYBOARDS

evolving piano became “… thelouder but duller …

“

Another immense advantage of the fortepiano lies in the area of chamber music with piano, the greatest examples of which were also written in the late 18th–late 19th centuries.

Composers wrote these works for the interplay of fortepiano and other (generally string) instruments as they were at the time, not knowing that they would change, let alone in which direction. In the event, the evolving piano became louder but duller as felt-covered hammers replaced leather-covered, while the strings generally became brighter as necks changed and wire strings replaced gut. Raising the piano’s lid to match the strings’ brightness now threatens to overwhelm them with loudness, while lowering the lid to match the strings’ loudness allows them to dominate with brightness, problems which may be insoluble outside the recording studio.

Performances by specialist fortepianists on wellrestored instruments in salon surroundings are not just a case of authenticity for its own sake, but take us very much closer to the original experience, giving us insights we can bring to bear in playing or listening to such music on a modern instrument in a modern context.

With these issues in mind, I decided some 35 years ago to set up a collection of antique western

Keith Power playing a Viennese Franz Marscheck 1823 Upright English grand fortepiano by John Broadwood, London, 1816. Ralph Schureck stands in front of the Broadwood and beside the Grande fortepiano by Matthew and William Stodart, London, 1793. Photo - Elizabeth Barton.

keyboard instruments, originals where possible, copies otherwise, restored where practicable to concert condition. At an acquisition rate of approximately one per year, the collection now numbers 35 instruments. These include: a) 24 original (not replica) fortepianos from 1778 to 1864, comprising English, Austro-German and French grands, uprights and squares, plus two replica 1780 instruments: allowing the entire piano literature from 1768 to 1874 to be performed on appropriate instruments built within 10 years of composition date b) six harpsichords from c.1600 to c.1780, comprising Italian, Flemish, French and English spinets, virginals and harpsichords, all copies: allowing the entire harpsichord literature to 1800 to be performed on appropriate instruments c) three pipe organs, comprising an original English chamber organ c.1800; an original Hill English 2 manual church organ c.1850-1895; and a reproduction Schnitger-Silbermann 3 manual pipe-digital concert organ.

now numbers “ … the collection 35 instruments …

“

The battle to play the secular keyboard music of the great masters before Bach’s sons (around 1770) on harpsichord rather than piano has long since been won. The organ reform movement early last century saw the ousting of the 19th century “Romantic” organ, to be replaced by a return to the “Classical” principles of the 18th and earlier centuries, the era of the organ’s greatest masters.

It is therefore ironic that most of the greatest works of the piano repertoire, from Haydn and Mozart in the late 18th century, to middle-period Liszt and Brahms in the 19th century, are played on instruments which sound quite unlike those for which the music was conceived. The modern pianoforte’s heavier touch, greater loudness, uniformity of tone and tuning stability, required for large modern concert halls, is in turn dictated by the economic considerations of concert-giving. It is little compensation for the loss of the gentler sound, lighter touch, variations in timbre between registers and greater control over articulation which are characteristic of most fortepianos.

As well as their obvious musical significance, many of these instruments have interesting stories to tell. The 1824 Marshick Viennese grand, part of Austro-German World War l reparations to Italy, was discovered serving as a chopping board in the kitchen of a north Italian monastery. The 1793 Stodart English grand, may

have been played by Haydn when he visited the workshop in London the same year. The very rare 1816 Broadwood English upright grand, is one of only three surviving.

In addition to collecting, we have presented an annual series of non-profit subscription concerts on Sunday afternoons since 1987, at the collection’s home at Berowra Heights, New South Wales.

At these events, local and overseas specialists in early keyboard performance present both major and less well-known works from, mainly, the fortepiano literature. These include the complete Beethoven sonatas and all Mozart’s four-hand works, Schubert’s “Trout” Quintet and Schumann’s Piano Quartet and Quintet, as well as less familiar works by Bach’s sons, Sterndale Bennett, Jadin, Alkan and many others. Local musicians who play for us regularly include Tamara-Anna Cislowska, Prof Michael Brimer, Dr Christine Logan and Dr Keith Power. Less regularly we have been able to present overseas specialists such as Bart van Oort (Netherlands) and Richard Marlowe (late Director of Music, Trinity College, Cambridge). We have also presented occasional harpsichord concerts, notably J S Bach’s Goldberg Variations and, most recently, a series of major organ works by Mendelssohn, Schumann, Liszt, Reubke, Wagner and Guilmant.

To receive a copy of the 2015 concert brochure, email elizbarton@bigpond.com or leodent@ bigpond.net.au, or call 9456 2506.

- Ralph J Schureck February 2015

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ORGAN SAVED FROM WATERY GRAVE

DISCOVERING THE WONDERS OF THE BRITANNIC

One of the pioneers of what is now Fine Music 102.5 has played a part in a major musical discovery. It’s an amazing story of a missing organ, a sunken ship, and a treasure trove of early-recorded performances. Andrew Aronowicz spoke with Music Broadcasting Society presenter, programmer and co-founder, David Rumsey, about this amazing find, made near his new home in Basel, Switzerland.

Pipe organs on sea vessels: It’s the sort of fantasy you’d expect from classic adventure stories and Hollywood films (think Jules Verne’s Captain Nemo). But fantasy or not, a grand organ more than two storeys high was built over 100 years ago to be housed in a magnificent luxury ship: the ill-fated Titanic’s younger sister, the Britannic.

trying to save, in a “ We were sense, our culture …

“

The organ wasn’t ready in time for the maiden voyage, and was destined never to grace the ship (the Britannic was commissioned during the First World War as a hospital vessel and was sunk by a mine off the coast of Greece). The organ went missing, only to turn up years later in a museum. Stranger still, one of the people involved in the discovery has a connection with Fine Music 102.5. In fact, he was around when the station first went to air 40 years ago.

The voice of David Rumsey was one of the first to be heard in the broadcasts of the fledging 8

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FM station 2MBS (now Fine Music 102.5). He was also one of the driving forces behind its establishment, which as Rumsey explains, was a pioneering movement: “We were trying to save, in a sense, our culture, our own performers, our own composers, and everybody who had some kind of an interest in broadcasting”.

He has fond memories of listening to the station for the first time: “I was living up in Eastwood at the time”, he says. “And I could just listen for the sake of listening to this beautiful clean reception. I would listen to the station for hours on end in a manner which I would never have done had it been on AM radio.” Rumsey was the regular organist with the Sydney Symphony Orchestra for more than 25 years.

The Britannic organ, like Rumsey, eventually found its home in Switzerland, at the Seewen Museum of Musical Automatons. It’s not your average organ. It’s a player organ, which can play music from paper rolls in a similar way to the player pianos of the early 20th century.

The organ was built by the Welte company (which also made player pianos) based in Freiburg, Germany. It spent time with a camera manufacturer from Stuttgart, and then sat in the reception room of the Radium electric light company, before being acquired by the Seewen museum in 1961. By that stage its history before 1920 had been lost, along with any awareness of its connection to the Britannic.

In 2002, David started digging around in the

something “ I discovered like 1,500 rolls …

“

Music Broadcasting Society presenter, programmer and co-founder, David Rumsey

organ’s roll collection, and unearthed a veritable goldmine of historical treasures. “I discovered something like 1,500 rolls” he says, “very few with duplicate titles, and we discovered we had master rolls. The master roll is the actual roll that the organist recorded onto – organists like Joseph Bonnet, playing their own music”.

It was a very significant find, explains David: “The Germans in Freiburg had made these rolls using their own and France and England’s top organists of the time – we’re talking from 19101912, the very earliest recordings. This opened up something like 1,100 titles of truly historic recordings which were available nowhere else”.

Of course, the biggest surprise was yet to come. Rumsey takes up the story: “The organ builders rang us up on day and said, ‘we’ve found several places on the organ where they’ve either engraved in the woodwork or written on the insides of the wind sheets the word “Britannik” (the German spelling). Could this be the lost organ?’

“My first reaction was to get there as quickly as possible and meet with the museum director.

We furiously started to measure up the deck plans that we had, and to cut a long story short, it fitted.”

Rumsey has since embarked on an ambitious project with the museum, producing recordings of the various rolls from the collection, with some of his own performances too. Earlier this year, a complete set was presented to Fine Music 102.5. The radio station is never far from David Rumsey’s mind: “When I’m getting up for breakfast in Basel in Switzerland”, he says, “I turn on a receiver – it’s a transmitter from Colmar or Strasbourg or somewhere in France, and it’s just the news and various snippets. Its frequency is 102.5 – so it’s a constant reminder of 2MBS -FM. It’s very nice”.

- Andrew Aronowicz (holder of ABC/ Youth Music Australia Music Presentation Fellowship)

David Garrett will present Saved from a watery grave: The Britannic Organ Monday 2 February 1-2pm

IN THE NAME OF SELF-EXPRESSION

KATHRYN SELBY INVITES YOU TO ‘LUNCH’

Kathryn Selby

tastes. I’m very excited to be performing with Timo-Veikko Valve in February. Timo-Veikko is Principal Cellist with the Australian Chamber Orchestra and one of the most versatile musicians of his generation. He has performed as a soloist with all major orchestras in Finland and as a chamber musician the world over.

Together we will be exploring two great works for cello and piano by Beethoven.

I’ve invited Sydney-based Dr V’s Swing Thing back. They were a big hit in their previous performances in the series with their 20-piece jazz band which has performed at festivals around Australia. They will be taking audiences on a voyage of discovery through the different elements of jazz.

to be part “I’m soofproud the series …

“

Kathyryn Selby AM spent a moment recently to reflect on her ninth year as Artistic Director of the A Little Lunch Music series at City Recital Hall which is about to kick off again on 26 February.

Back in 2007 when we began the series, we started by presenting monthly concerts in the foyer. The crowds just got too big to handle in the space, so in 2008 we moved into the concert hall.

The City Recital Hall has always held a special place in my heart. My former piano trio, TRIOZ, was the first ensemble-in-residence there and I also perform regularly with Selby & Friends throughout the year.

I think that art, and particularly self-expression is undervalued in our society. I’m so proud to be part of the series, not just because of the high-calibre of musicians it attracts but because it gives so many people the opportunity to hear the beauty of self-expression at such a reasonable price. The tickets have been kept at $15 for the past four years and it’s truly wonderful to see so many people utilising this opportunity.

The series attracts everyone from retirees and tourists to office workers looking for a peaceful lunch break with a difference at the concerts. They go for 50 minutes so it’s the perfect escape for a lot of city workers.

As Artistic Director over the years, I’ve aimed to showcase a lot more than just classical music, so each season is different. We’ve presented world music, brass ensembles, jazz groups, mandolin stars, vocal ensembles, percussionists, string quartets, opera stars, choirs and orchestras.

People are always interested to hear the artists themselves speak and one of the more popular concerts was in August 2013 when the legendary Richard Gill spoke with me about his life and career.

When I’m selecting the program for the year, I like to start with an overall idea of what I would want to hear myself and tie that in with other people’s availability. We were very lucky recently to have Taryn Fiebig and Margaret Plummer of Opera Australia perform a onehour concert. The hall was packed and when they performed Léo Delibes’ The Flower Duet from Lakmé it was one of those moments that you always remember. Both Taryn and Margaret came out in the foyer afterwards and met with the audience. It was fantastic.

This year with the program I’ve tried once again to cater to a wide variety of audience

2015 is a big year for my dear friends, the Goldner String Quartet who are celebrating their 20th anniversary. They made their debut at the Wigmore Hall in London and have performed at a range of prestigious venues around the world. Their live recordings of the complete Beethoven String Quartet Cycle won the 2009 Limelight Award for Best classical Recording.

September audiences are in for a treat when The Song Company takes to the stage. Celebrating 30 years, they are pioneers in a-cappella singing in Australia with a wide and varied repertoire.

Karin Schaupp and Claire Edwardes join us later in the year for an all-Australian tribute

to works for guitar and percussion. We have always sought to engage audiences with music by contemporary Australian composers in the series of A Little Lunch Music, having invited Matthew Hindson, Nigel Westlake and Andrew Ford to name just a few. What a delight to be able to welcome these two incredibly talented ladies back in 2015.

I have been delighted with the enormous support given to the series over the years.

It has meant the continuation of a brilliant range of concerts by gifted artists across the spectrum of genres at an iconic Sydney venue.

Thank you for this support and I do hope you will come along this year and enjoy some lunchtime specialties with us.

A Little Lunch Music program is back in 2015, showcasing some of Sydney’s finest musicians for a perfect lunch time break of 50 minutes. For only $15, enjoy a variation of world-class performances of the highest calibre in the heart of Sydney’s CBD. The first performance in the series, on 26 February, features Timo-Veikko Valve (Principal Cello, Australian Chamber Orchestra) and Kathryn Selby in an exploration of two great works for cello and piano by Beethoven.

February 2015

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Haydn String Quartet in C major op 76 no 3, Emperor Ross Edwards Gallipoli* (World Premiere performances) Shostakovich String Quartet no 3 in F major, op 73 Liszt Angelus!

With guest artist Wilma Smith, violin I

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or call 1800 040 444 for more information

*Commissioned by the Ian Potter Cultural Trust to commemorate the 100th Anniversary of ANZAC MAJOR SPONSOR

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MUSICA VIVA CELEBRATES BAROQUE IN CONVERSATION WITH JEANNE LAMON

Jeanne Lamon. Photo – Sian Richards

FM: How would you describe your experience of directing House of Dreams, specifically its intertextuality?

JL: The beauty of a program such as the House of Dreams is exactly that it is multidisciplinary.

The visual elements (art and architecture) inform the music as much as the other way around and the narration adds depth to it all.

Of course, the music is the primary thing as always. But as a leader, I find it is important in a show like this to remind people in the orchestra from time to time that, because the show is so visual, we have to remain extremely aware of our movements, the direction of our gaze, how we are moving, etc. much more than musicians... especially classical ones...usually do.

FM: What kind of experience can the audience expect from House of Dreams?

JL: I have spent most of my life playing baroque music and yet, seeing the paintings in the House of Dreams while playing music I know and love has added a great deal to my understanding of that music. For example, seeing a Canaletto painting of the Grand Canal in Venice really makes Vivaldi’s music come to life in a new and perfectly appropriate way. The art has a musical context and the music has a visual one, and they just make so much sense together. If I could put this into words, there would be little need for the music, and I would be a writer instead of a musician.

FM: In terms of the music, can you give us some insight into the choices and inspiration around this aspect of House of Dreams?

JL: House of Dreams is the invention of our brilliant double-bass player, Alison Mackay. She chose the music and art and she wrote the text

The Baroque era comes alive in Tafelmusik’s House of Dreams - an exploration of music, art and drama – coming to Sydney on 23 February and 1 March.

In these concerts, the music is provided by the period instruments of the renowned Tafelmusik Baroque Orchestra. Accompanied by images from London, Paris, Delft, Leipzig and Venice, House of Dreams draws us into the very buildings where the great composers and their patrons once walked, played, and listened, and includes detailed projections of the nowfamous paintings that they would have known when new.

Fine Music Magazine caught up with Music Director Jeanne Lamon: FM: Jeanne, we understand this will be your last tour with Tafelmusik to Australia? We were hoping you could offer us some reflections on your work with the group.

JL: Never say never! It is quite likely but not at all definite that this will be my last tour with Tafelmusik to Australia. I hope it won’t be, because it’s just about my favourite place on earth. Last time we were there, it was with The Galileo Project which is largely about astronomy. Wherever we have performed that program, which is basically all around the globe by now, astronomers come out of the woodwork. But the Australian ones were the most amazing of all, setting up telescopes and showing us how different the southern hemisphere skies look from our northern ones. House of Dreams. Photo – Glenn Davidson

that the actor speaks. I would not want to say why she chose what. But I do know that the art and music are very carefully interwoven and always correspond perfectly in time and place to one another. There are five houses featured in this concert, houses where music and art were important.

FM: You have announced you will be stepping down as full time music director of Tafelmusik after many years. What have some of the highlights been for you?

JL: For sure, The Galileo Project and our first tour to Australia will always be a highlight for me.

Some of the amazing historical places where we have performed, especially in Europe, are indelibly etched into my memory. For example, we have performed Haydn symphonies in the room where they were first played. We have played Bach in the Thomaskirche in Leipzig where he worked and is buried (and lived next door).

We have had the opportunity to work with some of the greatest artists of our generation.

FM: Where to from here? Are there new frontiers in baroque to be forged, or perhaps a new direction?

JL: It is time for me to hand over the reins to the next director (who has not yet been named) and to let him or her speak to that. I am very optimistic about the future of Tafelmusik in particular and of early music in general. I am quite passionate about teaching the next generation of musicians, which I do at the University of Toronto and through Tafelmusik’s artist training programs, and I can guarantee you that there is enormous talent out there.

The future of baroque performance is in good hands.

February 2015

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February 2015

A KEY FIGURE IN COMMUNITY BROADCASTING NEIL RUNCIE: PIONEER OF FM IN AUSTRALIA technical knowledge of FM, and even interest from makers and sellers of FM transmitting and receiving equipment.

About ten years later than the Listeners’ Society, another group of music and FM enthusiasts gathered around Trevor Jarvie in Sydney. The Music Broadcasting Society of NSW was formed in March 1970. Abandoning Chemistry postgraduate studies in Melbourne, Jarvie had returned to Sydney. Teaching him English at the University of Sydney was Runcie’s wife, Dr. Catherine Runcie. Aware of their interest in common, she put the two men in touch.

In the December issue of Fine Music Magazine, Elizabeth Barton reminisced about some founders of Fine Music 102.5 she has known. Now we fill in her sketch of Neil Runcie, Foundation Chairman of the Music Broadcasting Society when its station became the first in Australia licensed to go to air in FM. Historian David Garrett re-visits Runcie’s significant contribution.

Runcie was Chairman from just before the granting of a licence until 2MBS was up and running, broadcasting in stereo, with growing subscriber support, publishing a monthly program guide, and seeking better premises. A sound constitution assured its future. His successor Philip Weate wrote in May 1975 that Runcie’s role was critical, not just for MBS, but for the development of community broadcasting in Australia. Runcie’s “understanding of the legal proprieties and financial complexity” contributed to “a quite unexpected sophistication of development and outlook”, he wrote.

Runcie began to lobby for a superior radio medium earlier than most MBS founders. In 1961, when the ABC’s experimental FM stations were closed down, Neil Runcie was one of the founders of the Listeners’ Society, advocating better broadcasting in Australia. He and friend and co-founder Murray Low, postgraduate students together in London, had experienced FM introduced by the BBC in the mid-1950s, and its superiority for music. The Society attracted music and hi fi enthusiasts, those with

“

Runcie began to lobby for a superior radio medium…

“

Neil Runcie circa 1967

Jarvie was present at the creation of the Music Broadcasting Society of Victoria. Brian Cabena, its founder, was the first in Australia to advocate, in 1967, for a listener-owned, fine music only radio station in Australia. Cabena, an engineer and builder of transmitters, was well placed to take advantage of an opening for FM, but Sydney beat Melbourne to it.

In 1974, Australia’s government was changing its mind, rather rapidly. Senator James McLelland was a key convert, as chair of the Senate subcommittee that instigated the McLean inquiry.

This recommended FM should be introduced, and in the VHF, rather than the UHF band.

It endorsed the submission from the MBS technical and broadcasting experts (Max Benyon, Grahame Wilson and Graham Tait among them) and contradicted the advice of the government’s advisers. Runcie and others were lobbying government as well.

membership, marketing, finance, corporate structure and governance. Runcie found the meeting receptive to the idea that the appropriate form of governance was a cooperative - one vote per shareholder - ensuring democratic participation in a volunteer-based society. He played a major part in writing the constitution, conforming to the guidelines for cooperative societies.

One model was the credit unions Runcie had studied as part of his doctorate, bringing practical experience also, as founder, for example, of his university’s Staff Credit Union. Many other causes made demands on his leadership, notably resident action groups, beginning in 1969 when the Centennial Parklands and nearby residences including the Runcie’s and Patrick White’s were threatened by a proposed Olympic Games precinct. Runcie became a leader in the Coalition of NSW Resident Action Groups that tackled many environmental problems.

Professor Neil Runcie has always seen 2MBS as part of a wider community broadcasting movement. He was frustrated that MBS never succeeded (until digital and streaming) in transmitting statewide. This scope was achieved by Radio for the Print Handicapped, also under Neil Runcie’s leadership. When he and I spoke in December, he was anxious about rumored commercialisation of the low-powered radio sector, and eager for MBS lessons to be understood by decision makers. In his 87th year, Neil Runcie still shows energetic insight, his legacy to Fine Music 102.5 from its infancy. - David Garrett

On 24 August the Chairman of the Broadcasting Control Board phoned Jarvie asking whether MBS could go to air if a licence was offered, adding “you wouldn’t want any money, would you?”

Knowing 3MBS would have a licence too, the 2MBS technical team, having built two very low-power transmitters, speeded up the enhancement of one of them to high power, working night and day. Begun with only $300 in hand, their transmitter was ready in time to make the first broadcast, on December 15.

Lobby groups united as a planning and operational unit. Runcie recalls a crucial daylong meeting, ‘the Kensington Conference’, on September 21, called in his staff common room at the Commerce Faculty of the University of NSW. Function groups planned 2MBS-FM’s technical and studio design, programming,

Neil and Catherine Runcie February 2015

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FLASHBACK WITH DEREK PARKER AN ADVICE COLUMN FOR HEROINES It has been noticed that the heroines of opera almost always come to a bad end. Fine Music wonders whether an agony aunt might be of assistance.

must have been trying to your nerves, and a few years’ restful sleep on top of a mountain in a comfortable suit of armour will be most calming. As for your romantic life, don’t worry - Mr Right will come along, mark my words, and provided that your horse does not trample him on the way up the hill you should both look forward to comfortable domestic evenings by a nice warm fire.

dad comes into your room uninvited while you are dancing to The Vamps, politely ask him to leave. Your affair with the young clergyman needs careful consideration. A tomb is not the most cheerful of places for your meetings – and while enjoyable flirtation is one thing, the notion to have his head served up on a platter is quite another. Have you considered that your relationship might suffer as a result?

Susan Bullock plays Brunnhilde

Cio-Cio-San (Nagasaki) - When your American boy-friend asked you if you were ‘knocked up’ you might perhaps have realised that far from being a lieutenant in the U.S. Navy, he was actually a stoker on a Siberian cattle-boat, having lost its way en route to Montevideo. Prince Yamadori is clearly a much better catch; accept his offer before it’s too late. Your nice uncle, Mr Bonze, sounds just the right person to deal with ‘Lieutenant’ Pinkerton – do not hesitate to lend him your father’s sword, but handle it carefully yourself – these things can give you a nasty cut.

Emma Matthews plays Violetta

Violetta (Paris) – You are worried about your boy-friend Alfredo, who you say is jealous and addicted to the pokies. But is your own friendship with Baron Douphol entirely innocent? And haven’t you been seen to enjoy the occasional flutter? You seem to have had a number of close male friends over the years, and I am not surprised that Alfredo’s dad is concerned. Have you thought of leaving the city for a quiet life in the country? Do think about it, my dear – such an adventurous life as yours can only end in tears. Incidentally, I am sorry to hear about your sore throat – Nettleton’s Throat Pastilles might help.

Don José (Seville) – I do not usual respond to male correspondents, but my conscience will not allow me to ignore your plea for advice.

Take it from me, this girl of whom you speak (I note she is a heavy smoker) can only bring trouble to a young serviceman, and you are better off without her. Your Captain was right to interfere (though it sounds as though Miss Carmen is not exactly a stranger to him). As for her other friend, the bull-fighter, his hobby may rapidly remove him from the scene. Do not take this as an invitation to renew your friendship with your ex-girlfriend. – I cannot advise you to rely on the result of her friend Mercedes’ reading of the tea-leaves.

Brunnhilde (Valhalla) – Take it from me, dear, your Dad knows best! You may yearn for your days in the saddle with your friends (though they sound me to me, frankly, to have been a noisy and raucous lot), but the revelations of your complicated intimate family history 14

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Elsa (Norway) – Go on spinning happily with your friends, my dear, and be content with boy-friend Eric. Believe me a young man who comes home almost every day with a nice joint of elk for the oven is worth ten mysterious sea captains who you can quite literally see through. Moreover, his close friendship with your father captain suggests undue influence.

Be happy with what you’ve got. As to the noisy poltergeists singing and dancing down on the quayside, I should write a strong letter to the Noise Abatement Society.

Cheryl Barker plays Salome

Salome (Judea) – You say your father is ‘very fond of you’ but that your mother ‘does not understand you’. I often hear this from my young girl correspondents. Next time your

Jennifer Wilson plays Princess Turandot

Princess Turandot (China) – I am sorry to say it, but you are a very silly Princess. Being royal does not entitle you to prolong stupid Christmas games throughout the year, and while asking people to guess your ‘real’ name may be amusing, the fact that a number of young men who failed to guess the answer have come to a sticky end suggests that you are not telling me the truth about the ‘prizes’ you offer them for taking part. Your dad should have put his imperial foot down some time ago (at 101, is he a trifle elderly? Should you perhaps think of a retirement home?) This new young man, Calaf, sounds a dish. You might think of slipping him a note with the answer to the riddle – this would put a stop to a joke which in my view you have taken too far.

Contemporary Conductors Sir Simon Rattle A recent cartoon depicts an overbearing conductor berating a soloist clutching a violin.

“It’s all right for you,” says the conductor. “You come from a wealthy family who bought you that Stradivarius. All my family could afford was this baton!” Although slightly exaggerated, that sums up Simon Rattle’s early life as a musician.

Born in Liverpool, England in 1955 to Pauline and Dennis Rattle, a Commander in the Royal Navy, Simon Rattle studied piano and violin initially but his formative years were spent as a percussionist with various orchestras. He enrolled at the Royal Academy of Music at 16 and graduated within three years having won the John Player Conducting Competition.

His love of Gustav Mahler’s music and the subsequent conducting of his Second Symphony, while still a student, brought him to the attention of music agents Harold Holt (now Askonas Holt) who still manages his musical career. Subsequently, Rattle went to Oxford to study English Language and Literature.

There followed a series of guest conducting stints both in the USA and England before Rattle was appointed principal conductor and music director of the City of Birmingham Symphony Orchestra (CBSO). That was in 1980 and he remained with them until 1998. Rattle has always believed in long partnerships with orchestras - it enables him to have some form of musical influence in the education of both the orchestra players and the audiences they perform for.

While with the CBSO, he was instrumental in performing a series of 20th century concerts entitled Towards the Millennium. In 1991, he was the motivating force in moving the orchestra from the Birmingham Town Hall to the newly built Symphony Hall. From an orchestra with indifferent characteristics he built its reputation and repertoire to one where it rivalled the best in the world. Plus, most importantly, it garnered recording contracts from EMI. Rattle joined the Berlin Philharmonic Orchestra (BPO) on a full-time basis (he had guestconducted before) in 2002. The following extract is from the BPO home page: “When Claudio Abbado announced his resignation as principal conductor in 1998, he presented the Berliner Philharmoniker with a major challenge, namely to find a personality to get the orchestra ready for the 21st century.

Simon Rattle

With Sir Simon Rattle…..the musicians got themselves a leader who started off with the objective of forming the Philharmoniker into a quintessentially European orchestra”.

What the extract does not mention is that the decision came after a close-run race between Rattle and Daniel Barenboim and what probably swung the vote in Rattle’s favour was that he was contracted to EMI and therefore a source of immediate revenue for the orchestra players.

Once selected Rattle soon began implementing the youth program he had successfully instilled in the Birmingham musical scene. There, in an effort to make school children aware of their musical heritage, he had twice tried to gain the record for the World’s Largest Orchestra. A first attempt was unsuccessful, but he managed to wrest the record in 1998 with 4,000 musicians.

In Berlin he got on-side with the BPO musicians by ensuring they got fair payment for their efforts and also ensuring that the orchestra was free from the interference of politics that had blighted previous administrations.

In 1994, Rattle was knighted by Queen Elizabeth; in 2008 he was awarded the Order of Merit of the Federal Republic of Germany and in 2010 received a knighthood in the French Legion of Honour.

Musically, Rattle’s recording of Brahms’s Ein duetsches Requiem with the BPO received the Choral Performance Grammy award in 2008. He has received two further Grammy Awards – for

recordings of Stravinsky’s Symphony of Psalms (2007) and Mahler’s unfinished Symphony No. 10 (2000). He was also voted into the inaugural Gramophone Hall of Fame in 2012.

Rattle’s repertoire tends to be varied with particular emphasis on interpretations of late 19th and early 20th century works. His recording of Mahler’s Second Symphony has garnered several awards and is reputed to be one of his finest. His acclaimed recording of Gershwin’s Porgy and Bess in 1989 was used as the soundtrack for the 1993 television production of the same opera.

In January 2013 Rattle announced he would leave the BPO in 2018. “I will be nearly 64 years old”, he is reported as saying. “As a Liverpool boy, it is impossible not to think of the Beatle’s question….will you still need me when I’m 64?”

Rumour has it he is slated to take up the vacancy at the London Symphony Orchestra (which he conducted at the 2012 London Olympics …with Mr Bean) when Valery Gergiev leaves.

On a personal note, Rattle has been married three times and has a total of five children.

His current wife is the Czech mezzo-soprano Magdalena Kozena who is 18 years his junior.

Oh, and he supports the Liverpool Football club…ah well, you can’t be perfect all the time.

- Randolph Magri-Overend February 2015

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What’s On ORCHESTRAL TAFELMUSIK’s HOUSE OF DREAMS Monday 23 February 7pm, Sunday 1 March 2pm City Recital Hall, Angel Place Tickets: $86-$123 Bookings: 1800 688 482 www.musicaviva.com.au The Baroque era comes alive in Tafelmusik’s House of Dreams, a stunning exploration of music, art and drama coming to Sydney for Musica Viva.

Alison Mackay (creator of The Galileo Project) has woven together a magical journey that allows audiences to step into the world of Bach and Vivaldi by imaginatively ‘visiting’ five historic European houses. On the walls hung works by Vermeer, Canaletto and Watteau; the airy rooms rang to the sounds of the finest composers and performers.

In these concerts, the music is provided by the period instruments of the renowned Tafelmusik Baroque Orchestra.

Accompanied by images from London, Paris, Delft, Leipzig and Venice, House of Dreams draws us into the very buildings where the great composers and their patrons once walked, played, and listened, and includes detailed projections of the now-famous paintings that they would have known when new.

Narrator Blair Williams is the tour guide, leading us through the hallways and salons, sharing stories of the people who lived, worked and dreamed in these remarkable homes.

To read an interview with Music Director Jeanne Lamon turn to page 11.

CHAMBER AUSTRALIAN STRING QUARTET PROGRAM 1 – REMEMBER TOMORROW Sunday 7 March 7pm City Recital Hall, Angel Place Tickets: $30-$76 Bookings: 8256 2222 www.tickets.cityrecitalhall.com The Australian String Quartet begins its 30th Anniversary year with an homage to the past and a view to the future. In 1985, the ASQ’s first public concert opened, as this one does, with Haydn’s powerful Emperor Quartet. The 16

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CHAMBER OMEGA ENSEMBLE MENDELSSOHN’S QUINTET – MASTER SERIES Sunday 22 February 2.30pm Sydney Opera House, Utzon Room Tickets: $29-69 Bookings: 9250 7777 www.omegaensemble.com.au Composed when Mendelssohn was only 36, two years before his death, the Viola Quintet utilises two violas, amongst two violins and a cello, creating a surprisingly rich combination.

The Quintet, which begins with a huge Allegro vivace sonata, the longest movement of the four, has many of Mendelssohn’s trademarks and can be described as exuberant, brilliant, and even heroic, especially in the soaring and virtuosic violin part. Mendelssohn crafts a drama of great passion, driven by characteristic tremolos, a nearly concertante

first violin part and the swelling textures of string symphony.

Weber’s dazzling Clarinet Quintet is paired with a beautiful arrangement by Arthur Benjamin of the Cimarosa Oboe Concerto in C for String Quintet and Clarinet. Enjoy a Sunday afternoon concert with spectacular harbour views from the beautiful Utzon Room at the Sydney Opera House.

Musicians: Huy-Nguyen Bui (violin), Airena Nakamura (violin), James Wannan (viola), Ewan Foster (viola), Paul Stender (cello), Alex Henery (double bass), David Rowden (clarinet).

CONTEMPORARY CLASSICAL LUDOVICO EINAUDI WITH THE AUSTRALIAN OPERA & BALLET ORCHESTRA – MUSIC AT THE HOUSE Sunday 8 February 8pm Sydney Opera House, Concert Hall Tickets: $55.20-$90 Bookings: 9250 7777 www.sydneyoperahouse.com In a whirlwind third chapter following his specially commissioned Australian debut for GRAPHIC festival and this year’s sold-out In A Time Lapse tour, Italy’s record-breaking piano genius returns to the Concert Hall for an exclusive careerspanning collaboration with 19 players from the Australian Opera and Ballet Orchestra.

Toeing a contemporary-classical tightrope, the 58-year-old maestro has shattered traditional boundaries with a staggering nine consecutive number one singles on the iTunes charts.

Seeping into pop culture folklore through his contribution to films including the Academy Award-winning Black Swan, The Intouchables

and Clint Eastwood’s J. Edgar, Einaudi’s classical training belies a childhood raised on J.S. Bach and John Lennon in equal measure. The composer’s wistful piano melodies and rippling electronics have resulted in one of the most diverse audiences in the world.

Stripping back from his powerful band to explore the soaring scale of an orchestra, Einaudi will step foot on the Opera House stage once again to guide audiences through a repertoire of stark simplicity through to full cinematic glory.

work has been so celebrated that the theme of the variation movement became the Austrian Imperial Anthem, then from 1922, the German National Anthem.

Another landmark in 2015 is the centenary of the ANZAC landing in Gallipoli and Australia’s involvement in world conflict and resolution.

For this occasion, an evocative and moving work titled Gallipoli has been commissioned from one of Australia’s best-known composers, Ross Edwards, by the Ian Potter Cultural Trust.

This event will host its world-wide premiere.

Shostakovich’s String Quartet no 3 was written in response to the Second World War.

The five movement quartet was the only work he completed in 1946. It is full of emotion and questioning – with despair yet passionate hopes for a better future.

CHAMBER AUSTRALIAN CHAMBER ORCHESTRA THE FOUR SEASONS Sydney (City Recital Hall): 10, 11, 13 & 21 February Sydney (Opera House): 15, 17 February Wollongong (Town Hall): 18 February Newcastle (City Hall): 19 February Bookings: for details www.aco.com.au The ACO starts its 40th anniversary year playing what is probably the most-loved, most-played, and most-recorded concerto of all time: Vivaldi’s Four Seasons. It has undergone many reincarnations since it was first played by the talented orphans of the Ospedale della Pietà in ORCHESTRAL SYDNEY SYMPHONY ORCHESTRA DISCOVER BEETHOVEN & BEETHOVEN NINE Symphony No.2: Tuesday 24 February 6.30pm (City Recital Hall, Angel Place) Roberton’s Season Opening Gala: 27-28 February 8pm, 1 March 2pm (Sydney Opera House) Bookings: for details www.sydneysymphony.com When Beethoven composed his Second Symphony, says conductor Richard Gill, he was really hitting his stride. He made a huge leap from the style of his first symphony to enter a whole new world of music. Yes, he was writing a symphony in the Classical style, but this was a symphony full of fantasy and imagination and nothing was taken for granted.

The SSO also celebrates the beginning of the 2015 season with Beethoven’s Ninth.

David Robertson has come up with a dramatic and emotionally moving program.

The finale in Beethoven’s Ninth Symphony sings of a universal brotherhood of man. It’s the revolutionary creation of a man with an optimistic vision of human potential.

That compassion for humanity emerges in the two very different companion pieces. Hear it in the pity inspired by Berg’s wrenching interpretation of a real-life tragedy (which Beethoven would surely have known). Hear it in Bruckner’s simple Christian conviction, soaring on the wings of unaccompanied voices.

18th-century Venice. In our day, the concertos have eclipsed most every other instrumental work of the Baroque era in popularity, and are crowned as cultural icons.

Now, Richard Tognetti and AustralianEgyptian oud virtuoso, Joseph Tawadros, bring their own blend of musical alchemy to this program, reminding us that Venice is barely a day’s sail from Cairo.

Tognetti explores musical connections between East and West, pairing Vivaldi’s Baroque masterpiece with original compositions by Tawadros including selections from Permission to Evaporate, and original works exploring the crossroads of oud and string orchestra.

JAZZ VINCE JONES: ‘MY FUNNY VALENTINE’ Friday 13 February 7pm The Basement Tickets: $39.90-$89.90 Bookings: www.thebasement.com.au or MOSHTIX 1300 438 849 ORCHESTRAL AUSTRALIAN BRANDENBERG ORCHESTRA SERIES 1 HANDEL: HEAVEN AND HARMONY 25, 27-28 February & 4, 6 March City Recital Hall, Angel Place Tickets: $20-$166 Bookings: 8256 2222 https://tickets.cityrecitalhall.com/ Handel’s triumphant Arrival of the Queen of Sheba also heralds the arrival, for the first time in Australia, of two of the most exciting young singers working in the world today.

Portuguese tenor Fernando Guimarães’ skill as an actor brings a rare dramatic realism to Handel’s seldom heard, but glorious cantata Look down, harmonious Saint. Guimarães’ total command of the stage is underpinned by a formidable technique, and a searching, academic mind.

To hear the masterful Ode for Saint Cecilia’s

“Playing an old warhorse such as Vivaldi’s Four Seasons is about contextualising – I feel strongly that there are direct influences that the Venetian composers had from the Middle-East: Africa through the Arabian Peninsula,” said Tognetti.

It’s been a year since Vince Jones graced the renowned stage of The Basement in Sydney.

As a jazz vocalist, he’s a remarkable interpreter and composer of songs in a contemporary style.

Jones resists showing off technique to the detriment of feel - he’s confident in his musical literacy and sings like there’s nothing to prove.

A brief, thoughtful trumpet solo from Vince Jones is worth a hundred notes played with less discretion.

Vince brings his first-rate band and one off My Funny Valentine set curated especially for Valentines Eve 2015, to The Basement for one show only.

Guest support is singer/guitarist Milan, who effortlessly blends soul, jazz , electro beats and laid back, hip-hop tinged pop with sweet melting vocals. In a word - hypnotic.

Features Vince Jones (trumpet and vocals), Matt McMahon (piano) and James Muller (guitar).

Day in its entirety is to experience exactly what music meant to Handel. Taken from a text by the poet John Dryden, it celebrates music as the central force in the creation of the world. Argentine soprano Mariana Flores’ clear toned authority and sensual edge will take this ravishing showcase for soprano voice, orchestra and choir to new heights.

And finally, the distinct and contrasting sounds of these two very special singers are brought together in the love duet Tra amplessi innocenti (Only amid innocent embraces), from the opera Cecilia.

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CD Reviews

TENORE Jonathan Antoine, tenor Latvian National Opera O/Lyric Strings/ Julian Reynolds Sony 88843085372

✶✶✶✶ RIVAL QUEENS Vivica Genaux (mezzo-soprano) and Simone Kermes (soprano) Capella Gabetta/Andres Gabetta Sony Musical

✶✶✶✶ The story goes that on June 6, 1727 prima-donnas Francesca Cuzzoni and Faustina Bordoni traded insults on the stage of London’s King’s Theatre.

Did the incident really happen? Who knows?

But rumours of the legendary tiff still persist and to add more fuel to the fire, current primadonnas Vivica Genaux and Simone Kermes re-ignite memories of that operatic duel by singing some of the arias the original singers would have sung in their heydays. Hitherto unrecorded arias and duets (12 of the 15 tracks)

Here’s a 19 year-old (yes, I had to re-check my calculations…he was born in 1995) from Essex, England who rose to fame after appearing on Britain’s Got Talent in 2012 as one half of the classical duo Jonathan and Charlotte. They lost out to the dancing dog act of ‘Ashleigh and Pudsey’. Antoine has since gone solo and this is his latest album. So what can one say about a teenager with a big voice who is on the verge of a potentially lucrative career in the music business? Well, first thing is to advise Antoine not to be pushed around by producers who want to exploit his talent by supplying material to sing which will eventually profit them and not him. His voice is still very much in the puppy stage and needs to be nurtured. by the likes of Handel, Giacomelli, Sarro and many others who may have witnessed that squabble are sung here. The composer with the biggest contribution on this CD is Johan Adolf Hasse (1699-1783) who oddly enough married Bordoni in 1730. Bordoni herself thrived in the theatre until her retirement in 1751. Cuzzoni’s lavish lifestyle, alas, was her undoing and after two spells in debtors’ prison she eked out a living sewing buttons in Bologna. But what of this album? It is unique, of course, in that so much unrecorded music is being heard for the first time. But apart from that, it is a very well-balanced compilation of Baroque arias and duets with two great exponents in Genaux and Kermes vying for the limelight with their exceptionally polished

MADAMA BUTTERFLY (DVD) Hiromi Omura, Georgy Vasiliev; Opera Australia ABC Classics 0762903

✶✶✶✶✶ There’s an obvious tendency to regard a video recording of the 2014 production of Madama Butterfly on Sydney Harbour as in the main a souvenir of an occasion memorable to those who attended it; and this video is certainly that. But it is more. The presence of the sea, the sky twinkling with the stars to which the lovers refer, and the apprehension of just the kind of environmental vandalism to which Àlex Ollé’s production refers, gives the show an edge that richly underlays the 18

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Examples of this learning stage of his career are evident in some of the choices on this CD. He has a lyrical mezza-voce which he uses to advantage in all his songs and his high notes are those of a mature singer. The problem is that he has been encouraged to use this maturity (and they are splendid notes) far too often – to the point that in some cases they appear where they shouldn’t. ‘Be My Love’ is a case in point. Otherwise, Antoine does well. A good first album and I look forward to reviewing more of his albums.

- Randolph Magri-Overend

voices. If one has to pick a voice, it would have to be Kermes’ precise coloratura and pin-point notes. But it is a delightful album even though one of the arias lasts a marathon 10 minutes.

- Fulton Myers

splendid central performance of Hiromi Omura. Her Cio-Cio- San is already on video in an ‘indoor’ Opera Australia production, but Ollé gives her a greater opportunity to augment the role with memorable pathos. The costume designer, Llue Castells, deserves particular praise. Georgy Vasiliev plays Mr (not, for some reason, Lieutenant) Pinkerton with well-disguised caddishness and a fine, ringing voice, and Anna Yun and Michael Honeyman display the decency and humanity which throw his behaviour into shocking relief. A splendid achievement, excellently recorded.

- Derek Parker

CD Reviews

DVORAK: CELLO CONCERTOS Steven Isserlis Mahler Chamber Orchestra Daniel Harding (conductor) Hyperion CDA67917

✶✶✶✶✶ TIGERS AND TEAPOTS Songs for children conducted by David Banney www.tigersandteapots.com.au

✶✶✶✶✶ This is a beautiful collection of children’s songs from England, America, Australia and translations of folk songs from abroad.

Featuring the Waratah Girls Choir and Christ Church Camerata, each song is a bite-sized 30 seconds, a memorable verse of sung melody, with a delectable orchestral accompaniment.

David Banney’s colourful arrangement feature some haunting renditions of old favourites (Hot Cross Buns) as well as add some of his own cheeky arrangements and compositions

Mozart Arranged Four Piano Sonatas; Clarinet Quintet and other chamber works ABC 481 0853

✶✶✶✶

Not only is it a superb recording by one of the world’s leading cellists, this release is also a study in the genesis and metamorphosis of the great B minor Concerto (1894-95). Isserlis also details the remarkable and somewhat disputed origins and editorial transformations the work has undergone. Isserlis’ playing of this landmark work is characteristically lyrical, dramatic and passionate. His connection with the soul of the work clearly is evident.

The inclusion of two additional tracks in relation to this work underpins its historical development. A song, Lasst mich allein (orchestrated) appears separately, so as to provide the listener with the very musical quotation found to have influenced the second and third movements. As well, an

additional track provides Dvorak’s original ending to the concerto. Along with Isserlis’s insightful notes, the listener can hear the work with a refreshingly new understanding of its evolution. Pleasingly, an earlier work, the A major Concerto (1865) is included on this disc. Neglected as an early and immature work by Dvorak, it survived as a cello and piano score only, and was later orchestrated.

The re-working of this concerto (by Gunter Raphael) shows a developing compositional style, and whilst not quite the masterpiece as the B minor concerto, it is full of beautiful melodies and fresh rustic spirit.

- Barry Walmsley

into the mix such as Cockatoo. The girls choir and soloists have light, airy voices, and also, fantastic diction! It would be easy for children to quickly memorise and sing along.

Sometimes in songs like Old Mcdonald, I wished for there to be the other verses with the other animals (only the cow is mentioned) but in the interests of keeping each song at about 30 seconds, Banney does a superb job of re-creating these childhood songs into an album that we, at all ages, can get to know and love. The CD also features beautiful artwork by children’s book writer and illustrator Liz Anelli.

- Chloe Chung

Not sure what to make of this double CD, I must admit it was with some trepidation that I listened sheepishly without being immediately dismissive of such a venture.

Glad that I did persevere, as the recording was addictive, possibly as Mozart’s music is so inherently infectious that one can never get enough. Included are three famous chamber works (Grand Sextet Concertante, Clarinet Quintet and Horn Quintet) arranged anonymously in the 19th century, and recorded here by the Australia Ensemble (string sextet) with fine intuition of the original nuances. But more provocative, perhaps, are the arrangements

by Edvard Grieg of selected piano solo works of Mozart, arranged for two pianos.

Originally for pedagogical purposes only, these arrangements have seen the light of

day owing to their inherently interesting and mostly good taste. But more than that, they show an insight into the nineteenth century pianistic mind. Whilst the original Mozart score remains intact, the secondo part sees a complete addition of new material by Grieg, making the writing sound orchestral, and at times even organ-like. Performed by Julie Adam and Daniel Herscovitch, the duo retains all the sublety and elegance required, and present a very good case for this music to be heard again. Adam & Herscovitch’s performance of these Grieg arrangements will surprise and delight the listener. So, purists, be brave.

- BW

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JAZZ CD REVIEWS Discourse with Kevin Jones

FROM SASSY TO DIVINE: THE SARAH VAUGHAN PROJECT Ann Hampton Calloway Shanachie SHA5420

✶✶✶✶✶ Ann Hampton Calloway’s voice may not have the fullness and body of Sarah Vaughan but she shows what a consummate performer she is in exploring the jazz diva’s legacy, rekindling her spirit without imitating her, in this exceptional album recorded live at Jazz At The Lincoln Centre’s Dizzy’s Club CocaCola in New York in May, 2013. Since the 1980’s Calloway has transformed herself from a piano bar and cabaret artist into a jazz acolyte with a set of prodigious pipes that are rich, flexible and, dare I say it, gorgeous. In fact I found this tribute to Vaughan more satisfying than those

UNDERCURRENT Bill Evans and Jim Hall Poll Winners PWR 27307

✶✶✶✶✶ ELLA FITZGERALD AT THE OPERA HOUSE Essential Jazz Albums EJA034

✶✶✶✶✶ After reading a glowing review in a 1958 issue of Down Beat by Dom Cerulli, the magazine’s New York editor at the time, this album, became an essential purchase for me as a teenager. It was the first Ella Fitzgerald album I ever bought and hereby hangs a tale. Like Cerulli, the many who purchased the live disc in which Ella was backed by Oscar Peterson, Ray Brown and Jo Jones, believed it had been recorded at a Jazz At The Philharmonic concert at the Chicago Opera House on September 29, 1957; actually it was recorded at the Shrine Auditorium in Los Angeles eight days later. Norman Granz had the 20

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recorded in the past by Carmen McRae (Sarah: Dedicated To You, 1990) and Dianne Reeve (The Calling, 2000). American television host Dave Garroway’s hyperbole was not misplaced when he called Vaughan “The Divine One:” early in her career when he was a Chicago disc jockey.

And what an instrument: Vaughan’s voice was renowned for its perfect pitch and voluptuous tone, suited not only for jazz and popular music but also opera. She was the vocal equal of her friend Leontyne Price, the great lyric soprano, one of the first African-Americans to become a leading artist at the Metropolitan Opera. The major distinction was that Vaughan was not classically trained. Calloway does her idol proud in her interpretations of such signature songs as Misty, A Night In Tunisia (Interlude) and, best of all, a tender and thoughtful Someone To Watch Over Me. And the backing musicians,

the trio of pianist Ted Rosenthal, Randy Sandke (trumpet/flugelhorn) and Dick Oats (reeds) also do Calloway proud.

Beauty in music comes in many forms but few, no matter what genre, have matched the result of this 1962 collaboration between Bill Evans and Jim Hall. The music has worn well since I first heard it during my 12 months exiles south of Bass Strait. As was the case then, the more I listen to this magnificent reissue the more there is to hear. This is true art.

Both the pianist and the guitarist had such a feeling for beauty that it’s not surprising there intertwining musical thoughts flowed so serenely. This kind of musical interaction, delicate and subtle, requires musicianship of the highest standard and understanding.

And the result: choose any superlatives you want but lyric charm with an unabashed romanticism that takes your breath away perfectly sums up this summit meeting. Five

of the original six selections are warm ballads; the one exception is the Rodgers and Hart evergreen My Funny Valentine which is taken at a medium tempo. It’s an astonishing display of collective creativity by two of jazz’s great lyrical instrumental with Evan’s adopting a harder, jabbing style to complement Hall’s lines. The other tracks are drenched in beauty; the versions of Dream Gypsy and Hall the ultimate in perfection. What makes this album indispensable is that includes all the tracks from the session, two of them released for the first time, and four solo tracks by Evans which were his first recordings after the death of his bassist Scott Le Faro in a car accident in 1961. But the first six tracks are the ones to hear. Listen and you will be rewarded.

Chicago concert recorded in stereo and the Los Angeles affair in mono. Both performances were almost identical expect for two numbers, Them There Eyes (Chicago) and an impromptu Lady Be Good (Los Angeles). Both concert performances are included in their entirety in this invaluable re-issue. By October, 1957 Ella had completed the Duke Ellington Songbook and two others of easy swingers with an orchestra under the direction of arranger Frank De Vol (Like Someone In Love and Hello Love).

But the music here is a far cry from those as she shows how vital she was singing before a live audience this is a 40-year-old Ella at her peak as a no-frills straight ahead jazz singer. Just listen to the first four choruses of Stompin’ At The Savoy with the JATP All Stars which includes

some of the best scat singing ever recorded or the bop break on the pop trifle Goody goody.

An essential purchase.

SWINGING ON THE VINE THE “COOL” INNOVATOR

Gerry Mulligan

“Tomatoes are one of the world’s most healthy foods!” I am usually eulogising about the fruit of the red grape to Big J, my one true friend, whose piggy eyes light up with delight as I pour a generous quantity of shiraz over several tomatoes in his bowl in my Hunter Valley hideaway. “They have outstanding anti-oxidant properties. Did you know they originated in the Andes in South America, were first used as a food in Mexico, and spread worldwide after the Spanish colonisation of the Americas?” Big J nods sagely before biting into the luscious fruit.

Part of my own home grown crop, they are full of flavour having ripened from the inside under the sun not picked green and ripened with gas.

I have only tasted better tomatoes once before in Tasmania’s Tamar Valley, a rich area for food and wine. (And to think some still want to build a mill there. The mind boggles). I can still recall the wonderful flavour as I bit into the fruit before glancing at the obituary pages of a Melbourne metropolitan newspaper and losing my appetite. It was late January, 1996. Gerry Mulligan, one of the true giants of jazz, had died on January 20 at the age of 68 following complications after knee surgery. He was also recovering from liver cancer caused he once said through past “habits”.

Mulligan, with his warm, instantly recognisable sound on baritone saxophone, was, with Harry Carney and Serge Chaloff, one the instrument’s “Big Three”. Carney’s musical identity was subsumed by the personality of Duke Ellington’s band; Chaloff, more sophisticated and accomplished than Mulligan, attempted to make it a prominent solo instrument in the late

1940s (with Woody Herman’s Second Herd) and early 1950s. However, through the popularity of Mulligan’s piano-less quartet with Chet Baker, Bob Whitlock and Chico Hamilton, the baritone became an established solo jazz instrument.

Dave Brubeck, who had a musical partnership with Mulligan from 1968-72, said: “With Gerry Mulligan you feel as if you’re listening to the past, present and future of jazz. He could play in any style. His playing was fluid and fluent”. No matter the occasion, whether accompanying a swing veteran or a West Coast style group, Mulligan played the idiom as if he had invented it. He was a guest performer with Brubeck’s trio describing it as easy work. They rarely rehearsed and Brubeck took care of the bookings.

As a composer and arranger, Mulligan was closely involved in the history of modern jazz orchestrations, something not always known by many who know him primarily as an instrumentalist. At the age of seven he was composing and copyrighting songs and after rudimentary piano lessons taught himself to play the saxophone. But it was as a writer he gained his first broadest acceptance, in 1946 when 19 with Disc Jockey Jump and a staff arranger for Gene Krupa’s Orchestra. However, his temper would often get him into trouble especially when tongue-lashing a band because its performance did not reach the standard he expected.

Because it was always touring, Krupa’s band was seldom able to rehearse. Mulligan considered the band’s playing had become lax and it had.

After one set, in full view of the audience, he

strongly criticised the band and Krupa in no uncertain terms telling them “all to go to hell”.

He was fired the next day. Mulligan would go on to write for the orchestras of Elliot Lawrence, and the innovators Claude Thornhill and Stan Kenton. His aim as an arranger was to set up a framework in which the players could express themselves, not only the soloists but the whole ensemble.

It was while writing for Thornhill’s orchestra in the 1940s that he met Gil Evans who was the band’s chief arranger. It was this lucky association with Evans and his New York musical associates which enabled him to play a major to in the joint venture which resulted in the Miles Davis nonet of 1948. These sides when recorded by the Capitol label in 194950 changed the course of jazz paving the way for the “cool” school and West Coast jazz.

The radical orchestrations of the 12 sides, six were by Mulligan and three by Evans for an ensemble featuring six horns and rhythm were later released as the album Birth Of The Cool under the leadership of Miles Davis. He was nominated leader because the trumpeter had arranged for jobs (there was only one: a threeweek appearance at the Royal Roost club in New York City to a less than warm reception) and the recording dates. Mulligan has never been recognised for his major role in the group, the credit going wrongly to Davis. Mulligan was the true architect of this new approach to the music the real innovator of the cool school.

In fact these recordings owe more to Mulligan and Evans than anyone else. Their arrangements, a delicate balance between soloist and ensemble, improvisation and composition, changed the future of jazz writing. They gave a small ensemble the richest sound possible without sacrificing the fleetness of a small band. Davis had wanted bebop alto saxophonist Sonny Stitt for the record dates but was over-ruled by Mulligan and Evans who wanted Lee Konitz, then playing brilliantly with Thornhill. They believed Konitz’s liquid tone filled their concept of an ensemble which could explore the subtleties and details of voicing like a classical group without sacrificing the pulse that only a jazz rhythm section could provide. They were right.

Mulligan played baritone and wrote some of his best numbers and arrangements for the group including Venus De Milo, Rocker and Jeru, the latter the epitome of Mulligan’s sound smooth, slurred chord changes, voiced leading and subtle harmonic colours. And he was only 21.

- Patrick D Maguire February 2015

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YOUNG PERFORMERS

Broadcasts of the Young Virtuoso Award semi-finalists begin

Fine Music will commence broadcasts of the Young Virtuoso Awards semi-finalists from 11 February. There will be three performers featured in this month’s program including Joelene Griffith, Josephine Chung and Sarah Sung.

On offer is generous first prize of $10,000 from The Frank Family Foundation and Cameron Williams and a performance for the winner with the North Sydney Symphony Orchestra.

The second place winner will receive a $2,000 prize from Sydney Piano World. And, the NSW Doctors Orchestra, in line with their philosophy of supporting young musicians, has committed to donate the third place prize of $1,000. The remaining finalists will each receive $500.

“As a coloratura soprano I have a very high voice which has a light quality in the sound and enables me to sing fast passages with greater ease than the more rich sounding voices.

“In terms of performance and expression I derive a huge amount of joy from presenting music and I hope that this joy is conveyed to the radio audience,” she said.

Josephine Chung

Joelene Griffith

Lyric coloratura soprano, Joelene Griffiths, is thrilled to be selected as a semi-finalist in the Young Virtuoso Award.

“The opportunity to program and record a recital for radio broadcast is an invaluable experience as a young musician and I look forward to sharing some of my favorite music with a wider audience,” she told Fine Music Magazine.

With a Master of Philosophy degree in music research from The University of Newcastle, Griffith sang with the award-winning Newcastle University Chamber Choir and is a committed recitalist.

Joelene was a young artist with Pacific Opera in 2013 and won the open age Oratorio section of the Sydney Eisteddfod. In 2014 she was a semi-finalist in the MTO - Wiesbaden grant and a finalist in the Royal Melbourne Philharmonic Orchestra’s Aria Competition.

One of the highlights of the last year for Griffith was learning and performing the role of the Queen of the Night in Mozart’s Opera The Magic Flute for Gertrude Opera in Melbourne.

“The second thing that springs to mind is a series of art song recitals that I participated in exploring music with eastern influences. I love the intimate collaborative nature of art song and discovering and workings on this obscure music was a great joy,” she said.

So, what does Griffith bring to the YV Award that is unique?

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Violinist Josephine Chung is a Year 10 student at the Sydney Distance Education High School.

Currently, she attends the Rising Stars program at the Sydney Conservatorium of Music, where she studies with Robin Wilson, having begun violin lessons in the Suzuki method from the age of three.

Chung took part in the junior section of the Yehudi Menuhin Violin Competition in the USA last year at which she played a recital program in the first round and witnessed some “incredible and inspiring performances by violinists from all over the world”.

“Another very memorable experience was when I played Bruch’s Scottish Fantasy with the Queensland Youth Orchestra in 2013, as it was my first time playing a concerto with an orchestra; I enjoyed the experience immensely,” she said.

Chung also enjoyed playing in the ANAM orchestra in Melbourne twice in 2014 when Simone Young and Illyich Rivas directed two orchestral programs as guest conductors with performances at the Melbourne Recital Centre.

“I am entering the Young Virtuoso Award this year to give myself an opportunity to perform/ record a complete recital program to the best of my ability,” said Chung.

“I hope to be able to share my passion for the music I have chosen to play for the competition through my performance, as I am playing some extraordinary works by a range of great composers.”

Sarah Sung Sarah Sung is a Year 12 student at MLC School Burwood under a full music scholarship. She started learning the violin with Professor Alex

Todicescu at the age of five and is currently learning the viola from Sydney Symphony orchestra’s principal violist, Tobias Breider.

A well-travelled musician from the age of eight, Sung has visited Italy, France, Germany, The Philippines, South Korea and America with the world Milal Missionary Choir and Orchestra.

Some of the highlights of her career to date include performances at Carnegie Hall and Duomo di Milano Cathedral Church. In 2010, Sung won the Multiple Section of the NSW Concerto Competition, performing with the KuRing-Gai Philharmonic Orchestra.

She has recently completed the accelerated Music Extension Course and has been nominated for the HSC encore. To top off her achievements, Sung was awarded the ‘Best Performance on String Instrument’ at the inaugural Year 12 music festival last year and also performed at a Masterclass with the Borodin String Quartet.

Even Younger performers in the spotlight Each year, Fine Music holds auditions for aspiring young talent as part of its Younger/ Even Younger Performers series. The broadcast opportunities are for musicians to the age of 18 and singers to the age of 23. For the first time this year, an outstanding performer may be chosen for solo appearance with the North Sydney Youth Symphony. The closing date for the 2015 series for Younger/Even Younger Performers is Friday 20 February.

Auditions will be held for the 2015 Younger/ Even Younger Performers series on Sunday 1 March. The recording date for successful performers is on Sunday 8 March entry via jotform on the Fine Music website under the ‘Youth’ tab: finemusicfm.com Wednesdays 1pm 4 - Alumni Even Younger Performers, presented by Chloe Chung 11 - YVA Joelene Griffith lyric (coloratura soprano) 18 - YVA Josephine Chung (violin) 25 - YVA Sarah Sung (viola) Presenter Troy Fil Audio engineer Greg Ghavalas

February Fine Music Digital Schedule Time 00:00 03.00 06:00 09:00 10:00

11:00 12:00 12:30 13:00 14:00 15:00 16:00 17:00 17:30 18:00 18:30 19:00 20:00 22:00 22:30 24:00

Weekdays Mon: Contemporary Collective Tue-Frid: General classical General classical Fine Music Breakfast In a Sentimental Mood Mon: Tue: Wed: Thur: Fri:

Baroque Romantic 20th Century With the Orchestra Chamber

Saturday Contemporary Collective

Sunday Contemporary Collective

General classical Saturday Morning Music In a Sentimental Mood

General classical Sunday Morning Music In a Sentimental Mood

Small Forces General classical The Classical Era

General Classical

Magic of Stage and Screen Opera

Jazz Diversions in Fine Music Repeat of Diversions in Fine Music Repeat of Morning Concerts General classical Mon: General classical Tues-Frid: Jazz

General Classical General classical Jazz Repeat of Sunday Night Concert Repeat of Sunday Special

Repeat of After Hours Jazz General classical

After Hours Jazz

Ultima Thule

FM WINNER JETTING OFF TO AUCKLAND Jock Baird was recently announced the winner of the Fine Music Friend’s Campaign competition, offered with the support of Emirates and the Sydney Symphony Orchestra (SSO).

Writing of his finest memories of the SSO, Baird told Fine Music: “Isaac Stern playing Beethoven Violin Concerto with SSO, Sydney Town Hall, 1971, sitting in front row. He winked at me as he started the third movement”.

Baird swears it’s a true story and one that has since come ‘full circle’. No less than 40 years after Stern’s recognition, he saw the same work played by Anne-Sophie Mutter.

Baird takes up the story: “Annette and I were at a concert where Anne-Sophie Mutter was also doing the Beethoven at the Opera House in 2012. She played in the first half in a marvellous performance”.

Baird was astonished to see Mutter emerge at the end of the aisle in which he was seated and inch her way along, still in her gown, to enjoy the second half. When he asked for her autograph and recounted his experiences with Isaac Stern many years before, she graciously replied that she didn’t mind being compared with Isaac.

With a wide taste in music, from Stormy Monday to jazz, classical and everything in

Fine Music presenter Janine Burrus [l], competition winner Jock Baird and partner Annette McClure. Photo – Raymond Horsey between, Baird plays the violin and started tickets to an SSO Concert in Sydney. The prize singing with the Philharmonica Choir around includes four-star accommodation in Auckland, five years’ ago. He was encouraged to become courtesy of Fine Music.

Fine Music subscriber, having been a listener Fine Music has been broadcasting for nearly for many years, by a fellow Choir member and 40 years through the generosity and support Fine Music presenter, Tom Forrester-Paton. of donors, subscribers, and over 200 dedicated Baird has won two business class tickets to volunteers.

Auckland on the Emirates A380 and two February 2015

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FEBRUARY PROGRAM HIGHLIGHTS A 40TH ANNIVERSARY CELEBRATION Sunday 1 February 2–5pm The 40th anniversary of Fine Music 102.5, originally 2MBS-FM, the first FM station broadcast in Australia, is being celebrated throughout the year. First and to the day, this afternoon we re-broadcast a recording of the official opening of 2MBS-FM on 1 February 1975 by the Hon. Gough Whitlam, Prime Minister, the Hon. Tom Uren, Premier of NSW and Professor Neil Runcie, Chairman of 2MBS-FM Board of Directors. The opening was celebrated joyously with Handel’s Music for the Royal Fireworks. The second part of the program is a series of early concerts recorded by our sound engineers, including a superb recording of Lauris Elms dating from 1979 and other fine musicians who will be presented each by a different presenter, some from the past, some still volunteering with FM102.5 today.

HAYDN MASSES Wednesday 4 February 9–10.30am in Diversions in Fine Music, Music of the Eighteenth Century, and Friday 27 February, Classical Masterpieces 2–4pm In his last years and at the height of his fame, Haydn wrote six stupendous masses (out of a total of 14 masses during his career). This month provides the opportunity to hear two of the most moving – the Missa in Augustiis or Nelson Mass (1798) with the English Concert and Choir on 4 February and the Mass in B flat or Harmony Mass (1802) with the Brandenburg Orchestra and Winchester Cathedral Choir on 27 February.

ARTIST OF CHOICE: LEIF OVE ANDSNES Tuesday 10 February 9–10.30am Norwegian pianist and chamber musician, Leif Ove Andsnes, born 1970, studied at the Bergen Music Conservatory and made his debut in Oslo in 1987, in Scotland at the Edinburgh Festival with the Oslo Philharmonic in 1989 and in the United States with the Cleveland Orchestra conducted

by Neemi Jarvi in 1990. Described by the New York Times as ‘a pianist of magisterial elegance, power and elegance’, he has established himself as a major and much awarded pianist of our times who has performed and recorded extensively in the United States and Europe.

He is a champion of the works of Edvard Grieg and, most recently, completed his Beethoven Project, performing and recording all five Beethoven Piano Concertos with the Mahler Chamber Orchestra in numerous international venues. This morning’s program showcases Andsnes performing piano works by a range of composers including Liszt, Schubert, Grieg, Nielsen, Shostakovich and Schumann.

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fineMusic 102.5

February 2015

Frans Brüggen

FROM THE SCHOOL OF ORIGINAL INSTRUMENTS – FRANS BRÜGGEN 1934 - 2014 Tuesday 17 February 2.30–4pm Frans Brüggen, the Dutch conductor, recorder player, flautist and musicologist, died in Amsterdam in August 2014 at the age of 79.

Frans Brüggen was a catalyst of the early music movement in Holland, both as a soloist and, in 1981, as the co-founder and conductor of the Orchestra of the 18th Century. In the year that also saw the loss of Christopher Hogwood (see Fine Music Magazine, December 2014, page 29), Brüggen’s death was another significant loss to the movement devoted to reviving the use of original instruments Brüggen studied musicology at the University of Amsterdam before he was appointed as a professor at the Royal Conservatory of the Hague at the age of 21. He was a noted soloist in the baroque repertoire and conducted many leading European orchestras as well as the Orchestra of the 18th Century, including the Royal Concertgebouw Orchestra, using authentic instruments or replicas from the period. Some of his most famous recordings included the complete symphonies of Beethoven, Mozart’s last three symphonies and Bach’s greatest choral works. Today’s program includes examples of Frans Brüggen as a recorder soloist and as conductor of his orchestra in Rameau’s Suite from Les Indes Galantes.

SUNDAY SPECIAL: ONE COIN, TWO SIDES – KURT WEILL Sunday 22 February 2–4pm Ever engaging and challenging, the music of Kurt Weill makes for a lively Sunday afternoon.

Born in Dessau, Germany in 1900 into a religious Jewish family where his father was a cantor,

Weill moved to the United States in March 1933. After the move from Germany, he largely rejected German language and music and focussed on American musical and vocal styles.

He died in New York City in 1950 as a result of a heart attack, his life and work reflecting exactly the troubled first half of the 20th century. The music in this afternoon’s concert was all composed as a young man in the period to 1933 including some of his most popular vocal and musical theatre music, written in partnership with Bertolt Brecht - The Suite from The Threepenny Opera, recorded by the Sydney Symphony Orchestra conducted by Georg Tintner and The Seven Deadly Sins, with soloists including Anne Sofie von Otter, mezzo soprano; James Sims, tenor; Christfried Briebach, baritone and Frederick Martin, bass.

From the age of twelve, Weill also composed distinctive and well-received orchestral works showing the influences of Mahler, Schoenberg and Stravinsky. His Concerto, op 12 (1924), for violin, and the Symphony no 2 (1933), his final symphony, make up the program.

NOT TO BE MISSED Thursday 5 February 8–9.30pm Latin Fiesta Saturday 14 February 3–5.30pm Don Quixote Ballet Thursday 19 February 9–10.30am Composer Focus: Elena Kats-Chernin Saturday 21 February 2–5.30 pm Paulus (Mendelssohn) Saturday 28 February 9.30–11.30am Great Romantic Orchestral Works CONTINUING SERIES OPERA – Wednesdays 8pm 4 February 8–11.00pm Rossini: Il Turco in Italia 11 February 8–11pm Puccini: Tosca 18 February 8–11pm Puccini: Madama Butterfly 25 February 8–10.30pm Korngold: Die Tote Stadt Tuesdays 8–10pm Recent Releases Tuesdays 10pm–midnight Into the Twentieth Century Thursdays 8–10pm Evenings with the Orchestra Thursdays 10pm–midnight Chamber Soiree Fridays 10pm-midnight Baroque and Before

Sunday 1 February 0:00 CLASSIC-ALL THROUGH THE NIGHT

14:00 A 4Oth ANNIVERSARY CELEBRATION Production and compilation by Elaine Siversen

6:00 SUNDAY MORNING MUSIC with Terry McMullen

Handel, G. Music for the royal fireworks (1749). Collegium Aureum.

LP Harmonia Mundi 2020350-1

9:00 MUSIC FOR SMALL FORCES Prepared by Stephen Wilson Beethoven, L. String quartet in E flat, op 74, Harp (1809). Goldner String Quartet.

ABC 476 3541 32 Bartók, B. String quartet no 4 (1928). Levon Chilingirian, vn; Mark Butler, vn; Louise Williams, va; Philip de Groote, vc.

Chandos CHAN 8634 22 10:00 THE CLASSICAL ERA Prepared by Barrie Brockwell Salieri, A. Overture to The Moor (1796).

Czecho-Slovak RSO/Michael Dittrich.

Naxos 8.554838 Rossini, G. Cruda sorte, from Semiramide (1823). Marilyn Horne, mezz; Royal Opera House O/Henry Lewis.

Decca 476 1223

We begin with a recording of the official opening of 2MBS-FM (now Fine Music) on 1 February 1975 by the Hon. Gough Whitlam (Prime Minister of Australia), the Hon. Tom Lewis (Premier of NSW) and Professor Neil Runcie (Chairman of 2MBS-FM Board of Directors). This recording was preserved from the tenth anniversary celebration when the introductions were made by Jill Hickson, then a presenter at 2MBS-FM. Antill, J. Overture for a momentous occasion (1957). Sydney SO/John Antill.

LP ABC RRCS 133 8

3

5

Mozart, W. Violin concerto no 5 in A, K219 (1775). Australian CO/Richard Tognetti, vn & dir.

BIS SACD 1754 28 Donizetti, G. String quartet no 10 in G minor (1821). Revolutionary Drawing Room. cpo 999 279-2 13 Hoffmeister, F. Parthia no 3 in B flat.

Consortium Classicum. cpo 999 107-2

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Schubert, F. Sonata no 20 in A, D959 (1828).

Imogen Cooper, pf.

Ottavo OTR C58714 40 12:00 SPEAK EASY, SWING HARD with Richard Hughes The Golden Era of jazz, as seen through the knowledge and experience of one of Australia’s leading exponents 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

A selection of works follows from early concerts recorded by our sound engineers, the earliest, a superb recording of Lauris Elms dating from 1979. Other fine musicians will be featured while the presentation of each work will be by a different presenter, some from the past, while others are are still working as volunteers.

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

Hyperion CDA67509 20 Dukas, P. Symphony in C (1895). Monte Carlo O/Lawrence Foster.

Claves 50-9102 39 20:30 CHAMBER SOIRÉE Prepared by Rex Burgess Bach, J.S. Suite in E minor, BWV996 (1714-17).

Konrad Junghänel, lute.

Harmonia Mundi RD 77097 17 Mozart, W. Sonata no 29 in B flat, K454 (1784).

Oleg Kagan, vn; Sviatoslav Richter, pf.

Live Classics LCL 123 24 Schumann, R. Quintet in E flat, op 44 (1842).

Marc-André Hamelin, pf; Takács Quartet.

Hyperion CDA67631 30 Glinka, M. Septet in E flat (1823). Alexander Koreshkov, ob; Alexander Petrov, bn; Igor Makarov, hn; Alexei Bruni, vn; Mikhail Moshkunov, vn; Erik Pozdeev, vc; Rustem Gabdulin, db.

Olympia MKM 76 20

17:00 A HOSANNA CELEBRATION Hosanna evolved from the Evensong programme initiated by the late and legendary Ann Ramsay in the 1970s. Hosanna today brings together four presenters who share some of their favourite sacred pieces.

Janácek, L. Capriccio (1926). Marios Papadopoulos, pf; Royal PO. Hyperion CDA66167

18:00 FOUR HANDS Prepared by Jan Brown

Penderecki, K. Serenade (1997). Warsaw Philharmonic CO/Antoni Wit. Naxos 8.572212

Schubert, F. Fantasie in F minor, D940 (1828). 19 Mozart, W. Sonata in D, K448 (1781). Güher Pekinel, pf; Süher Pekinel, pf.

24 Güher Pekinel, Süher Pekinel, pf (2 above) Teldec 244 926-2 ZK Schubert, F. German dance, D618 (1818). Duo Crommelynck, pf.

Claves 50-8802 6 19:00 SUNDAY NIGHT CONCERT Prepared by Jennifer Foong Hummel, J. Overture: Freudenfest, in D (1814).

London Mozart Players/Howard Shelley.

Chandos CHAN 9925 6 Saint-Saëns, C. La muse et le poète, op 132 (1910). Renaud Capuçon, vn; Gautier Capuçon, vc; Radio France PO/Lionel Bringuier.

Erato 934134 2 8 17

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22:30 NEW HORIZONS Prepared by Phil Vendy

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Ghandar, A. Garden with birds (1998-99). Ian Munro, pf.

Tall Poppies TP145 10 Ford, A. Dancing with smoke (1995). Gerald English, ten; Marshall McGuire, hp.

Tall Poppies TP 128 10 Beath, B. Indonesian diptych (1994). Moravian PO/Ruben Silver.

Vienna Modern Masters VMM 3031 10 Dargaville, T. Alba (1994). Michael Kieran Harvey, pf.

ABC 461 723-2 10 Leyendecker, U. Symphony no 3 (1990-91).

Roland Greutter, vn; North German RSO/ Johannes Kalitzke.

Naxos 8.557427 29 February 2015

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Monday 2 February 0:00 CLASSIC-ALL THROUGH THE NIGHT

Tchaikovsky, P. Dance of the sugar-plum fairy, from Nutcracker suite, op 71a (1892). Harry Goss-Custard, org.

2 OEHMS Classics OC 845

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

Mendelssohn, F. Overture to Ruy Blass, op 95 (1839). Edwin H. Lemare, org.

8 OEHMS Classics OC 840

9:00 DIVERSIONS IN FINE MUSIC By arrangement Prepared by Francis Frank

14:00 PLACES IN BRITAIN Prepared by Elaine Siversen

Borodin, A. Overture to Prince Igor (1887; orch. Glazunov). Royal Liverpool PO/Charles Mackerras.

Virgin VC 7 91174-2 11 Bizet, G. Fantaisie brillante sur Carmen (1873-74; arr. Borne). Paula Robison, fl; Samuel Sanders, pf.

Vanguard OVC 4058 11 Posford, G. At the Balalaika (1936; arr. Gamley).

Joan Sutherland, sop; Australian Pops O/ Douglas Gamley.

WEA 9031-72815-2 5 Strauss, J. II Suite from Die Fledermaus (1874; arr. Davis). London PO/Carl Davis.

Virgin VC 7 90716-2 27 Britten, B. Suite: King Arthur (1937; arr.

Hindmarsh). BBC PO/Richard Hickox.

Chandos CHAN 9487

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10:30 MORNING CONCERT Prepared by Angela Bell

Coates, E. London suite (1932). London SO/ Eric Coates.

8 Naxos 8.110173

Yevgeny Svetlanov 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 SAVED FROM A WATERY GRAVE The Britannic Organ Prepared by David Garrett Franck, C. Andantino in G minor. Eugène Gigout, org.

OEHMS Classics OC 843

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Bach, J.S. Chorale prelude: Herzlich tut mich verlangen, BWV727. Carl Hofner, org.

OEHMS Classics OC 840 3

Lyapunov, S. Hashish, symphonic poem, op 53 (1913). USSR Academic SO/Yevgeny Svetlanov.

Melodiya MCD 129 24

Pachelbel, J. All glory be to God on high. Karl Matthaei, org.

OEHMS classics OC 842 3

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

Chandos CHAN 9711 29

Bach, J.S. Arrangement of a concerto

by Johann Ernst of Saxe-Weimar: mvt. 2, BWV592ii. David Rumsey, org.

OEHMS Classics OC 840

Mozart, W. Symphony no 41 in C, K551, Jupiter (1788). Sydney SO/Stuart Challender.

ABC 434 778-2 29

Dvorák, A. Symphony no 9, op 60, From the New World, mvt 1 (1893). Franz Xaver Franz, org.

OEHMS Classics OC 841 12

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Holland, T. Ellingham marshes (c1940). Roger Chase, va; BBC Concert O/Stephen Bell.

Dutton Epoch CDLX 7295 16 Holst, G. Symphony in F, op 8, The Cotswolds (1899-1900). Munich SO/Douglas Bostock.

Classico CLASS 284 27 Wills, A. The fenlands, symphonic suite (1981).

Cambridge Co-operative Band; Arthur Wills, org; David Read, cond.

Helios CDH88005 25 Bantock, G. Hebridean symphony (1915).

Czecho-Slovak State PO/Adrian Leaper.

Naxos 8.555473 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with David Brett 19:00 JAZZ NICE ‘N EASY with Ken Weatherley 20:00 STORMY MONDAY with Austin Harrison and Garth Sundberg 22:00 THE AUSTRALIAN JAZZ SCENE with Susan Gai Dowling and Peter Nelson

STUDIO C Available for Hire Recording and Rehearsals Contact - Steve-Marc McCulloch programs@finemusicfm.com Phone - 02 9439 4777 72-76 Chandos Street, St Leonards, NSW, 2065 Photo – Jeanie McInnes

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Tuesday 3 February

Isaac Stern

Stephen Hough. Photo - Fred R Conrad

0:00 CONTEMPORARY COLLECTIVE

12:00 JAZZ RHYTHM with Jeannie McInnes An eclectic blending of agreeable rhythm and melody from the New Orleans jazz roots through to recent decades, including many Australian bands

3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Julie Simonds

13:00 MOZART FOR TWO Prepared by Angela Bell

9:00 DIVERSIONS IN FINE MUSIC Artist of choice: Tasmin Little Prepared by Di Cox Ravel, M. Violin sonata (1927). Piers Lane, pf.

EMI 5 73115 2 15 Elgar, E. Chansons de matin et de nuit, op 15 (1899; arr. Turner 2013).

7 BBC PO/Andrew Davis (2 above) Chandos CHAN 10796 Pärt, A. Ludus, from Tabula Rasa (1977).

Bournemouth Sinfonietta; Richard Studt, vn & dir.

EMI 7243 5 73117 2 4 10 Debussy, C. Sonata (1917). Piers Lane, pf.

EMI 5 73115 2

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Moeran, E.J. Violin concerto (1937-42). BBC PO/Andrew Davis.

Chandos CHAN 10796 33 Tasmin Little, vn (all above) 10:30 MORNING CONCERT Prepared by Sheila Catzel

Mozart, W. Abendempfindung an Laura, K523 (1787). Werner Güra, ten; Christoph Berner, pf.

Harmonia Mundi HMC 901979 5 Concertone in C, K190 (1774). Isaac Stern, vn; Pinchas Zukerman, vn; English CO/Daniel Barenboim.

Sony SM3K 66 475 29 Sonata in D, K448 (1781). Robert Chamberlain, pf; Darryl Coote, pf.

Move MCD 046 19 Papagena!, from The magic flute, K620 (1791).

Ute Selbig, sop; Olaf Bär, bar; Staatskapelle Dresden/Hans Vonk.

EMI CDC 7 49565 2 8 Double concerto in C, K299 (1778). Emmanuel Pahud, fl; Marie-Pierre Langlamet, hp; Berlin PO/Claudio Abbado.

EMI 5 57128 2 25 14:30 SEPTETS, OCTETS, NONETS Prepared by Denis Patterson

Harty, H. A comedy overture (1906). Ulster O/ Bryden Thomson.

Chandos CHAN 7035 14

Pärt, A. Fratres (arr. Brinner). Members of the Hungarian State Opera O/Tamás Benedek.

Naxos 8.553750 8

Sauer, E. Piano concerto no 1 in E minor.

Stephen Hough, pf; City of Birmingham SO/ Lawrence Foster.

Hyperion CDA66790 30

Petrassi, G. Grand septet (1977-78). Edmondo Tedesco, cl; New Music Ensemble of Münster SO/Andrea Molino.

Stradivarius STR 33347 14

Brahms, J. Symphony no 3 in F, op 90 (1883).

Berlin PO/Claudio Abbado.

DG 429 765-2 37

Veracini, F. Concerto in D (1712). Accademia I Filarmonici/Alberto Martini.

Naxos 8.553413 18

Kvandal, J. Nonet no 2, op 57, Night music (1981). Einar Schøyen, db; Norwegian Wind Ensemble.

Simax PSC 1037 18 Spohr, L. Octet in E, op 32 (1814). Vienna Octet.

Decca 466 580-2

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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 INTO THE 20TH CENTURY Prepared by Frank Morrison Beach, A. Trio in A minor, op 150 (1920).

Elizabeth Layton, vn; Naomi Butterworth, vc; Diana Ambache, pf.

Chandos CHAN 9752 15 Dohnányi, E. American rhapsody, op 47. Ulf Wallin, vn; Frankfurt RSO/Alun Francis. cpo 999 308-2 15 Ysaÿe, E. Trio, op posth. Le chimay (1927).

Henning Kraggerud, vn; Lars Anders Tomter, va; Ole-Eirik Ree, vc.

Naxos 8.570977 18 Gershwin, G. Piano concerto in F (1925).

Roberto Szidon, pf; London PO/Edward Downes.

DG 477 5439

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Britten, B. Variations on a theme of Frank Bridge, op 10 (1937). I Musici de Montréal/Yuli Turovsky.

Chandos CHAN 8817 30 February 2015

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Wednesday 4 February

Johannes Brahms

Myrto Papatanasiu

0:00 CONTEMPORARY COLLECTIVE

12:00 JAZZ SKETCHES with Robert Vale Jazz of many colours, some old, some new and all designed to inform and stimulate the senses

3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Peter Kurti 9:00 DIVERSIONS IN FINE MUSIC Music of the eighteenth century Prepared by Rex Burgess Bach, J.S. Brandenburg concerto no 6 in B flat, BWV1051 (1720). O of the Antipodes/Erin Helyard.

ABC 476 1923 16 Mozart, W. Double concerto in C, K299 (1778).

András Adorján, fl; Suzanna Klintcharova, hp; Sofia Soloists Chamber Ensemble/Emil Tabakov.

Balkanton 030015 26 Haydn, J. Missa in angustiis, Hob.XXII:11, Nelson Mass (1798). Felicity Lott, sop; Carolyn Watkinson, cont; Maldwyn Davies, ten; David Wilson-Johnson, bass; English Concert & Choir; Nicholas Parle, org; Trevor Pinnock, cond.

Decca 478 3640 42 10:30 MORNING CONCERT Prepared by Raj Gopalakrishnan Khachaturian, A. Suite: Masquerade (1941).

Scottish NO/Neeme Järvi.

Chandos CHAN 8542 16 Beethoven, L. Piano concerto no 5 in E flat, op 73, Emperor (1809). Julius Katchen, pf; London SO/Piero Gamba.

Decca 460 822-2 37 Karlowicz, M. Episode at a masquerade, op 14 (1908-09; compl. Fitelberg). Warsaw PO/Antoni Wit. Naxos 8.570452 28 28

fineMusic 102.5

February 2015

13:00 YOUNG VIRTUOSI 14:00 IN CONVERSATION with Michael Morton-Evans What exactly does it take to make music?

Leading musicians, composers and performers, both local and visiting from overseas, will be talking live on air telling us why they do it and how they do it.

15:00 THREE AND FOUR PLUS Prepared by Emyr Evans Brahms, J. Horn trio in E flat, op 40 (1865).

Members of Nash Ensemble. crd 3489 30 Shostakovich, D. Chamber symphony after string quartet no 10, 118a (1964; arr. Barshai).

New Sinfonietta Amsterdam/Lev Markiz.

Vanguard 99033 25

A poet Prosdocimo is seeking a plot for his new opera buffa. He meets Zaida, who has fled from Selim, a Turk, because of her unrequited love for him, and Geronio, whose flirtatious wife Fiorilla is infatuated with Selim.

Prosdocimo is intrigued by these people and decides to manipulate them to develop his plot. With his help, complications build up to an hilarious masked ball which is a scene of utter confusion as the various lovers meet. Geronio serves Fiorilla with a deed of separation. Shocked, she laments her loss and begs his forgiveness, which is granted. Zaida is reunited with Selim. Prosdocimo is happily satisfied with his opera buffa.

23:00 FOCUS ON ARTHUR BENJAMIN Prepared by Janie Fitch Benjamin, A. Jamaican rumba (1938). Isaac Stern, vn; Columbia SO/Milton Katims.

Sony SMK 64 537

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Romance-impromptu (1913).

Tall Poppies TP 105

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

Arabesque, from Three pieces (pub. 1924). John Harding, vn.

4 Tall Poppies TP134

19:00 JAZZ STARS AND STRIPES with Peter Mitchell The stars of American jazz from bebop on, mainly small group low temperature jazz

Ian Munro, pf (2 above)

20:00 AT THE OPERA Prepared by Colleen Chesterman Rossini, G. Il Turco in Italia. Opera in two acts.

Libretto by Felice Romani. First performed Milan 1814.

SELIM: Natale De Carolis, bass DONNA FIORILLA: Myrtò Papatanasiu, sop DON GERONIO: Massimiliano Gagliardo, bar PROSDOCIMO: Piero Guarnera, bar ZAIDA: Damiana Pinti, mezz Teatro Marrucino Chieti Ch & O/Marzio Conti.

Naxos 8.660183 2:24

Overture to an Italian comedy (1937). Sydney SO/Joseph Post.

6 ABC 442 374-2 Pastorale, arioso and finale (1948).

Tall Poppies TP 105

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Le tombeau de Ravel (pub. 1958). Peter Jenkin, cl.

Tall Poppies TP134 12 Ian Munro, pf (2 above) Suite from The conquest of Everest (1953; arr.

Caratelli / Schürmann) BBC NO of Wales/ Rumon Gamba.

Chandos CHAN 10713 10

Thursday 5 February 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN

13:00 ALPHABETICAL COMPOSERS The Ns and Os Prepared by Randolph Magri-Overend

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

Nielsen, C. Little suite, op 1 (1888/89). Danish NRSO/Ulf Schirmer.

Decca 452 486-2 16

9:00 DIVERSIONS IN FINE MUSIC Composer focus Prepared by Michael Morton-Evans

Nyman, M. Trombone concerto. Christian Lindberg, tb; BBC SO/Michael Nyman.

EMI 5 56487 2 22

Palestrina, G. da Introduxit me rex. Doron David Sherwin, cornett; Andrea Marcon, org.

Giulia GS 201010 4

Offenbach, J. Va, pour Kleinzach, from The tales of Hoffmann (1881). Plácido Domingo, ten; Suisse Romande O/Richard Bonynge.

Decca 440 844-2 5

Duo ubera, from The song of songs. Song Company/Roland Peelman.

Celestial Harmonies 13199-2

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Stabat mater. Joanne Andrews, sop; Deborah MilesJohnson, mezz; Simon Berridge, ten; Fretwork; Taverner Consort and Choir/Andrew Parrott.

Virgin 5 45272 2 11 Tu es Petrus (pub 1572). Tallis Scholars/Peter Phillips.

Gimell CDGIM 041 7 Coenantibis illis; Magnificat anima mea Dominum sexti toni. Christ Church Cathedral Choir, Oxford/Stephen Darlington.

Nimbus NI 5394 17 Agnus Dei; Hodie Christus natus est, from Missa: Hodie Christus natus est. Gabrieli Consort and Players/Paul McCreesh.

Archiv 437 833-2

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Missa Papae Marcelli (pub 1567). Tallis Scholars/ Peter Phillips.

Gimell CDGIM 041 32 10:30 MORNING CONCERT Prepared by Michael Morton-Evans Bliss, A. Discourse for orchestra (1965).

Queensland SO/Christopher Lyndon-Gee. Naxos 8.553698 18 Rubinstein, A. Violin concerto in G, op 46 (1857). Takako Nishizaki, vn; Slovak PO/Michael Halász.

Marco Polo 8.220359 37 Grieg, E. Symphonic dances, op 64 (1896-97).

Royal PO/Yondani Butt.

ASV DCA 722 28 12:00 JAZZ, PURE AND SIMPLE with Maureen Meers Covering the many aspects of jazz from Swing to Mainstream, with the Great American Songbook making regular appearances

Orff, C. Carmina burana (1936; transcr. Koch).

Gareth Koch, gui.

Artworks AW009 37 14:30 CLASSICAL AUSTRIANS Prepared by Philip Lidbury Starzer, J. Divertimento in C. Camerata Bern/ Thomas Füri.

Archiv 410 599-2 16 Neukomm, S. Quintet in B flat, op 8 (c1804).

Divertimento Salzburg.

Claves 50-8703 27 Eybler, J. Omnes de Saba venient (1827).

Vienna Boys Choir; Gerald Wirth, pf; Manolo Cagnin, cond.

ABC 476 5094 4 Lidl, A. Bass viol sonata. Vittorio Ghielmi, bass viol; Luca Pianca, lute.

Harmonia Mundi HMI 987063 10 Pleyel, I. Cello concerto in C, op 26. Ivan Monighetti, vc; Akademie für Alte Musik Berlin/Stephan Mai. Harmonia Mundi HMX 2908601.30 22 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Debbie Scholem 19:00 JAZZ VIBES with Matt Bailey Contemporary and modern sounds of now in jazz from all corners of the globe

Piazzolla, A. Verano porteño (1965).

Mariangela Martinez-Alvarez, vn.

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Copland, A. El Salon Mexico (1936).

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Villa-Lobos, H. Preludio, from Bachianas brasileiras no 4 (1942).

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Márquez, A. Danzón no 2 (1997).

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Bernstein, L. Mambo, from West Side story 3 (1957).

Ku-ring-gai PO/Carlos Alvardo (all above) 21:30 RACHMANINOV MINIATURES Prepared by Elaine Siversen Rachmaninov, S. Mélodie in D (1890); Romance in F, op 4 no 3 (1893; arr. Siloti).

Michael Grebanier, vc; Janet Guggenheim, pf.

9 Naxos 8.550987 Vocalise, op 34 no 14 (1912). Alan Vivian, cl; Susanne Powell, pf.

Revolve AJM 1314

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Two salon pieces, op 2 (1892). Members of Moscow Rachmaninov Trio.

Hyperion CDA67178 10 22:00 EVENINGS WITH ORCHESTRA Prepared by Denis Patterson Mendelssohn, F. Lauda Sion, op 73 (1846).

Evelyne Brunner, sop; Naoka Ihara, cont; Alejandro Ramirez, ten; Philippe Huttenlocher, bass; Gulbenkian Ch/Michel Corboz.

Erato 4509-94359-2 28 Mozart, W. Piano concerto no 23 in A, K488 (1786). Maria-João Pires, pf; Theodor Guschlbauer, cond.

Erato 245 050-2 27 Vianna da Motta, J. Fantasia dramática (1893).

Artur Pizarro, pf; Martyn Brabbins, cond.

Hyperion CDA67163 29 Méhul, É-N. Symphony no 4 in E (1810). Michel Swierczewski, cond.

Nimbus NI 5184/5 26 Gulbenkian Foundation O of Lisbon (all above)

20:00 LIVE AND LOCAL Latin fiesta Recorded by Greg Ghavalas for FINE MUSIC Gershwin, G. Cuban overture (1932).

12

Rodrigo, J. Concierto de Aranjuez (1939).

Rodrigo Santibanez, gui.

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Friday 6 February

Jean-Baptiste Robin

Ralph Wallfisch

Martyn Brabbins

0:00 CONTEMPORARY COLLECTIVE

12:00 NOONTIME JAZZ with Peter Mitchell Accessible in-the-hammock jazz to ease you into the weekend

20:00 THE ROMANTIC CENTURY Prepared by Robert Small

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 Exploring chamber Prepared by Jan Brown Dvorak, A. String quartet no 12 in F, op 96, American (1893). Keller Quartet. apex 0927 44355 2 24 Dohnányi, E. Serenade in C, op 10 (1902).

Mayumi Seiler, vn; Douglas Paterson, va; Jane Salmon, vc.

Hyperion CDA66786 21 Rózsa, M. String quartet no 2, op 38 (1981).

Tippett Quartet.

Naxos 8.572903 21 Benda, F. Sonata no 23 in C minor. Leila Schayegh, vn; Felix Knecht, vc; Václav Luks, fp.

Glossa GCD 922507 13 10:30 MORNING CONCERT Prepared by Anne Irish Dvo Overture: In nature’s realm, op 91 (1891).

Czech PO/Václav Neumann.

Supraphon SU 4058-2 15 Somervell, A. Piano concerto in A minor, Highland (1921). Martin Roscoe, pf; BBC Scottish SO/Martyn Brabbins.

Hyperion CDA 67837 27 Beethoven, L. Symphony no 6 in F, op 68, Pastoral (1808). Royal Liverpool PO/Charles Mackerras.

EMI 5 65788 2 39

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13:00 THE DELIGHT OF PIANO TRIOS Prepared by Ron Walledge

Schumann, R. Piano concerto in A minor, op 54 (1841-45). Leif Ove Andnes, pf; Berlin PO/ Mariss Jansons.

EMI 5 57486 2 30

Franck, C. Trio in B flat, op 1 no 2 (1839-42).

Elvira Bekova, vn; Alfia Bekova, vc; Eleonora Bekova, pf.

Chandos CHAN 9742 24

Reinecke, C. Trio, op 188 (1887). James Sommerville, hn; James Mason, ob; Rene Sharon, pf.

Marquis ERAD 157

Schumann, R. Piano trio no 1 in D minor, op 63 (1847). Florestan Trio.

Hyperion CDA67063 30

Grieg, E. Cello sonata, op 36 (1883; orch.

Horovitz). Raphael Wallfisch, vc; London PO/ Vernon Handley.

ASV DCA 1176 30

14:00 FROM HOLBERG’S TIME

Hummel, J. Fantasy in E flat, op 18 (c1805).

Madoka Inui, pf.

Naxos 8.557836 23

Rameau, J-P. Suite from Dardanus (1739). O of the 18th Century/Frans Brüggen.

Philips 420 240-2 25 Bach, J.S. Suite no 6 in D, BWV1012 (c1720).

Mischa Maisky, vc.

DG 445 373-2 31 Scarlatti, D. Pur nel sonno almen tel’ora (1730). Cyrille Gerstenhaber, sop; XVIII-21, Musique des Lumières/Jean-Christophe Frisch.

Astrée E 8673 26 Handel, G. Water music: Suite no 1 in F, HWV348 (1717/36). Tasmanian SO/Graham Abbott.

ABC 476 4300 27 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Brendan Walsh 19:00 FRIDAY JAZZ SESSION with Sally Cameron Focus on the current Sydney jazz scene mixed with a range of international jazz stars and a weekly a cappella item

24

22:00 BAROQUE AND BEFORE Prepared by Robert Small Bach, J.S. Suite no 1 in C, BWV1066. Academy of Ancient Music/Richard Egarr.

ABC 481 1318 25 Telemann, G. Paris quartet no 6 in E minor (1738). Musica ad Rhenum.

Radio Nederland MCCP123 19 Rameau, J-P. Motet: In convertendo, Dominus (pub. 1722). Suzanne Gari, sop; Henri Ledroit, ct; Stephen Varcoe, bar; La Chapelle Royale Choir & O/Philippe Herreweghe.

Harmonia Mundi HM 901078 24 Couperin, F. Messe à l’usage ordinaire des paroisses. Jean-Baptiste Robin, org.

Naxos 8.557741-42 52

Saturday 7 February 0:00 CLASSIC-ALL THROUGH THE NIGHT

14:00 THE SAXOPHONE IN CLASSICAL MUSIC Prepared by Gael Golla

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 9:30 GREAT ROMANTIC ORCHESTRAL WORKS Ruminations on fate Prepared by Angela Bell Vaughan Williams, R. The wasps, Aristophanic suite (1909). London PO/Adrian Boult.

Decca 461 122-2 25 Glier, R. Eight pieces, op 39 (1909). Eleonora Turovsky, vn; Yuli Turovsky, vc.

Chandos CHAN 8652 17 Beethoven, L. Octet in E flat, op 103 (1792).

European CO Wind Soloists.

ASV COE 807 21 Rachmaninov, S. Fate, op 21 no 1 (1902). Sergei Leiferkus, bass; Howard Shelley, pf.

Chandos CHAN 9451 7 Tchaikovsky, P. Symphony no 4 in F minor, op 36 (1877). Philharmonia O/Riccardo Muti.

EMI CZS 7 67318 2 40 11:30 ON PARADE Music that’s band Prepared by Owen Fisher Althouse, M. Hotel Allen. Allentown Band/ Ronald Demkee.

AMP 2B 229 2 Rodgers, R. Slaughter on 10th Avenue.

Yorkshire Building Society Band/David King.

Polyphonic QPRL 213 D 8 Rimsky-Korsakov, N. Procession of the nobles. Australian Brass/Eric Banks.

Australian Brass AB 195

5

Filmore, H. Sally Trombone. Allentown Band/ Ronald Demkee.

AMP 89111 4 Handel, G. Andante da capo, from Water Music. Summit Brass.

Summit DCD 138

4

Serebrier, J. Saxophone quartet (1955).

Australian Saxophone Quartet.

ASV DCA 774

10

Muczynski, R. Sonata, op 29 (1970). Alex Mitchell, sax; Jeremy Limb, pf.

Naxos 8.559241

7

Beethoven, L. Three equale for four trombones (1812). London Gabrieli Brass Ensemble/Christopher Larkin.

Hyperion CDA66470

4

Vaughan Williams, R. Tuba concerto in F minor (1954). Arnold Jacobs, tuba, Chicago SO/ Daniel Barenboim.

DG 442 8333 12

Villa-Lobos, H. Fantasia, op 109. Eugene Rousseau, sax; Paul Kuentz CO/Paul Kuentz.

DG 453 991-2 10

Poulenc, F. Sonata (1922/45). Hervé Joulain, hn; Guy Touvron, tpt; Jacques Mauger, tb.

Naxos 8.553613 9

Piazzolla, A. Tango étude no 2 (1989).

Christina Leonard, sax; Matt McMahon, pf.

Move MCD 392 8

Mozart, L. Double concerto in E flat (1752).

Herman Jeurissen, hn; Michael Höltzel, hn; Concerto Rotterdam/Heinz Friesen.

LP EMI G 1085 13

Milhaud, D. La création du monde (1923).

Claude Delangle, sax; Swedish Wind Ensemble/ Christian Lindberg.

BIS BIS-1640 16 15:00 THE CROWN OF INDIA

21:00 OPERA ON AND OFF STAGE Prepared by Giovanna Grech Suppé, F. Overture to Morning, noon and night in Vienna. Montreal SO/Charles Dutoit.

Decca 414 408-2 8

Elgar, E. The crown of India, op 66 (1912). Clare Shearer, mezz; Gerald Finlay, bar; Barbara Martin, Deborah McAndrew, Joanne Mitchell, speakers; Sheffield Philharmonic Ch; BBC PO/Andrew Davis.

Chandos CHAN 10570(2) 2:13

Bellini, V. Eccomi in lieta vesta, from The Capulets and the Montagues (1830). Emma Matthews, sop; Monte Carlo PO/Brad Cohen.

DG/ABC 476 3555 5

Meyerbeer, G. Indian march, from L’Áfricaine (1865). Barcelona SO/Micha Naxos 8.573076 9

Thalberg, S. Fantasy on the opera Lucrezia Borgia. Francesco Nicolosi, pf.

Marco Polo 8.223365 12

20:00 BROWSING THE BAROQUE Prepared by Rex Burgess

Tchaikovsky, P. Introduction, from The sorceress (1887). Royal Opera House O/Colin Davis.

Philips 442 8933 6

Bassano, G. Frais et galliard; Susanne au jour (1558-1617). Bruce Dickey, cornett; Aline ParkerZylberajch, hpd, org.

DHM 05472 77427 2 7 Castello, D. Libro secondo (1644). Ingrid Seifert, vn; John Toll, hpd.

EMI 8 26534 2

5

Cara, M. You cannot disguise your true nature; O my blind and cruel fate (1470-1525).

Shirley Rumsey, voice, lute.

Naxos 8.550615 7 Frescobaldi, G. Canzon terze (1637). John Toll, org.

EMI 8 26534 2 5 18:00 SOCIETY SPOT Folk Federation of NSW 19:00 THE MAGIC OF STAGE AND SCREEN Zimmer, H. Soundtrack of movie Angels and Demons, 2009.

54

12:00 A LITTLE TASTE OF JAZZ with Rob Thomas

20:00 TOP BRASS Prepared by Gael Golla

13:00 CHINESE MOSAIC + POSTCARDS FROM SHANGHAI Prepared by Paolo Hooke An exploration of the best of Chinese classical, traditional and film music, incorporating material specially provided by Shanghai Radio

Gabrieli, G. Canzon X (1615). London SO brass/Eric Crees.

Naxos 8.554129

5

Albinoni, T. Trumpet concerto in B flat.

Hannes Läubin, tpt; English CO/Simon Preston.

DG 431 817-2 8

Strauss, R. I cannot sit and stare, from Elektra (1909). Karita Mattila, sop; London PO/Yutaka Sado.

Erato 8573-85785-2 6 Verdi, G. Duet: Gilda-Rigoletto, from Rigoletto (1851). Joan Carden, sop; Robert Allman, bar; Sydney SO/Eric Clapham.

ABC AA9059 11 22:00 SATURDAY NIGHT AT HOME Vaughan Williams, R. Fantasia on a theme by Thomas Tallis (1910/19). Queensland SO/Patrick Thomas.

ABC 472 984-2 15 Schubert, F. Piano quintet in A, D667, Trout (1819). Jacqueline Cronin, va; David Campbell, db; Seraphim Trio.

ABC 476 4741 38 Canteloube, J. Baïlèro; L’Antouèno; Chut, chut; Lou coucut, from Songs of the Auvergne, series 1 no 2 (1922-30). Victoria de los Angeles, sop; Lamoureux Concerts O/Jean-Pierre Jacquillat.

EMI CDM 7 63178 2 17 Berlioz, H. Harold in Italy, op 16 (1834). Gérard Caussé, va; O Révolutionnaire et Romantique/ John Eliot Gardiner.

Philips 446 676-2 41 February 2015

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Sunday 8 February 0:00 CLASSIC-ALL THROUGH THE NIGHT

Debussy, C. Sonata (1915).

Virgin VC 7 91148-2

6:00 SUNDAY MORNING MUSIC with Robert Small

Krommer, F. Partita in B flat, op 67 (pub. c1825).

CRD 3410 18

9:00 MUSIC FOR SMALL FORCES Prepared by Frank Morrison

Bax, A. Oboe quintet (1922).

Hyperion CDA66807

17

Krommer, F. Quartet in E flat, op 46 no 2 (1804). Eckart Hübner, bn; Johannes Lüthy, vn; Steuart Eaton, va; Reinhard Latzko, vc. cpo 999 297-2 21

Dvorák, A. Serenade in D minor, op 44 (1878).

CRD 3410 26

Janácek, L. Quartet no 1, Kreutzer (1923).

Medici String Quartet.

Nimbus NI 5379

16:00 ROMANTIC CHAMBER AND VOCAL DELIGHTS Prepared by Frank Morrison

18

Nash Ensemble (all above)

Haydn, J. Trio in G, Hob.XV:25, Gypsy. Vienna Piano Trio.

Nimbus NI 5535 15

Burgmüller, N. Quartet no 1 in D minor, op 4 (1825). Mannheimer String Quartet.

MDG 336 0994-2 29

10:00 THE CLASSICAL ERA Prepared by Brian Drummond

Brahms, J. Holy lullaby, op 91 no 2 (1874-84).

Jard van Nes, mezz; Vladimir Mendelssohn, va; Gérard van Blerk, pf.

Ottavo OTR C 88505 7

Wagenseil, G. Sinfonia in D (c1770). Camerata Bern/Thomas Füri.

Archiv 410 599-2 11 Mozart, W. Divertimento no 14 in B flat, K270 (1776). Günter Piesk, bn; Henning Trog, bn; Hansjörg Schellenberger, ob; Burkhard Rohde, ob; Gerd Seifert, hn; Manfred Klier, hn.

Orfeo C 152 861 A 11 Kyrie in D minor, K341 (1780-81). London Symphony Ch & O/Colin Davis.

Philips 422 749-2

8

Bach, C.P.E. Flute quartet no 3 in G, Wq95 (1788). Les Adieux.

DHM GD 77052 18 Beethoven, L. Sonata no 8 in C minor, op 13, Pathétique (1798). Emil Gilels, pf.

DG 400 036-2 20 Haydn, J. On mighty wings uplifted, from The creation, Hob.XXI:2 (1798). Sara Macliver, sop; Tasmanian SO/Ola Rudner.

ABC 472 447-2 7 Field, J. Piano concerto no 3 in E flat (c1805).

Benjamin Frith, pf; Northern Sinfonia/David Haslam.

Naxos 8.553770 31 12:00 CLASSIC JAZZ AND RAGTIME with John Buchanan The early days of jazz and ragtime as recorded during the first 30 years of the 20th century 13:00 WORLD MUSIC: Whirled Wide 14:00 50 YEARS OF THE NASH Prepared by Sheila Catzel Vaughan Williams, R. Phantasy quintet (1912).

Hyperion CDA67313 14 Saint-Saëns, C. Septet in E flat, op 65 (1881).

Hyperion CDA67431/2 17 32

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Franck, C. Trio in B minor, op 2 no 4 (1839-42).

Elvira Bekova, vn; Alfia Bekova, vc; Eleonora Bekova, pf.

Chandos CHAN 9742 19 17:00 HOSANNA Prepared by Heather Sykes Hymns: Love divine; And can it be; O for a thousand tongues to sing. St Michael’s Singers/Paul Eddington Wright.

Kennedy KMCD 583

19:00 SUNDAY NIGHT CONCERT Prepared by Rex Burgess Villa-Lobos, H. Bachianas brasileiras no 3 (1938). Jean Louis Steuerman, pf; São Paulo SO/ Roberto Minczuk.

BIS CD-1250 28 Wagner, R. Inbrunst im Herzen, from Tannhäuser (1845). Jonas Kaufmann, ten; Marcus Bruck, bass-bar; Berlin German Opera Ch & O/Donald Runnicles.

Decca 478 5189 13 Prokofiev, S. Symphony no 6 in E flat minor, op 111 (1945-47). Los Angeles PO/André Previn.

Philips 420 934-2 41 20:30 CHAMBER SOIREE Music from Sweden Prepared by Stephen Wilson Kraus, J.M. Trio in D (1787). Jaap Schröder, vn; Kari Ottesen, vc; Lucia Negro, fp.

Musica Sveciae MSCD 415 20 Crusell, B. Clarinet quartet no 1 in E flat, op 2 (1803). Thea King, cl; members of Allegri String Quartet.

Hyperion CDA66077 19 Berwald, F. Piano quintet no 1 in C minor (1853). Uppsala Chamber Soloists; Bengt-Äke Lundin, pf.

Naxos 8.553970 26

14

Psalms: no 60, O God, thou hast cast us out; no 1, Blessed is the man; no 149, O sing unto the Lord; no 12, Help me, Lord. Choir of Wells Cathedral; Anthony Crossland, org & dir.

Priory PRCD 337 10 Stanford, C. Villiers Te Deum in C; Jubilate in C. Choir of Ely Cathedral/Paul Trepte.

Guild GMCD 7117 11 Hymns: Sing joyfully; Sanctus; O be joyful unto the Lord; Hear my prayer, O Lord; Beati Quorum Via. Cambridge Singers; City of London Sinfonia/John Rutter.

Collegium GSCD 500 15 18:00 A BAROQUE MISCELLANY Prepared by Jacob Gutmann Vitali, G. Ciacone in G minor (c1673). David Oistrakh, vn; Vladimir Yampolski, pf.

Brilliant Classics 8402 10

Stenhammar, W. String quartet no 6 in D minor, op 35 (1916). Copenhagen String Quartet.

LP Caprice CAP 1201-03

24

Wirén, D. String quartet no 3, op 18 (1941-45).

Lysell Quartet.

Daphne 1021 19 22:30 NEW HORIZONS Richard and Ross Prepared by Chris Blower Mills, R. Overture with fanfare. West Australian SO/Richard Mills.

ABC 434 713-2

10

Edwards, R. The hermit of green light; Geography VI; Geography III; And no bird sings (1979/83). Elizabeth Campbell, mezz; Anthony Fogg, pf.

Canberra School of Music CSM 15 14

Sonata in A minor, op 5 no 10, La sassatelli.

Peter Holman, org; Parley of Instruments.

Hyperion CDA67359 3

Mills, R. Duo concerto (1994). Barbara Jane Gilby, vn; Janet Rutherford, va; Tasmanian SO/ Richard Mills.

ABC 462 016-2 24

Bach, J.S. Passacaglia in C minor, BWV582 (c1712). Michel Chapuis, org.

LP Telefunken 6.35082 12

Mills, R. The nightingale’s song. Emma Matthews, sop; Monte Carlo PO/Brad Cohen.

DG/ABC 476 3555 5

Cello suite no 3 in C, BWV1009 (transcr.

Duarte). John Williams, gui.

Everest 3219

Edwards, R. Symphony no 1, Da pacem Dominé (1991). Adelaide SO/Richard Mills.

ABC 476 616-1 27

24

Monday 9 February

Lorin Maazel 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with James Hunter

Takako Nishizaki Tchaikovsky, P. Suite no 3 in G, op 55 (1884).

Vienna PO/Lorin Maazel.

Decca 476 2723 41

14:30 THE AGE OF ENLIGHTENMENT From Sweden Prepared by Philip Lidbury

12:00 SWING SESSIONS with John Buchanan

Kraus, J.M. Overture in D minor (1792).

Swedish CO/Petter Sundkvist.

Naxos 8.554777

9:00 DIVERSIONS IN FINE MUSIC By arrangement Prepared by Madilina Tresca

13:00 TWO AND THREE Prepared by Jan Brown

Anon. Avertissement des enfarinez à Mazarin sur ce qu’il craindre (arr. Blunden). Le Jardin Secret.

Coro COR 16060 2

Beethoven, L. Sonata no 7 in C minor, op 30 no 2 (1802). Anne-Sophie Mutter, vn; Lambert Orkis, pf.

DG 479 2949 27

Puccini, G. Garret scene, final pas de deux, from La bohème (arr. Hocking). West Australian SO/Dobbs Franks.

ABC 476 1999 20

Brahms, J. Trio in A minor, op 114 (1891).

Deborah de Graaff, cl; Georg Pederson, vc; Len Vorster, pf.

ABC 472 672-2 26

Bach, J.S. Suite in A minor, BWV995 (c1721-31; arr. Williams). John Williams, gui.

Sony SBK 89964 21

14:00 OPERA HIGHLIGHTS Prepared by Giovanna Grech

Szymanowski, K. String quartet no 2, op 56 (1923; arr. Tognetti). Australian CO/Richard Tognetti.

Chandos CHAN 10016 19 Janácek, L. Quartet no 1, Kreutzer sonata (1923; arr. Tognetti). Janácek CO. Chandos CHAN 10678 18 10:30 MORNING CONCERT Prepared by Derek Parker Handel, G. Overture and ballet music from Alcina, HWV34 (1735).

Decca 480 1388 21 Mozart, W. Double concerto in F, K242 (1776).

Imogen Cooper, pf; Alfred Brendel, pf; Philips 476 209-5 PM3 Academy of St Martin in the Fields/Neville Marriner (2 above).

23

Verdi, G. Tu del mio Carlo, from I masnadieri (1847). Joan Sutherland, sop; Marilyn Horne, mezz; Luciano Pavarotti, ten; New York City Opera O/Richard Bonynge.

LP Decca D255D2 8 Massenet, J. Allons! Li le faut ... Adieu, notre petite table, from Manon (1884). Kiri Te Kanawa, sop; Royal Opera House O/Jeffrey Tate.

EMI CDC 7 49863-2 4 Offenbach, J. Il était une fois a la cour d’Eisenach, from The tales of Hoffmann (1881).

Plácido Domingo, ten; French NO/Seiji Ozawa.

DG 429 374-2 5

10

Wikmanson, J. String quartet. Chilingirian Quartet.

CRD 33123 21 Kraus, J.M. At the joy of a heart, from Proserpin (1778); Innocente donzelletta (1784).

Barbara Bonney, sop; Drottningholm Court TO/Thomas Schuback.

Musica Sveciae MSCD 424 10 Wesström, A. Armida overture. Nordic CO/ Christian Lindberg.

8 BIS CD-1538 Kraus, J.M. Violin concerto in C (1777). Takako Nishizaki, vn; New Zealand SO/Uwe Grodd.

Naxos 8.570334 30 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with David Ogilvie 19:00 JAZZ NICE ‘N EASY with Ken Weatherley 20:00 STORMY MONDAY with Austin Harrison and Garth Sundberg 22:00 THE AUSTRALIAN JAZZ SCENE with Susan Gai Dowling and Peter Nelson

Rossini, G. Beviam, tocchiamo, from The thieving magpie (1817). Marilyn Horne, mezz; Torino Della Rai SO/Alberto Zedda.

CBS MK 44820 3 February 2015

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Tuesday 10 February 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 Artist of choice: Leif Ove Andsnes Prepared by Barrie Brockwell Chopin, F. Meine Freunden, from Six Chants polonaises, no 5, (transcr. Liszt 1847-60).

EMI 3 41682 2 3 Liszt, F. Piano concerto no 2 in A (1839/49-61).

Bergen PO/Dmitri Kitaienko.

Virgin 7 59613 2 22 Schubert, F. Forest night, D708; Butterfly, D633 (1820). Ian Bostridge, ten.

EMI 5 57460 2

8

Grieg, E. Lyric pieces, bk 3, op 43 (1886).

Virgin VC 7 59300 2

14

Nielsen, C. Chaconne, op 32 (1916).

Virgin 5 45129 2

9

Albéniz, I. Tango, from España, op 165 no 2 (1890).

2 Shostakovich, D. Polka from The golden age, op 22 (1927-30).

2 EMI 3 41682 2 (2 above) Schumann, R. Fantasiestücke, op 88 (1842).

Christian Tetzlaff, vn; Tanja Tetzlaff, vc.

EMI 0 94180 2 18 Leif Ove Andsnes, pf (all above) 10:30 MORNING CONCERT Prepared by Barrie Brockwell Salieri, A. Overture to The stolen bucket (1772). Czecho-Slovak RSO/Michael Dittrich.

Naxos 8.554838 6 Dvorák, A. Cello concerto in B minor, op 104 (1895). Truls Mørk, vc; Oslo PO/Mariss Jansons.

Virgin VC 7 59325 2 39

Mariss Jansons 13:00 BAROQUE TO CLASSICAL Prepared by Frank Morrison Corelli, A. Concerto grosso in D, op 6 no 1 (pub. 1714). Ensemble 415.

Harmonia Mundi HMC 901406.07 14

Biber, H. Serenada, Die Nachtwächter. Simon Grant, bass; New London Consort.

Decca 458 081-2 11 Grétry, A-E-M. Overture to Le magnifique (1773). English CO/Richard Bonynge.

Decca 466 434-2 10

Vaughan Williams, R. The lark ascending (1914/20). Nigel Kennedy, vn.

EMI 5 62813 2 18 Gershwin, G. Piano concerto in F (1925). Peter Donohoe, pf.

EMI CDC 7 54280-2 32 Vaughan Williams, R. Songs of travel (1904).

Thomas Allen, bar.

EMI 7 64731 2 23

19:00 THE JAZZ BEAT with Lloyd Capps 20:00 RECENT RELEASES with David Ogilvie

Halffter, E. Sinfonietta in D (1927). Alejandro Rutkauskas, vn; Peter Wolf, vc; Buguslaw Furtok, db; Frankfurt RSO/Muhai Tang. cpo 999 493-2 34 Ponce, M. Piano trio, romantico (1911). Trio Tulsa.

ASV DCA 1053 31 Lara, A. Granada (1932; arr. Silvetti); Valencia (arr. Silvetti). Plácido Domingo, ten; VVC Symphonic O/Bebu Silvetti.

9 Sony SK 62625 Revueltas, S. Hommage a Federico García Lorca (1937). Arturo Reyes, tpt; Mexico PO/ Fernando Lozano.

LP Forlane UM 3558 13

City of Birmingham SO (3 above) Ravel, M. Asia, from Shéhérazade (1903).

Magdalena Kožená, mezz; Berlin PO. DG 4790065

12:00 JAZZ RHYTHM with Jeannie McInnes

Beethoven, L. Symphony no 8 in F, op 93 (1812). Vienna PO. EMI 5 57448 2 26 February 2015

What’s on in concerts during the next month

22:00 INTO THE 20TH CENTURY Prepared by Elaine Siversen

14:00 CONTEMPORARY CONDUCTOR SERIES Simon Rattle Prepared by Randolph Magri-Overend

Schumann, R. Symphony no 2 in C, op 61 (1845-47). Concertgebouw O/Kurt Masur.

Radio Nederland RCO12004 35

fineMusic 102.5

18:00 SYDNEY SYMPHONY 2015 Produced by Andrew Bukenya

Bach, C.P.E. Six sonatas, Wq92 nos.1-6 (pub.

1780). Fiati con Tasto. cpo 999 508-2 16

Simon Rattle, cond (all above) 34

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

10

Chávez, C. The daughter of Colchis (1943).

State of Mexico SO/Enrique Bátiz.

ASV DCA 927 23

Wednesday 11 February

Ruggiero Raimondi 0:00 CONTEMPORARY COLLECTIVE

Cowen, F. Symphony no 3 in C minor, Scandinavian (1880). Czecho-Slovak State PO/ Adrian Leaper.

Marco Polo 8.223273 37

3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Peter Kurti

12:00 JAZZ SKETCHES with Robert Vale 13:00 YOUNG VIRTUOSI

9:00 DIVERSIONS IN FINE MUSIC Music of the 18th century Prepared by Frank Morrison Telemann, G. Suite in E minor. Jean-Pierre Rampal, fl; Franz Liszt CO/János Rolla.

CBS MK 42362 17 Bach, J.S. Cantata, BWV211: Schweigt stille, plaudert nicht, Coffee (1734). Emma Kirkby, sop; Rogers Covey-Crump, ten; David Thomas, bass; Academy of Ancient Music/Christopher Hogwood.

L’Oiseau-Lyre 417 621-2 25 Handel, G. Oboe concerto no 3 in G minor, HWV287 (1703-05). David Reichenberg, ob; English Concert/Trevor Pinnock.

Archiv 479 1932 9 Schobert, J. Trio in B flat, op 16 no 1 (pub. 176167). Chiara Banchini, vn; Philipp Bosbach, vc; Luciano Sgrizzi, fp.

Harmonia Mundi HMC 901294 15 Stamitz, J. Concerto no 4 in E flat. Alena Veselá, org; Dvorák CO/Vladimir Válek.

Supraphon SU 3094-2 011

16

10:30 MORNING CONCERT Prepared by Chris Blower Ippolitov-Ivanov, M. Caucasian sketches, suite no 1, op 10 (1894). Sydney SO/Christopher Lyndon-Gee. Marco Polo 8.220369 25 Strauss, R. Horn concerto no 2 in E flat (1942).

Barry Tuckwell, hn; London SO/István Kertész.

Decca 425 754-2 20

14:00 IN CONVERSATION with Michael Morton-Evans What exactly does it take to make music?

Leading musicians, composers and performers, both local and visiting from overseas, will be talking live on air telling us why they do it and how they do it.

15:00 DVORÁK AND FRIENDS Prepared by Emyr Evans Dvorák, A. Slavonic dances: in C, op 46 no 1; in E minor, op 46 no 2; in G minor, op 46 no 8 (1878). Scottish NO/Neeme Järvi.

Chandos CHAN 8406 12 Bax, A. Roscatha (1910). Ulster O/Bryden Thomson.

Chandos CHAN 6525

11

Grieg, E. Piano concerto in A minor, op 16 (1868). Géza Anda, pf; Berlin PO/Rafael Kubelik.

DG 474 838-2 31 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with James Hunter 19:00 JAZZ STARS AND STRIPES with Peter Mitchell

Angela Gheorghiu 20:00 AT THE OPERA Tosca Prepared by MIchael Tesoriero Puccini, G. Tosca. Opera in three acts. Libretto

by Giuseppe Giacosa and Luigi Illica. First performed Rome, 1900.

FLORIA TOSCA: Angela Gheorghiu, sop MARIO CAVARADOSSI: Roberto Alagna, ten SCARPIA: Ruggiero Raimondi, bass-bar Tiffin Boys’Choir; Royal Opera House Ch & O/ Antonio Pappano EMI 28852-3 1:59 Famous soprano Tosca is the jealous lover of Mario Cavaradossi, an artist. Mario is painting an altarpiece in a church from which he helps a revolutionary comrade escape. The evil Scarpia, chief of police, arrests Mario on suspicion. Desiring Tosca, Scarpia promises her lover’s liberty in return for her favours.

An angry Tosca agrees. Scarpia orders a fake execution, but when he approaches Tosca, she stabs him. At dawn the execution takes place.

Tosca is devastated when she finds her lover is dead. She leaps to her death.

22:30 OCTETS Prepared by Denis Patterson Mendelssohn, F. Octet in E flat, op 20 (1825).

Goldner String Quartet, Quatuor Parisii.

ABC 465 841-2 32 Schubert, F. Octet in F, D803 (1824). Leopold Wlach, cl; Karl Ohlberger, bn; Gottfried von Freiberg, hn; Josef Hermann, db; Vienna Konzerthaus Quartet.

Westminster Chamber Music Collection 3 51

February 2015

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Thursday 12 February Rameau, J-P. Suite from Les Indes galantes (1735-61). O of the 18th Century/Frans Brüggen.

Philips 438 946-2 44 12:00 JAZZ, PURE AND SIMPLE with Maureen Meers 13:00 FOUR HANDS Prepared by Jan Brown Debussy, C. Petite suite (1889). Katia Labèque, Marielle Labèque, pf.

Decca 4783691 11 Czerny, C. Concerto in C, op 153. Liu Xiao Ming, Horst Göbel, pf; Brandenburg State O/ Frankfurt; Nikos Athiäos.

Christophorus CHE 0140-2 31

Nadia Boulanger 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN

Casella, A. Pagine di guerra, op 25 (1915).

Sandro Ivo Bartoli, Marcello Guerrini, pf.

ASV DCA 1023

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

14:00 THE BOULANGER LEGACY Prepared by David Ogilvie

9:00 DIVERSIONS IN FINE MUSIC Composer focus Prepared by Raj Gopalakrishnan Martinu, B. Idyll, from Bouquet of flowers (1937). Czech PO/Václav Neumann.

Supraphon SU 4058-2 6 La revue de cuisine (1927). Karel Dlouhy, cl; Jirí Formácek, bn; Václav Junek, tpt; Bruno Belcík, vn; Milos Sádlo, vc; Frantisek Rauch, pf.

Supraphon SU 3058-2 011 13 Andante moderato, from Cello concerto no 1 (1955). Jirí Bárta, vc; Prague Philharmonia/Jakub Hrusa.

Supraphon SU 3989-2 11 Suite no 1 from the ballet, Spalicek (1931-33/40).

Brno State PO/Jirí Waldhans.

LP Supraphon 1 10 1129 23 Adagio, from Quintet no 2 (1944). Karel Kosárek, pf; Martinu Quartet.

Naxos 8.557861

7

Scherzo; Largo, from Symphony no 1 (1942).

Czech PO/Jirí Belohlávek.

Chandos CHAN 8950 16 10:30 MORNING CONCERT Prepared by Elaine Siversen Beethoven, L. Overture no 3 to Leonore, op 72a (1814). City of Birmingham SO/Walter Weller.

Chandos CHAN 7028 13 Krommer, F. Double concerto in E flat, op 91. Dieter Klöcker, cl; Waldemar Wandel, cl; Stuttgart RSO/Wolf-Dieter Hauschild.

Schwann 3-1077-2 25 36

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8

Whitacre, E. Nox Aurumque.

6

Wilbye, J. Adieu, sweet Amaryllis.

3

Tavener, J. Song for Athene.

7

Gjeilo, O. Sunrise Mass. String Ensemble. 33

Boulanger, L. Psalm 130: Du fond de l’abîme (1910-17). Ann Murray, mezz; Neil MacKenzie, ten; BBC PO/Yan Pascal Tortelier.

Chandos CHAN 9745 24 Fantasy (1912). David Greilsammer, pf; French Radio PO/Steven Sloane. naïve V 5224 20 Brahms, J. Waltzes op 39: nos 1, 2, 5, 6, 10, 14 and 15 (1865; arr.). Dinu Lipatti, pf; Nadia Boulanger, pf.

Philips 456 892-2

Frans Brüggen

Vox/Elizabeth Scott (all above) Part 2: A helping hand Butterley, N. The true Samaritan, op 8 (1958/75). Sydney Philharmonia Motet Choir/ Charles Colman.

Fine Music Tape Archive 14 21:30 STRING INTERLUDE Prepared by Emyr Evans

8

Boulanger, L. D’un matin de printemps (1918).

Yehudi Menuhin, vn; Clifford Curzon, pf.

EMI CDM 7 64281 2 5 D’un soir triste. BBC PO/Yan Pascal Tortelier.

Chandos CHAN 9745 11 Fauré, G. Requiem, op 48 (1893). Janet Price, sop; John Carol Case, bar; BBC Symphony Ch & O/Nadia Boulanger.

BBC BBCL 4026-2 39 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Marilyn Schock

Bowen, Y. Trio in three movements, op 118 (1945). Endymion.

Dutton Epoch LXBOX 2012 23 22:00 EVENINGS WITH THE ORCHESTRA Strauss: The voice and the orchestra Prepared by Elaine Siversen Strauss, R. Liebeshymnus, op 32 no 3 (1896); Waldseligkeït, op 49 no 1 (1901); Verführung op 33 no 1 (1896-97); Des Dichters Abendgang, op 47 no 2 (1900). Siegfried Jerusalem, ten; Gewandhaus O/Kurt Masur.

Philips 432 614-2 18

19:00 JAZZ VIBES with Matt Bailey

Oboe concerto in D (1945/48). Alf Nilsson, ob; Stockholm Sinfonietta/Neeme Järvi.

BIS CD-470 24

20:00 LIVE AND LOCAL Part 1: Vox in Concert Recorded by Peter Bell for FINE MUSIC

Four last songs, op posth (1948). Yvonne Kenny, sop; Queensland SO/Johannes Fritzsch.

ABC 476 3954 21

Tallis, T. If ye love me.

2

Whitacre, E. Lux Aurumque.

4

Duruflé, M. Four motets on Gregorian themes.

8

Ein Heldenleben, op 40 (1897-98). Royal Concertgebouw O/Mariss Jansons.

RCO Live RCO 04005

45

Friday 13 February 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 Exploring chamber Prepared by Sheila Catzel Haydn, J. String quartet in D minor, Hob.III:76, Les quintes (1799). Jerusalem Quartet.

Harmonia Mundi HMC 901823 22 Liszt, F. Tristia, transcription of The Obermann Valley (1840). Trio Chausson.

Mirare MIR 089 18 Korngold, E. Suite from Much ado about nothing, op 11 (1920). Gil Shaham, vn; André Previn, pf.

DG 439 886-2 13 Kreisler, F. Viennese rhapsodic fantasietta.

Oscar Shumsky, vn; Milton Kaye, pf.

ASV QS 6039 8 Fauré, G. Piano trio in D minor, op 120 (1923).

Florestan Trio.

Hyperion CDA67114 19 10:30 MORNING CONCERT Prepared by Frank Morrison Berlioz, H. Overture to Benvenuto Cellini, op 23 (1836-38). San Diego SO/Yoav Talmi.

Naxos 8.550999 11 Kodály, Z. Suite from Háry János, op 15 (1927).

Hungarian State SO/Adám Fischer.

Nimbus NI 5284 25 Ives, C. Symphony no 1 (1896-98). Irish NSO/ James Sinclair.

Naxos 8.559175 46 12:00 NOONTIME JAZZ with Peter Mitchell 13:00 PATRICK THOMAS PRESENTS The music of Betty Beath, Part 1 Beath, B. Woman’s song (1999). Moravian PO/ Toshiyuki Shimada.

VMM 3053 3 From a quiet place, mvt 1 (1997). Patricia Pollett, va; Colin Spiers, pf.

5 Spider (1973).

2

Snail (1973).

2

Susan Lorette Dunn, sop (2 above) Wirrapang WIRR024 (4 above) Merindu Bali ... Bali yearning (2003).

4

Betty Beath, pf (4 above) Wirrapang WIRR024 The first man in outer space (1994). Moravian PO/Ruben Silva.

VMM 3031 6

13:30 OPERA HIGHLIGHTS Prepared by Giovanna Grech

19:00 FRIDAY JAZZ SESSION with Sally Cameron

Puccini, G. Donna non vidi mai, from Manon Lascaut (1893). Luciano Pavarotti, ten; National PO/Oliviero de Fabritiis.

Decca 400 083-2 3

20:00 THE ROMANTIC CENTURY Prepared by Judy Ekstein

Verdi, G. Signora ... Che t’accadde ... Parigi, o cara, from La traviata (1855). Joan Sutherland, sop; Jacquelyn Fugelle, sop; Luciano Pavarotti, ten; National PO/Richard Bonynge.

EMI DTS 571/72 7 Donizetti, G. Cruda, funesta smania, from Lucia di Lammermoor (1835) Sergei Skorokhodov, ten; Vladislav Sulimsky, bar; Ilya Bannik, bass; Marinsky Theatre O/Valery Gergiev.

Marinsky MARO512 2 Mascagni, P. Tu qui, Santuzza? from Cavalleria rusticana (1890). Renata Tebaldi, sop; Rina Corsi, sop; Lucia Dani, mezz; Jussi Björling, ten; Maggio Musicale Fiorentino O/Alberto Erede.

Decca 421 316-2 13 14:00 RUSSIAN TRADITION Prepared by Gael Golla Byzantine chant Sticheron: Slava ottsou, from the Liturgy of the presanctified.

Benedictine Monks of L’Union, Chevetogne; Gregoire Bainbridge.

Harmonia Mundi HMA 190567 5 Tchaikovsky, P. Fantasy overture: Romeo and Juliet (1869/80). Royal Concertgebouw O/Edo de Waart.

Philips 434 220-2 21 Shostakovich, D. Quartet no 6 in G, op 101 (1956). Borodin String Quartet.

EMI CDC 7 49268-2 24 Stravinsky, I. Suite from The firebird (1910).

New York PO/Leonard Bernstein.

CBS MYK 42540 21 Rimsky-Korsakov, N. The heavy clouds disperse, op 42 no 3 (1897); The nymph, op 56 no 1; The nightingale and the rose, op 2 no 2 (1865-66). Galina Vishnevskaya, sop; Mstislav Rostropovich, pf.

EMI 5 65716 2 10

Rossini, G. Overture to William Tell. Santa Cecilia National Academy O/Myung-Whun Chung.

DG 471 566-2 11 Hummel, J. Piano concerto no 4 in E, op 110 (1825). London Mozart Players/Howard Shelley, pf & dir.

Chandos CHAN 9687 31 Joachim, J. Violin concerto in G minor, op 3 (1851). Suyoen Kim, vn; Staatskapelle Weimar/ Michael Halász.

Naxos 8.570991 20 Gounod, C. Ballet music from Faust (1859).

Czecho-Slovak RSO/Ondrej Lenard.

Naxos 8.550081 16 Liszt, F. Sonata in B minor (1852-53). Sviatoslav Richter, pf.

Memories HR 4218 29 22:00 BAROQUE AND BEFORE Baroque strings and Renaissance voices Prepared by Philip Lidbury Handel, G. Concerto grosso in F, op 6 no 9 (1739). Emanuel Hurwitz, vn; Raymond Keenlyside, vn; Keith Harvey, vc; Leslie Pearson, hpd; English CO/Raymond Leppard.

Philips 426 465-2 14 Stratford, W. Magnificat (in four parts). Tonus Peregrinus Antony Pitts, ten & dir.

Naxos 8.572840 15 Monn, M. Cello concerto in G minor. Jian Wang, vc; Salzburg Camerata.

DG 474 236-2 19 Janequin, C. Le chant de oiseaux. The Parsons Affayre/Dan Walker.

Vox Foris MMPA004 7 Bach, J.S. Sonata no 2 in A, BWV1015, from Six sonatas (bef. 1725). Elizabeth Wallfisch, vn; Paul Nicholson, hpd.

Hyperion CDD22025 13

Rachmaninov, S. Piano concerto no 1 in F sharp minor, op 1 (1891). Mikhail Pletnev, pf; Philharmonia O/Libor Pesek.

Virgin VC 7 90724-2 26

Josquin Desprez. Miserere mei, Deus (150304). Cinquecento Renaissance Vokal.

Hyperion CDA67959 15

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

Locatelli, P. Violin concerto in D, op 3 no 12, from L’arte del violino (pub. 1733). Elizabeth Wallfisch, vn; Raglan Baroque Players/Nicholas Kraemer.

Hyperion CDS44391/3 24 February 2015

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Saturday 14 February 0:00 CLASSIC-ALL THROUGH THE NIGHT

Beath, B. Poems from the Chinese, a cycle of four songs with instrumental interlude. Jane Delpratt, voice; Floyd Williams, cl; Betty Beath, pf.

Beath-Cox Art BC 02 10

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 9:30 GREAT ROMANTIC ORCHESTRAL WORKS Prepared by Elaine Siversen d’Indy, V. Symphony on a French mountain song, Cévenole, op 25 (1886). Catherine Collard, pf; French RPO/Marek Janowski. apex 0927 4809 2 24

15:00 DON QUIXOTE Minkus, L. Don Quixote, ballet (1869). Sofia National Opera O/Nayden Todorov.

Naxos 8.557065-6 2:17

Saint-Saëns, C. Carnival of the animals (1886).

David Strange, vc; Anthony Goldstone, pf; Ian Brown, pf; Royal PO/Owain Arwel Hughes.

ASV QS 6124 22

Massenet, J. Lorsque le temps d’amour, from Don Quixote (1910). Magdalena Kozená, mezz; male soloists; gui; Mahler CO/Marc Minkowski.

DG 474 214-2 7

Franck, C. Sonata in A (1886). Arthur Grumiaux, vn; György Sebok, pf.

Philips 468 307-2

17:30 ARTS IN FOCUS Produced by Simon Moore

27

Saint-Saëns, C. Symphony no 3 in C minor, op 78, Organ (1886). Marie-Claire Alain, org; French NRO/Jean Martinon. apex 8573 89244 2 35

18:00 SOCIETY SPOT Organ Music Society of Sydney Prepared by Andrew Grahame 4

11:30 ON PARADE Grimethorpe Band at the movies Prepared by Robert Small

Lloyd Webber, W. Benedictus (1960).

5

Williams, J. Medley from Indiana Jones and the Temple of Doom.

5

Halls, D. Meditation (1963).

Theme from Superman.

7

Milner, A. Prelude, Siciliano and Ricercare (1965).

12

Main theme, from Star wars.

3

Cocker, N. Paean.

3

Harris, W. Fantasy on Campion’s tune Babylon’s Streams (1922).

8

Stainer, J. Fughetta in C; Impromptu (1897). 12

Grimethorpe Colliery U.K. Coal Band (all above) RCA 74321 88393 2 12:00 A LITTLE TASTE OF JAZZ with Rob Thomas 13:00 A CHINESE MISCELLANY

3

Daniel Cook, org (all above) Priory PRCD-1052 19:00 THE MAGIC OF STAGE AND SCREEN Prepared by Maureen Meers

Tcherepnin, A. Five Chinese concert studies, op 52 (1934-6). Jenny Lin, pf.

BIS CD-1110 18

Berlin, I. Excerpts from Annie get your gun (1946). Ethel Merman, Ray Middleton, voices; O/Jay S. Blackton.

Decca 012 159 243-2 20

Britten, B. Songs from the Chinese, op 56 (1957). Ian Bostridge, ten; Xuefel Yang, gui; Antonio Pappano, pf.

EMI 4 33430 2 9

Rodgers, R. Excerpts from Me & Juliet (1953).

Isabel Bigley, Mark Dawson, Bill Hayes, voices; O/Salvatore Dell’Isola.

RCA Victor - dg 19115 12

Chen Yi The ancient Chinese beauty (2008).

Michala Petri, rec; Kremerata Baltica.

OUR 8.226905 14

Adler - Ross. Excerpts from The pajama game (1957). Doris Day, John Raitt, Carol Haney, Eddie Foy Jnr, voices.

Collectibles/Sony COL-6699/Sony A 52453 19

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February 2015

Françaix, J. Octet for clarinet, bassoon, horn, two violins, two violas and cello (1972). Gaudier Ensemble.

Hyperion CDA67036 20 Rheinberger, J. Nonette in E flat, op 139. Frans Vester, fl; Maarten Karres, ob; Piet Honingh, cl; Brian Pollard, bn; Adriaan van Woudenberg, hn; Jaap Schröder, vn; Wiel Peeters, va; Anner Bylsma, vc; Anthony Woodrow, db.

LP Bellaphon EA 23.045 37 21:00 OPERA ON AND OFF STAGE Prepared by Giovanna Grech Gassmann, F. Overture to L’amore artigiano (1767). English CO/Richard Bonynge.

7 Decca 440 844-2 Gounod, C. The soldiers’ chorus, from Faust (arr. Cohen). Froncysyllte Male Voice Choir.

3 Decca 2708449 Berlioz, H. Serenade, from Harold in Italy, op 16 (1834). Yehudi Menuhin, va; Philharmonia O/ Colin Davis.

6 EMI CDM 1 66434-2

Alcock, W. Fantasia (1913).

Zimmer, H. Barbarian horde, from Gladiator. 8

38

14:00 IN A SENTIMENTAL MOOD with Maureen Meers Nostalgic music and artists from the 30s, 40s and 50s and occasionally beyond, in a trip down many memory lanes

20:00 EIGHTS AND NINES Prepared by Denis Patterson

Borodin, A. There is neither sleep nor rest, from Prince Igor (1869-87). Sergei Alekashkin, bass; Philharmonia O/Gennady Rozhdestvensky.

8 Chandos CHAN 9629 Liszt, F. Réminiscences de La Scala, from Mercadante’s Il giuramento (1838). Leslie Howard, pf.

Hyperion CDA67406/7

16

Puccini, G. Floria! ... Amore! from Tosca (1900).

Maria Callas, sop; Carlo Bergonzi, ten; Tito Gobbi, bar; Ugo Trama, bass; Conservatoire Concert Society O/Georges Prêtre.

9 EMI CDM 63087 2 22:00 SATURDAY NIGHT AT HOME Prepared by Rex Burgess Rimsky-Korsakov, N. Suite from Le coq d’or (1907). Seattle SO/Gerard Schwarz.

Naxos 8.572787 28 Dvorák, A. Bagatelles, op 47 (1878). Charles Castleman, vn; Julie Gigante, vn; Pamela Frame, vc; Barbara Harbach, harmonium.

Albany TROY 041 16 Strauss, R. Suite from Der Rosenkavalier, op 59 (1909-10). Sydney SO/Stuart Challender.

ABC 426 480-2 23 d’Indy, V. Piano quintet in G minor, op 81 (1924). Ilona Prunyi, pf; New Budapest Quartet.

Marco Polo 8.223691 21 Schubert, F. Symphony no 3 in D, D200 (1815).

Stockholm Sinfonietta/Neeme Järvi.

BIS CD-453 23

Sunday 15 February 0:00 CLASSIC-ALL THROUGH THE NIGHT

Mendelssohn, F. Ave Maria, op 23 no 2 (1830).

Westminster Cathedral Choir; Iain Simcock, org; James O’Donnell, cond.

7 Hyperion WCC100

6:00 SUNDAY MORNING MUSIC with Paul Roper 9:00 MUSIC FOR SMALL FORCES Prepared by Paul Hopwood

Murrill, H. Magnificat; Nunc dimittis in E. Choir of St Paul’s Cathedral; Christopher Dearnley, org; John Scott, cond.

Hyperion CDH 55402

Mozart, W. Quintet, in E flat, K407 (1782).

Barry Tuckwell, hn; Kenneth Sillito, vn; Kenneth Essex, va; Ian Jewel, va; Kenneth Harvey, vc.

Decca 421 393-2 19 Bach, C.P.E. Trio in B flat (1731/47). Marzio Conti, fl; Alain Marion, fl; Daniele Roi, hpd.

Fonè 89 F 04-28 19 Boccherini, L. Guitar quintet no 2 in E (1798).

Pepe Romero, gui; Academy of St Martin in the Fields Chamber Ensemble.

Philips 438 769-2 15 10:00 THE CLASSICAL ERA Prepared by Di Cox Bach, C.P.E. Sinfonia in A, Wq182 no 4 (1773).

English Concert/Trevor Pinnock.

Archiv 415 300-2 12 Haydn, J. Cassation in C, Hob.III:6. Hopkinson Smith, lute; Chiara Banchini, vn; David Plantier, vn; Roel Dieltiens, vc.

Astrée E 8641 13 Mozart, W. Variations on Ah, vous dirai-je, Maman, K265 (1781-2). Ian Holtham, pf.

Move MD 3246 12 Crusell, B. Clarinet concerto no 3 in B flat, op 11 (1812). Karl Leister, cl; Lahti SO/Osmo Vänskä.

BIS CD-345 24 Haydn, M. Offertorium pro festo SS. Innocentium (1787). Eva Marton, sop; Katalin Szo DBX 0304 7 Haydn, J. String quartet in G minor, op 74 no 3 (1793). Schuppanzigh-Quartett.

Accent ACC 24223 24

7

Bainton, E. And I saw a new heaven. Hazel 6 Clay, org.

John Eliot Gardiner Mozart, W. Symphony no 41 in C, K551, Jupiter (1788). Concertgebouw O/George Szell.

Sony SMK 68445 31

Bairstow, E. Blessed city, heavenly Salem.

Scott Farrell, org.

10 Chapel Choir of Royal Holloway University of London; Lionel Pike, cond (2 above) Royal Holloway Vol DRD 0121

Excerpts from Mass no 19 in D minor, K626, Requiem (1791). Gächinger Kantorei Stuttgart; Bach Collegium Stuttgart/Helmuth Rilling.

Sony 88697529902 9

Hymns: Praise to the holiest; Love divine, all loves excelling. Choir of King’s College, Cambridge; Richard Farnes, org; Stephen Cleobury, cond.

Decca 452 252-2

Beethoven, L. Symphony no 3 in E flat, op 55, Eroica (1803). O Révolutionnaire et Romantique/John Eliot Gardiner.

Archiv 439 900-2 45

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

8 Regent REGCD 200

Weber, C.M. Overture to Der Freischütz (1821).

Los Angeles PO/Zubin Mehta.

Decca 475 7470 9 Concert piece in F minor, op 79 (c1821). Nikolai Demidenko, pf; Scottish CO/Charles Mackerras.

Hyperion CDA66729 16 16:00 ROMANTIC CHAMBER AND VOCAL DELIGHTS Prepared by Frank Morrison Schubert, F. Der Hirt auf dem Felsen, D965 (1828). Barbara Bonney, sop; Sharon Kam, cl; Geoffrey Parsons, pf.

Teldec 4509-90873-2 12

5

18:00 CELEBRATING SUMMER Prepared by Gael Golla Vivaldi, A. Violin concerto no 2 in G minor, RV315, Summer (pub. 1725). Europa Galante/ Fabio Biondi, vn & dir.

9 Virgin 5 45465 2 Boyd, A. Goldfish through summer rain (1979).

Geoffrey Collins, fl; David Miller, pf.

5 Tall Poppies TP127 Berlioz, H. Villanelle; Absence, from Summer nights, op 7 (1840-41). Véronique Gens, sop; Lyon Opera O/Louis Langrée.

6 Virgin 5 45422 2

Verdi, G. String quartet in E minor. Melos Quartet.

Harmonia Mundi HMC 901671 22

Schubert, F. Ständchen, D920 (1827). Utrecht Vocal Soloists; Ronald Brautigam, pf; Udo Reinemann, bar & dir.

Globe GLO 5021 6

Barber, S. Summer music, op 31 (1956). Michael Thompson Wind Quintet.

Naxos 8.553851 12

Liszt, F. Peace lies on all the summits (1847).

Thomas Hampson, bar; Geoffrey Parsons, pf.

EMI 5 75187 2 4

Piazzolla, A. Summer in Buenos Aires.

Eleftheria Kotzia, gui.

Chandos CHAN 9732

Boccherini, L. Symphony no 18 in F, op 35 no 4 (c1782). London FO/Ross Pople.

Hyperion CDA66903 12

Glinka, M. Trio pathétique in D minor (1832).

Oistrakh Trio.

Brilliant Classics 9272 16

12:00 SPEAK EASY, SWING HARD with Richard Hughes

17:00 HOSANNA Prepared by Richard Munge

13:00 WORLD MUSIC: Whirled Wide

Hymns: Be still, my soul; The King of love my shepherd is; O worship the King. Choir of Paisley Abbey; Alexander Anderson, org; George McPhee, cond.

Decca 452-252-2 11

14:00 SUNDAY SPECIAL The great orchestrators: The late Classical era Prepared by Elaine Siversen

6

Butterworth, G. On the idle hill of summer (1911-12). Bryn Terfel, bass-bar; Malcolm Martineau, pf.

3 DG 445 946-2 Delius, F. A song of summer (1929-30). London SO/Anthony Collins.

9 Belart 461 3582 10

February 2015

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Sunday 15 February

0:00 CLASSIC-ALL THROUGH THE NIGHT

19:00 SUNDAY NIGHT CONCERT Prepared by Randolph Magri-Overend Monteverdi, C. Now while the sky (pub. 1638).

Consort of Musicke/Anthony Rooley.

Virgin VC 7 91156-2 9 Sculthorpe, P. Songs of sea and sky (1987-88; arr. 1988). Geoffrey Collins, fl; David Miller, pf.

MBS 13 15 Gross, E. Moonscape (1972). Queensland SO/ Patrick Thomas.

Jade JADCD 1022 7 Holst, G. The planets, op 32 (1914-16). Montreal SO/Charles Dutoit.

Decca 417 553-2 53 20:30 CHAMBER SOIRÉE Prepared by Sheila Catzel Beethoven, L. Sonata no 2 in G minor, op 5 no 2 (1796). Yo-Yo Ma, vc; Emanuel Ax, pf.

CBS M2K 42446 26 Zemlinsky, A. Trio, op 3 (1896). David Pereira, vc; David Bollard, pf.

LP Philips 416 000-1 23 Gal, H. Sonata, op 84 (1964). John McCabe, pf.

Continuum CCD 1027 21 Murray Khouri, cl (2 above) Chausson, E. Concert in D, op 21. Philippe Graffin, vn; Pascal Devoyon, pf; Chilingirian Quartet.

Hyperion CDA66907 39 22:30 NEW HORIZONS Living composer series Prepared by Nev Dorrington Sanfilippo, B. ClarOscuro; Absenta; Aquarelle sur papier; A constant passion (2012). Pere Bardagi, vn; Manuel del Fresno, vc; Bruno Sanfilippo, pf. ad21 ad115 20 Rich, R. Insular; Open window; Parallel horizons; Points between (2004). Robert Rich, pf.

Soundscape SP 007 44 Sanfilippo, B. Luciana; As it happens on the ship; Aquarelle sur toile; Day by day. Pere Bardagi, vn; Manuel del Fresno, vc; Bruno Sanfilippo, pf. ad 21 ad115 20 Rich, R. Intro, from Ici. Robert Rich.

Soundscape Private

Monday 16 February

4

Anon. Magnificat antiphon: beatam me dicent (after Gabrieli; arr. Keyte). I Fagiolini/Robert Hollingworth.

9 Decca 478 3506

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

Mahler, G. Der Tambourg’sell, from Youth’s magic horn (1892-93; orch. 1898). Dietrich Fischer-Dieskau, bar; London SO/George Szell.

6 EMI CDC 7 47277-2

9:00 DIVERSIONS IN FINE MUSIC By arrangement Prepared by Maddy Tropman Rimsky-Korsakov, N. Trombone concerto (1877; arr. Langford). Norman Law, tb; John Foster Black Dyke Mills Band/Peter Parkes.

Chandos CHAN 8793 11 Glinka, M. Kamarinskaya (1848; arr. Dvorak 1891). Armenian PO/Loris Tjeknavorian.

ASV DCA 1075 8 Albéniz, I. Córdoba, op 232 no 4 (1896; arr.

Williams). John Williams, gui.

CBS MK 44794 7 Mussorgsky, M. Pictures from an exhibition (1874; arr. Ravel). Berlin PO/Claudio Abbado.

DG 445 238-2 32 Shostakovich, D. Chamber symphony, op 110a (1960; arr. Barshai). CO of Europe/Rudolf Barshai.

DG 477 5442 22 10:30 MORNING CONCERT Prepared by Paul Hopwood Suppé, F. Overture to poet and peasant (1846). Montreal SO/Charles Dutoit.

Decca 414 408-2

10

Brahms, J. Symphony no 2 in D, op 73 (1877).

Vienna PO/Leonard Bernstein.

DG 410 082-2 49 12:00 SWING SESSIONS with John Buchanan 13:00 MISCELLANY BY ARRANGEMENT Prepared by Stephen Wilson

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14:00 INSPIRED BY FOLK Prepared by Angela Bell Schumann, R. Suite in folkstyle, op 102 (1849).

David Pereira, vc; David Bollard, pf.

Tall Poppies TP078 17 Dvorák, A. In folk tone, op 73 (1886). Lucia Popp, sop; Geoffrey Parsons, pf.

Orfeo C 363 941 B 12 Tomlinson, E. First suite of English folk dances (1951). Light Music Society O/Vivian Dunn.

EMI 7 64131 2 14

Szymanowski, K. Variations on a Polish folk theme in B minor, op 10 (1904). Martin Jones, pf.

Nimbus NI 5405/6 20 Seiber, M. Four French folk songs (1944-46).

Peter Pears, ten; Julian Bream, gui.

9 Newton 8802095 Tveitt, G. Variations on a folksong from Hardanger (1949). Håvard Gimse, pf; Gunilla Süssmann, pf; Royal Scottish NO/Bjarte Engeset.

Naxos 8.555761 31 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with David Brett

7

Schubert, F. Good night, from Winterreise, D911 no 1 (1827; trans. Godowsky). Marc-André Hamelin, pf.

Musica Viva MVCD 1026 5 40

Weber, C.M. Polacca brillante, l’hilarité, op 72 (orch. Liszt). Benjamin Frith, pf; RTE Sinfonietta/Prionnsias O’Duinn.

Naxos 8.550959

Trad. Between the river banks (arr.

Dobroveyna). T. Bering, voice; Jaroff Women’s Choir/Serge Jaroff.

3 Brilliant Classics 8848

Shostakovich, D. Concerto, op 35 (1933).

Raymond Simmons, tpt; Peter Jablonski, pf; Royal PO/Vladimir Ashkenazy.

Decca 436 239-2 23

Debussy, C. The sunken cathedral, from Preludes, bk 2 (1910; orch. Stokowski). New Philharmonia O/Leopold Stokowski.

Decca 4783691

Tartini, G. Sonata in G minor, Devil’s Trill (arr. Kreisler). Arthur Grumiaux, vn; Riccardo Castagnone, pf.

Philips 468 307-2 14

19:00 JAZZ NICE ‘N EASY with Ken Weatherley 20:00 STORMY MONDAY with Austin Harrison and Garth Sundberg 22:00 THE AUSTRALIAN JAZZ SCENE with Susan Gai Dowling and Peter Nelson

Tuesday 17 February Vieuxtemps, H. Violin concerto no 1 in E, op 10 (1837). Misha Keylin, vn; Janácek PO/Dennis Burkh.

Naxos 8.554506 40 Sibelius, J. Symphony no 3 in C, op 52 (1907).

London SO/Colin Davis.

RCA 09026 61963 2 30 12:00 JAZZ RHYTHM with Jeannie McInnes 13:00 GREAT REEDS Prepared by Gael Golla James Judd 0:00 CONTEMPORARY COLLECTIVE

Solère, E. Symphony concertante in F (pub.

1790). Thea King, cl; Georgina Dobrée, cl; English CO/Andrew Litton.

Hyperion CDD 22017 18

3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Julie Simonds

Pasculli, A. Omaggio a Bellini, after Bellini’s Il pirata, La sonnambula. Heinz Holliger, cora; Ursula Holliger, hp.

Philips 426 288-2 8

9:00 DIVERSIONS IN MUSIC Artist of choice: Jacqueline du Pré Prepared by Anne Irish Saint-Saëns, C. Cello concerto no 1 in A minor, op 33 (1872). New Philharmonia O/ Daniel Barenboim.

EMI CZS 5 68132 2

Albinoni, T. Concerto a cinque in G minor, op 9 no 8 (1722). Heinz Holliger, ob; I Musici.

Philips 420 189-2 11

19

Paradis, M. Sicilienne (arr. Dushkin). Gerald Moore, pf.

EMI 7243 5 65956 2 3 Beethoven, L. Ten variations in G on Müller’s Ich bin der Schneider Kakadu, op 121a (c1803/16). Pinchas Zukerman, vn; Daniel Barenboim, pf.

EMI CMS 7 63124-2 19

Mozart, W. Adagio in F, K410 (1785). Tetsuo Hirosawa, cl; Markus Euler, cl; Sabine Neher, bshn; Alfred Wurm, bshn; Margarete Fiedler, bshn; Kumiko Maruyama, bn.

Naxos 8.570897 2 Chabrier, E. Lamento. Jean-Marc Jordan, cora; Monte Carlo PO/Hervé Niquet.

Naxos 8.554248 8 Poulenc, F. Suite française. Swedish Saxophone Quartet.

Chamber Sound CSCD 96015

13

Misha Keylin Rameau, J-P. Suite from Les Indes galantes (1735-61). O of the 18th Century/Frans Brüggen.

Philips 438 946-2 44 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Andrew Dziedzic 19:00 THE JAZZ BEAT with Lloyd Capps 20:00 RECENT RELEASES with Stephen Wilson 22:00 INTO THE 20TH CENTURY Prepared by Di Cox Barber, S. Overture: The school for scandal, op 5 (1932). Detroit SO/Neeme Järvi.

9 Chandos CHAN 8958 Delius, F. Cello concerto (1920-21). Raphael Wallfisch, vc; Royal Liverpool PO/Charles Mackerras.

EMI 5 73113 2 22

Mendelssohn, F. Song without words in D, op 109. Gerald Moore, pf.

EMI 7243 5 65956 2 5

Villa-Lobos, H. Wind trio (1921). Neil Black, ob; Thea King, cl; Robin O’Neill, bn.

Hyperion CDA66295 19

Lambert, C. The Rio Grande (1927). Sally Burgess, mezz; Opera North Ch; Jack Gibbons, pf; English Northern Philharmonia/David Lloyd-Jones.

Hyperion CDA66565 14

Elgar, E. Cello concerto in E minor, op 85 (1918-19). London SO/John Barbirolli.

EMI CMS 7 63283 2 30

14:30 FROM THE SCHOOL OF ORIGINAL INSTRUMENTS Frans Brüggen 1934-2014 Prepared by Philip Lidbury

Foote, A. At dusk (1920). Fenwick Smith, fl; Ronald Thomas, vc; Caitriona Yeats, hp.

6 Northeastern NR 227

Saint-Saëns, C. The swan, from Carnival of the animals (1886). Osian Ellis, hp.

EMI 7243 5 65956 2 3 Jacqueline du Pré, vc (all above) 10:30 MORNING CONCERT Prepared by Elaine Siversen Liszt, F. Mephisto waltz no 1, Tanz in der Dorfschenke (1859-60). London PO/Bernard Haitink.

Philips 438 754-2 11

Babell, W. Recorder concerto à 7 in D.

9

Dieupart, C. Suite in A (pub. 1701).

LP Telefunken SMA 25073 (2 above)

18

Corelli, A. La follia in G minor, op 5 no 12 (pub. 1700).

Pro Arte CDD 291

9

Stravinsky, I. Concerto in E flat, Dumbarton Oaks (1937-38). Montreal Sinfonietta/Charles Dutoit.

Decca 440 327-2 15 Copland, A. Symphony no 3 (1946). New Zealand SO/James Judd.

Naxos 8.559106

43

Frans Brüggen, rec; Anner Bijlsma vc; Gustav Leonhardt, hpd (3 above) February 2015

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Wednesday 18 February 19:00 JAZZ STARS AND STRIPES with Peter Mitchell 20:00 AT THE OPERA Prepared by Michael Tesoriero Puccini, G. Madama Butterfly. Opera in two acts. Libretto by Giuseppe Giacosa and Luigi Illica. First performed Milan, 1904.

Enkeleida Shkosa 0:00 CONTEMPORARY COLLECTIVE

10:30 MORNING CONCERT Prepared by Michael Field

3:00 CLASSICAL TILL DAWN

Tchaikovsky, P. Capriccio italien, op 45 (1880).

Bournemouth SO/Andrew Litton.

Virgin VC 7 90761-2 16

6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Peter Kurti

Lalo, E. Symphonie espagnole in D minor, op 21 (1873). Maxim Vengerov, vn; Philharmonia O/ Antonio Pappano.

EMI 5 57593 2 34

9:00 DIVERSIONS IN FINE MUSIC Music of the 18th century Prepared by Jennifer Foong Albinoni, T. Double concerto in C, op 7 no 2 (1715). Anthony Camden, ob; Alison Alty, ob; London Virtuosi/John Georgiadis.

Naxos 8.553002 10 Hotteterre, J-M. Suite no 2 in C minor, op 5 (1715). Masahiro Arita, fl; Kiyomi Suga, fl; Masako Hirao, bass viol; Yasunori Imamura, theorbo; Chiyoko Arita, hpd.

Denon CO-75957/8 17 Scarlatti, A. Quartetto in F (c1715). Music Antiqua Toulon/Christian Mendoze.

Pierre Verany PV795031

7

Telemann, G. Sinfonia in F major, TWV50:4 (1715-20). Marion Verbruggen, rec; Sara Cunningham, bass viol; O of the Age of Enlightenment; Monica Huggett, vn & dir.

Harmonia Mundi HMT 7907093 8 Bach, J.S. Cantata, BWV31: Der Himmel lacht, die Erde jubilieret (1715). Paul Esswood, ct; Kurt Equiluz, ten; Max van Egmond, bass; Siegmund Nimsgern, bass; Vienna Boys Choir; Ch Viennensis; Concentus Musicus Vienna/ Nikolaus Harnoncourt.

Teldec 8.35035 21 Zelenka, J. Sonata no 3 in B flat (1715-16).

Camerata Bern.

Archiv 469 842-2

42

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Goldmark, K. Symphony no 2 in E, op 35 (1887). Philharmonia O/Yondani Butt.

ASV DCA 934 32 12:00 JAZZ SKETCHES with Robert Vale 13:00 YOUNG VIRTUOSI 14:00 IN CONVERSATION with Michael Morton-Evans What exactly does it take to make music?

Leading musicians, composers and performers, both local and visiting from overseas, will be talking live on air telling us why they do it and how they do it.

15:00 CHAMBER HOUR Prepared by Emyr Evans Schumann, R. Piano quintet in E flat, op 44 (1842). Marc-André Hamelin, pf; Takács Quartet.

Hyperion CDA67631 30 Shostakovich, D. String quartet no 8 in C minor, op 110 (1960). Borodin String Quartet.

EMI CDC 7 47507-2 22 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Tom Forrester-Paton

BUTTERFLY: Angela Gheorghiu, sop LIEUTENANT PINKERTON: Jonas Kaufmann, ten SUZUKI: Enkeleida Shkosa, mezz GORO: Gregory Bonfatti, ten Accademia Nazionale di Santa Cecilia Ch & O/ Antonio Pappano EMI 264187-2 2:28 Lieutenant Pinkerton of the US Navy becomes engaged to the geisha Butterfly during a visit to Japan. Butterfly, believing in her marriage to Pinkerton, is abandoned by her family and takes care of their child with her maid Suzuki.

Three years later, the marriage broker Goro wants to introduce her to a Prince. Butterfly is not interested, insisting that she is married to Pinkerton and waits excitedly for him. When his ship arrives in the harbour. Pinkerton brings a wife and wants to take the child to America.

Butterfly resists but then promises they can return later for the child. She then kills herself with her father’s sword.

23:00 GERMAN ARRANGEMENTS Prepared by Stephen Wilson Otto, L. Trumpet concerto in E flat (arr.

Brown). Maurice André, tpt; Württemberg CO/ Jörg Faerber.

EMI CMS 7 69880-2 15 Bach, J.S. Passacaglia and fugue in C minor, BWV582 (c1712; arr Crees). Chicago SO Brass/ Mark Ridenour.

CSO-Resound CSOR 901 1101 13 Bruch, M. Kol nidrei, op 47 (1881; arr.

Neumann). Felix Schmidt, vc; Annette Cole, pf.

IMP PCD 891 11 Fasch, J. Guitar concerto in D minor (arr.

Chiesa). Slava Grigoryan, gui; Tasmanian SO/ Benjamin Northey.

ABC 480 6461 12

Thursday 19 February 0:00 CONTEMPORARY COLLECTIVE

Mozart, W. 12 variations in C on Ah, vous dirai-je, Mamam, K265 (1781-82). Christoph Eschenbach, pf.

Philips 456 763-2

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 Composer focus Prepared by Rex Burgess Kats-Chernin, E. Torque (2002). James Crabb, accordion; Tamara Anna Cislowska, pf; Australian CO/Richard Tognetti.

ABC 476 102-6 15 Chamber of horrors (1995). Alice Giles, hp.

Tall Poppies TP181

7

Clocks (1993). Sydney Alpha Ensemble/David Stanhope.

ABC 456 468-2 21 Wild swans concert suite (2003). Jane Sheldon, sop; Tasmanian SO/Ola Rudner.

ABC 476 7639 37 Russian rag (1996). Sydney Alpha Ensemble/ David Stanhope.

ABC 456 468-2 4 10:30 MORNING CONCERT Prepared by Michael Morton-Evans Rimsky-Korsakov, N. Overture on Russian themes, op 28 (1866/79-80). Seattle SO/Gerard Schwarz.

Naxos 8.572788 12 Krumpholtz, J-B. Concerto no 6, op 9 (1782).

Lily Laskine, hp; Jean-François Paillard CO/JeanFrançois Paillard.

Erato 2292-45084-2 20 Copland, A. Four dance episodes, from Rodeo (1942). Detroit SO/Antal Doráti.

Decca 414 273-2 20 Gouvy, T. Symphony no 2, in F, op 12 (1848).

German RPO/Jacques Mercier. cpo 777 381-2 32

Saariaho, K. Oi Kuu (1990).

Waller, J. Detone Retune (2014).

8

8

Hahn, G. Suite in folk style (1974). Gunilla von Bahr, fl.

BIS CD-60 7

Harvey, J. The riot (1993).

9

Xenakis, I. Plektó (1993).

11

Trad. Katiusha (arr. Shvedoff). G. Barnatny, L. Karkay, Alexander Zuglevich Grigorieff, Jakob Grigorieff, voices; Don Cossack Jaroff Choir/ Serge Jaroff.

Brilliant Classics 8848 4

Ensemble Offspring (all above)

Ligeti, G. Six bagatelles (1953). London Winds.

Sony SK 62309 12 Bartók, B. From the Island of Bali (1926-1939).

Jenö Jandó, pf.

Naxos 8.557821/22 2 Holst, G. Six choral folk songs, op 36b (1916).

Holst Singers/Stephen Layton.

Hyperion CDA66705 17 Barton, W. Voice and improvisation no 2.

Delmae Barton, voice; William Barton, didjeridu.

ABC 476 4834 5 14:30 THE FAUSTIAN LEGEND Prepared by Raj Gopalakrishnan Hanson, H. Merry mount suite (1938).

Nashville SO/Kenneth Schmermerhorn.

Naxos 8.559072

18

Wieniawski, H. Fantaisie brillante in A minor on themes from Gounod’s Faust, op 20 (pub.1868). Andrei Korsakov, vn; USSR TV & Radio Large SO/Vladimir Fedoseyev.

LP Melodiya C10 15219 001 18 Wagner, R. A Faust overture (1840).

Philadelphia O/Wolfgang Sawallisch.

EMI 5 56165 2

13

Boulanger, L. Faust et Hélène (1913). Lynne Dawson, sop; Janson Howard, bass; BBC PO/ Yan Pascal Tortelier.

Chandos CHAN 9745 30

19:00 JAZZ VIBES with Matt Bailey

Barton, W. Voice and improvisation no 1. Delmae Barton, voice; William Barton, didjeridu.

ABC 476 4834

20:00 LIVE AND LOCAL Part 1: Ensemble Offspring presents Plektó Recorded by Conan Tran and Alan Le for FINE MUSIC

Schumann, R. 5 pieces in folk-tone, op 102 (1849). Mischa Maisky, vc; Martha Argerich, pf.

DG 469 524-2 17

Xenakis, I. Charisma (1971).

Part 2: Composers’ workshop Recorded by Greg Chavalas for FINE MUSIC Williams, C. Kolam (2014).

8

Kreamer, S. Wadi rum (2014).

5

Frerer, J. Verisimilar (2014).

8

Ku-ring-gai PO/Paul Terracini (all above) 21:30 FOUR HANDS Prepared by Jan Brown Holst, G. Two dances (1932). Anthony Goldstone, Caroline Clemmow, pf.

Chandos CHAN 9382

8

Weber, C.M. Grand duet op 48 (1815-16).

Walter Boeykens, cl; Robert Groslot, pf.

Harmonia Mundi HMC 901481

17

22:00 EVENINGS WITH THE ORCHESTRA Prepared by Judy Ekstein

13:00 INFLUENCED BY FOLK AND TRADITIONAL MUSIC Prepared by Andari Anggamulia

4

10

Furrer, B. Lied (1993).

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

12:00 JAZZ, PURE AND SIMPLE with Maureen Meers

6

4

Pateras, A. Broken then fixed then broken (2009).

6

Wagner, R. Overture to Rienzi (1838-40).

Vienna Philharmoniker/Zubin Mehta.

Decca 475 7470

12

Offenbach, J. Overture to La vie parisienne (1866). Polish NRSO/Richard Hayman.

6 Naxos 8.553264 Mendelssohn, Fanny. Overture (c1830).

Women’s PO/JoAnn Falletta.

Koch 3 7169 2H1

11

Brahms, J. Academic festival overture, op 80 (1881). Elizabethan PO/Henryk Pisarek.

MBS 18 11 Meyerbeer, G. Overture in the march style (1862). Hanover RPO/Michail Jurowski. cpo 999 168-2 16 Wagner, R. Prelude to act 2 of Tristan and Isolde, from Tristan and Isolde (1857-59). Berlin PO/Daniel Barenboim.

8 Teldec 4509-98826-2 Schumann, R. Overture, scherzo and finale, op 52 (1841/45). Polish NRSO/Johannes Wildner.

Naxos 8.550608 17 Mendelssohn, F. Excerpts from A midsummer night’s dream, op 21, (1826), op 61 (1842).

London SO/Peter Maag.

Decca 443 578-2 27 February 2015

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Friday 20 February 0:00 CONTEMPORARY COLLECTIVE

Koechlin, C. In the romantic forest, from 15 pieces, op 180 (1942). Barry Tuckwell, hn; Daniel Blumenthal, pf.

ASV DCA 716 5

3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Janine Burrus

Villa-Lobos, H. Dawn in a tropical forest (1953). Czecho-Slovak RSO/Roberto Duarte.

Marco Polo 8.223357 10

9:00 DIVERSIONS IN FINE MUSIC Ushering in the 20th Century Prepared by Brian Drummond Messager, A. Solo de concours (1899). Michael Collins, cl; Piers Lane, pf.

Chandos CHAN 10615 6 Borne, F. Fantasie brilliant on Bizet’s Carmen (1900). Emanuel Ensemble.

Champs Hill Records CHRCD023 11

Schumann, R. Forest scenes, op 82 (1848-49).

Andreas Staier, pf.

Harmonia Mundi HMC 901989 19 Schubert, F. In the forest, D834 (1825). Peter Schreier, ten; Graham Johnson, pf.

Hyperion CDJ33018 6

Goldmark, K. String quartet in B flat, op 8 (1860). Lajtha Quartet.

Hungaroton HCD 31556 29 Verdi, G. String quartet in E minor (1873).

Amadeus Quartet.

DG 479 1924

23

Liszt, F. Fantasy on the themes of Lélio, after Berlioz (1834). Michel Béroff, pf; Gewandhaus O/Kurt Masur.

EMI CZS 7 67214 2 23 Paganini, N. Violin concerto no 2 in B minor, op 7 (1826). Salvatore Accardo, vn; London PO/ Charles Dutoit.

DG 437 210 2 31 22:00 BAROQUE AND BEFORE The Restoration in England Prepared by Elaine Siversen

Grainger, P. Youthful rapture (1901). Joel Moershel, vc; Stephen Drury, pf.

Northeastern NR 228

6

Ravel, M. String quartet in F (1902-03).

Australian String Quartet.

ABC 434 721-2

Tournier, M. To the spring in the forest. Jutta Zoff, hp.

Berlin 0012902BC 4

Locke, M. Suite no 4 in F, from The broken consort, pt 2 (pub. 1661). Locke Consort.

Globe GLO 5027 10

28

Koehne, G. Rain forest (1982). Australian Youth O/Christoph Eschenbach.

ABC 426 478-2 15

Full anthem: How doth the city, city solitary.

Monteverdi Choir; Marilyn Sansom, vc; Michael Lewin, lute; Alastair Ross, org; English Baroque Soloists/John Eliot Gardiner.

Erato 2292-45987-2 11

Bartók, B. Andante (1902). Susanne Stanzeleit, vn; Gusztav Fenyö, pf.

ASV DCA 982 3 Reger, M. Trio in A minor, op 77b (1904).

Gernot Süssmuth, vn; Stefan Fehlandt, va; Hans-Jakob Eschenburg, vc.

Naxos 8.570785 24 10:30 MORNING CONCERT Prepared by Frank Morrison Mendelssohn, F. Overture to A midsummer night’s dream, op 21 (1826). London SO/André Previn.

EMI CDM 1 66433 2 12 Villa-Lobos, H. Discovery of Brazil, suite no 3 (1937). Slovak RSO/Roberto Duarte.

Marco Polo 8.223551 17 Dvorák, A. Symphony no 1 in C minor, op 3 The bells of Zlonice, (1865). Scottish NO/ Neeme Järvi.

Chandos CHAN 8597 53 12:00 NOONTIME JAZZ with Peter Mitchell 13:00 IN THE FOREST Prepared by Gael Golla Wagner, R. Forest murmurs, from Siegfried (1856-71). Philharmonia O/Otto Klemperer.

EMI CDC 7 47255 2 8 Mendelssohn, F. The flowers of the forest (1839). Hannah Morrison, sop; Eugene Asti, pf.

Hyperion CDA67753 3 44

Westlake, N. Songs from the forest (1994).

Slava Grigoryan, gui; Leonard Grigoryan, gui; Joel Westlake, db.

ABC 476 574-4 7

20:00 THE ROMANTIC CENTURY Prepared by Frank Morrison

fineMusic 102.5

February 2015

14:30 GYPSY Prepared by Jan Brown Weber, C. Gypsy caprice. Shlomo Mintz, vn.

DG 00289 477 5448 5 Stanford, C. Villiers Eight songs from The Spanish Gypsy, op 1 (1872-75). Stephen Varcoe, bar.

Hyperion CDA67123 18 Clifford Benson, pf (2 above) Saint-Saëns, C. Gypsy dance from Henry VIII (1883). London SO/Richard Bonynge.

Decca 452 772-2 3 15:00 SEVENS AND EIGHTS Prepared by Denis Patterson Glinka, M. Septet in E flat (1823). Alexander Koreshkov, ob; Alexander Petrov, bn; Igor Makarov, hn; Alexei Bruni, vn; Mikhail Moshkunov, vn; Erik Pozdeev, vc; Rustem Gabdulin, db.

Olympia MKM 76 20 Pleyel, I. Octet in C. Consortium Classicum/ Dieter Klöcker. cpo 999 743-2 34 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Brendan Walsh 19:00 FRIDAY JAZZ SESSION with Sally Cameron

Incidental music for Thomas Shadwell’s operatic version of The tempest (1674). Parley of Instruments Renaissance Violin Band/Peter Holman.

Hyperion CDA66667 16 Humfrey, P. By the waters of Babylon. Drew Minter, ct; Rogers Covey-Crump, ten; John Potter, ten; David Thomas, bass; Choir of Clare College, Cambridge; Romanesca/Nicholas McGegan.

Harmonia Mundi HMU 907053 11 Blow, J. O Lord, thou hast searched me. Choir of Christ Church Cathedral, Oxford; Stephen Farr, org; Stephen Darlington, cond.

6 Nimbus NI 5454 Sonata in A. Members of Palladian Ensemble.

Linn CKD010 7 Purcell, H. Welcome song for Charles II: Swifter, Isis, swifter flow (1681). Gillian Fisher, sop; Susan Hamilton, sop; James Bowman, ct; Nigel Short, ct; Rogers Covey-Crump, alto; Charles Daniels, ten; Michael George, bass; Robert Evans, bass; King’s Consort/Robert King.

Hyperion CDA66587 15 Banister, J. The musick att the Bath (1663; compl. Holman). Parley of Instruments Renaissance Violin Band/Peter Holman.

Hyperion CDA66667 10 Purcell, H. Ayres and dances, from Dido and Aeneas, Z626 (1689). Tasmanian Symphony Chamber Players/Geoffrey Lancaster.

ABC 456 667-2 17

Saturday 21 February 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

Britten, B. Children’s crusade, op 82 (1969).

Wandsworth School Boys’ Choir and soloists; Ian Cobb, pf; John Clegg, pf; Jonathan Smith, org; perc ensemble/Benjamin Britten.

Decca 468 811-2 19 15:00 PAULUS

Beethoven, L. Sonata no 2 in G minor, op 5 no 2 (1796). Yo-Yo Ma, vc; Emanuel Ax, pf.

CBS M2K 42446 26

Mendelssohn, F. Paulus, op 36 (1836). Melanie Diener, sop; Annette Markert, mezz; James Taylor, ten; Matthias Goerne, bass; La Chapelle Royale; Collegium Vocale; Champs-Élysées O/ Philippe Herreweghe.

Harmonia Mundi HMX 2908336 2:09

Schumann, R. Symphony no 1 in B flat, op 38, Spring (1841). Bavarian RSO/Rafael Kubelik.

Sony SBK 48 269 35

Ravel, M. Valse nobles et sentimentales (1911).

Steven Osborne, pf.

Hyperion CDA67731/2 15

Brahms, J. Piano concerto no 2 in B flat, op 83 (1878-81). Alfred Brendel, pf; Berlin PO/Claudio Abbado.

Philips 432 975-2 49

17:30 BROWSING THE BAROQUE Prepared by Rex Burgess

9:30 GREAT ROMANTIC ORCHESTRAL WORKS Prepared by Paul Hopwood

11:30 ON PARADE Music that’s band Prepared by Owen Fisher Gregson, E. Prelude for an occasion. National Band of New Zealand.

RayJon CDR 0045 4 Saint-Saëns, C. Finale, from Symphony no 3 in C minor, op 78, Organ (1886). George Boyer, org; Allentown Band/Ronald Demkee.

AOC 031-00089 8 Barber, S. Commando March. United States Marine Band.

Richardson 3297-70022-2 3 Puccini, G. O mio babbino caro, from Gianni Schicchi (1918). Michael Colburn, euphonium; American Serenade Band/Henry Charles Smith.

Summit DCD 150 4 Teike, C. Graf Zeppelin Marsch. Tokyo Kosei Wind O. Denon 32 CG 1629 3 12:00 A LITTLE TASTE OF JAZZ with Rob Thomas 13:00 CHINESE MOSAIC Prepared by Paolo Hooke An exploration of the best of Chinese classical, traditional and film music 14:00 CHILD’S PLAY Prepared by Jan Brown Quilter, R. Children’s overture, op 17 (1914).

Light Music Society O/Vivian Dunn.

EMI 7 64131 2 11 Walton, W. Duets for children (1940). Rhonda Gillespie, pf; Robert Weatherburn, pf.

AVM AVMCD 1022 12 Elgar, E. Dream children, op 43 (1902).

Bournemouth Sinfonietta/Norman Del Mar. Chandos CHAN 6544 8

Boyd, A. Goldfish through summer rain (1996; arr. Lee, McGuire). Riley Lee, shakuhachi; Marshall McGuire, hp.

ABC 465 757-2 4 Debussy, C. Prélude à l’après-midi d’un faune (1894). Strasbourg PO/Alain Lombard.

Erato 2292-45082-2 10 Chopin, F. Nocturne in B, op 32 no 1 (1836).

Daniel Barenboim, pf.

DG 415 117-2 5 Allegri, G. Psalm 50 (51): Miserere mei Deus.

Cantillation/Antony Walker.

ABC 472 881-2 12 21:00 OPERA ON AND OFF STAGE Prepared by Giovanna Grech Schumann, R. Overture: Hermann and Dorothea, op 136 (1851). Polish National RSO/ Johannes Wildner.

Naxos 8.550608 8

Zelenka, J. Hipocondrie a 7 in A (1723).

Collegium 1704.

Supraphon SU 3858-2

8

Witt, C. Concertino for mandolin. Kurt Jensen, mandola; Melbourne Mandolin O/Fred Witt.

Move MD3159 7 Vivaldi, A. Cello concerto in G minor, RV417.

Raphael Wallfisch, vc; City of London Sinfonia/ Nicholas Kraemer.

Naxos 8.550910 9 18:00 SOCIETY SPOT Classical Guitar Society Prepared by Sue McCreadie

Mascagni, P. Ah! il suo nome! ... Flammen, perdonami!, from Lodoletta (1917). Renée Fleming, sop; Milan Symphony Ch & O/Marco Armiliato.

Decca 478 1533 4 Weber, C.M. Seven variations in B flat on a theme from Silvana, op 33 (1811). Murray Khouri, cl; David Bollard, pf.

LP RCA VRL1 0162 10 Gounod, C. Waltz, from La reine de Saba.

London SO/Richard Bonynge.

Decca 452 772-2

Walton, W. Five Bagatelles.

RCA 09026 61595 2

14

Takemitsu, T. All in twilight (1988).

EMI 7 54901 2

12

Berkeley, L. Sonatina.

RCA 09026 61595 2

11

Brouwer, L. Sonata (1990).

EMI 7 54901 2

16

Julian Bream, gui (all above) 19:00 THE MAGIC OF STAGE AND SCREEN Prepared by Sue Jowell Woody Allen: the music he chooses for his movies 20:00 IN A MELLOW MOOD Prepared by Gael Golla Wagner, R. Overture to Tristan and Isolde, from Tristan und Isolde (1857-59). Cologne RO/ Roberto Paternostro.

Chandos CHAN 8930 11 Rodrigo, J. Four love songs (1947). Yvonne Kenny, sop; Lawrence Skrobacs, pf.

Etcetera KTC 1029 7

8

Donizetti, G. Quanto è bella, from L’elisir d’amore (1832). Joseph Calleja, ten; Giuseppe Verdi O/Riccardo Chailly.

Decca 475 250-2 2 Zandonai, R. No, Smaragdi, no!, from Francesca da Rimini (1914). Renata Tebaldi, sop; Franco Corelli, ten; Les Choeurs Léman; Suisse Romande O/Anton Guadagno.

Decca 467 918-2 18 22:00 SATURDAY NIGHT AT HOME Prepared by Chris Blower Wagner, R. Siegfried idyll (1870). Berlin PO/ Rafael Kubelik.

DG 477 5445 19 Glier, R. Concerto in F minor, op 82 (1943).

Natalie Dessay, sop; Berlin SO/Michael Schonwandt.

EMI 5 56565 2 14 Mozart, W. Clarinet quintet in A, K581 (1789).

Berlin Soloists.

APEX 0927 44350-2 32 Dvorák, A. Symphony no 1 in C minor, The bells of Zlonice (1865). Berlin PO/Rafael Kubelik.

DG 469 550-2 48 February 2015

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Sunday 22 February 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SUNDAY MORNING MUSIC with David Garrett 9:00 MUSIC FOR SMALL FORCES Prepared by Rex Burgess Bach, J.S. Sonata in C, BWV1037. David Oistrakh, vn; Igor Oistrakh, vn; Hans Pischner, hpd.

DG 463 616-2 15 Spohr, L. Sonata in D, op 114 (1811). Sophie Langdon, vn; Hugh Webb, hp.

Naxos 8.555365 23 Koechlin, C. Sonata, op 66 (1917). Mats Lidström, vc; Bengt Forsberg, pf.

Hyperion CDA66979

17

10:00 THE CLASSICAL ERA Prepared by Sheila Catzel Sirmen, M. String quartet no 2 in B flat. Erato Quartet Basel. cpo 999 679-2 12 Krommer, F. Partita in B flat, op 67 (pub. c1825). Nash Ensemble.

CRD 3410 Kuhlau, F. Three rondos on themes from Mozart’s The marriage of Figaro (1823).

Christian Lambour, pf.

Schwann 310 120

18

15

Haydn, J. Symphony in G minor, Hob.I:39 (c1770). Cologne CO/Helmut Müller-Brühl.

Naxos 8.557093 16 Wranitzky, A. String sextet in G. Ensemble Cordia.

Brilliant Classics 94168 24 Pleyel, I. Clarinet concerto in C (1797). Paul Meyer, cl; Franz Liszt CO/Jean-Pierre Rampal.

Denon CO-78911 24 12:00 CLASSIC JAZZ AND RAGTIME With John Buchanan

16:00 ROMANTIC CHAMBER AND VOCAL DELIGHTS Prepared by Frank Morrison Loewe, C. The man who rarely prayed, op 141.

Dietrich Fischer-Dieskau, bar; Hartmut Höll, pf. apex 0927 44767 2 6 Mendelssohn, Fanny. Nocturne in G minor (1838). Heather Schmidt, pf.

Naxos 8.570825 5 Offenbach, J. Duet in A minor, op 53 no 2 (1847). Alain Meunier, vc; Philippe Muller, vc.

Arion ARN 68234 8 Adam, A. Grand air: De vos nobles aïeux, from Si j’étais roi (1852). Sumi Jo, sop; English CO/ Richard Bonynge.

Decca 440 679-2 7 Scharwenka, X. Trio no 1 in F sharp minor, op 1 (1869). Lydia Mordkovitch, vn; Colin Carr, vc; Seta Tanyel, pf.

Collins 14482 25 17:00 HOSANNA Prepared by Warwick Bartle Hymns: Lord Jesus, think on me; Forty days and forty nights. Choir of Wells Cathedral; Rupert Gough, org; Malcolm Archer, cond.

Hyperion CDP 12103 4 Anthems: Bring us, O Lord God; Nunc Dimittis; Requiem. Cantillation/Antony Walker.

ABC 465 824 2 20 Miserere; Evening canticles in C. Choir of St Paul’s Cathedral, London/John Scott.

23 Dupré, M. Placare Christe servulis, from Le tombeau de Titelouze, op 38 no 16 (pub. 1943).

Christopher Dearnley, org.

2 18:00 A CHAMBER EXPLORATION Prepared by Francis Frank

13:00 WORLD MUSIC: Whirled Wide

Maldere, P. Sonata no 3. Simone Vierset, hpd; Duo Siwy.

LP Monumenta Musica BRB 9 7

14:00 SUNDAY SPECIAL One coin, two sides Prepared by Stephen Wilson

Scarlatti, A. Chamber concerto no IX in A minor. Tempesta di Mare.

Chandos CHAN 0768 9

Weill, K. Suite from The threepenny opera (1928). Sydney SO/Georg Tintner.

LP ABC 5ABCL 8001 20

Bach, J.S. Sleepers awake (arr. Loussier).

Vincent Charbonner, db; André Arpino, drums; Jacques Loussier, pf.

Telarc 83693 8

Concerto, op 12 (1924). Nona Liddell, vn; London Sinfonietta/David Atherton.

DG 423 255-2

Abel, C. Sonata in G. Bengt Ericson, va da gamba; Rolf LaFleur, lute.

BIS CD-22

27

Symphony no 2 (1933). Gewandhaus O/Edo de Waart.

Philips 434 171-2 28 46

The seven deadly sins (1932). Anne Sofie von Otter, mezz; James Sims, ten; Karl-Heinz Lampe, ten; Christfried Biebrach, bar; Frederick Martin, bass; NDR Sinfonieorchester/John Eliot Gardiner.

Decca 479 1044 34

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Paganini, N. The little bell (transcr. Primrose).

Roberto Diaz, va; Robert Koenig, pf.

Naxos 8.557391 5

Kozeluch, L. Sextet no 3 in E flat. Consortium Classicum.

Orfeo 442 981 12 19:00 SUNDAY NIGHT CONCERT Prepared by Maureen Meers Berlioz, H. Overture: King Lear, op 4 (1831).

Philharmonia O/Jean-Philippe Rouchon.

ASV DCA 895 16 Saint-Saëns, C. Cello concerto no 1 in A minor, op 33 (1872). Luigi Piovano, vc; Marrucino TO/Piero Bellugi.

Eloquentia EL 1024

20

d’Indy, V. Symphony no 2 in B flat, op 57 (1903). Toulouse Capitole O/Michel Plasson.

EMI 7 63952 2 45 20:30 CHAMBER SOIRÉE Prepared by Francis Frank Reicha, A. 18 Variations and a fantasia in G, on Mozart’s Se vuol ballare, op 51 (c1806).

Ensemble Schönbrunn.

Globe GLO 5219 19 Baur, J-P. Sonata in B flat no 4, op 6, Chartres (1773). Marielle Nordmann, hp; Brigitte Haudebourg, hpd.

Arion ARN 68285 8 Devienne, F. Duo, op 3 no 5. Karl Otto Hartmann, bn; Eberhard Buschmann, bn.

LP Telefunken 6.42416

7

Reicha, A. Two andantes and adagio (1819).

Fodor Quintet.

Ottavo OTR C69031 18 Naderman, F-J. Nocturne (arr. Tylou). Robert Aitken, fl; Erica Goodman, hp.

BIS CD-320 11 Balbastre, C-B. Harpsichord sonata no 4 in D (1779). Concerto Rococo.

Pierre Verany PV794043 13 Neumann, H. Variations on a theme of Paisiello, op 22 (1825). Dieter Klöcker, cl; Sonja Prunnbauer, gui.

Dabringhaus Grimm MD&G L 3319 9 Pleyel, I. Serenade no 1 in F (1790). Wind Octet of the Strasbourg PO. LP Erato STU 71278 18 22:30 NEW HORIZONS Music for the end of the day Prepared by Robert Small Norg Symphony no 6, At the end of the day (1998-99). Danish NSO/Thomas Dausgaard.

Chandos CHAN 9904 33 Glass, P. Glasspieces, from Glassworks (1983).

Ensemble/Michael Riesman.

Sony SMK87971 22 Lentz, G. Caeli enarrant: IV (1991-2000).

Ensemble 24/Matthew Coorey.

Naxos 8.557019

27

Monday 23 February

Jehudi Menuhin 0:00 CLASSIC-ALL THROUGH THE NIGHT

James O’Donnell Tchaikovsky, P. Symphony no 2 in C minor, op 17, Little Russian (1872). Concertgebouw O/ Bernard Haitink.

Decca 478 5867 35

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

12:00 SWING SESSIONS with John Buchanan

9:00 DIVERSIONS IN FINE MUSIC By arrangement Prepared by Chris Blower Liszt, F. Grande fantasie di bravura on La Clochette by Paganini (transcr. c1832). Leslie Howard, pf.

Hyperion CDS44582 18 Rodrigo, J. Concierto de Aranjuez (1939; transcr. 1974). Gwyneth Wentink, hp; Asturias SO/Maximiano Valdés.

Naxos 8.555843 23 Saint-Saëns, C. Havanaise, op 83 (1887; transcr. Yo-Yo Ma). Yo-Yo Ma, vc; Kathryn Stott, pf.

Sony SK 87287

9

Vivaldi, A. Violin concerto in A minor, RV356 (transcr. Alison Balsom). Alison Balsom, tpt; Scottish Ensemble/Jonathan Morton.

Warner 4 56094 2 8 Pierné, G. Violin sonata, op 36 (1900; transcr.

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

Avie AV2213 22 10:30 MORNING CONCERT Prepared by Derek Parker Adam, A. Overture to Si j’étais roi (1852). BBC PO/Yan Pascal Tortelier.

Chandos CHAN 9765 7 Hummel, J. Double concerto in G, op 17 (c1805). Alexander Trostiansky, vn; Polina Osetinskaya, pf; Russian PO/Gregory Rose.

Naxos 8.557595 37

13:00 ALPHABETICAL COMPOSERS The Ps, part 1 Prepared by Randolph Magri-Overend Pachelbel, J. Canon in D (c1690). Jean-François Paillard CO/Jean-François Paillard.

Erato 4509-98475-2 7 Paganini, N. Violin concerto no 2 in B minor, op 7 (1826). Yehudi Menuhin, vn; Royal PO/ Alberto Erede.

EMI 5 72854 2 28 Parry, H. Jerusalem (1916; arr. Elgar). Waynflete Singers; Choir of Winchester Cathedral; Timothy Byram-Wigfield, org; Bournemouth SO/David Hill.

Decca 478 3156-67 3 Pärt, A. Fratres. Tibor Párkányi, vc; Sándor Falvai, pf.

Naxos 8.558182-83 12 Palestrina, G. da Missa Ave Maria, from Missæ quinque, liber septimus (pub. 1594).

Choir of Westminster Cathedral/James O’Donnell.

Hyperion CDA66364 33

Bruch, M. Flight into Egypt, op 20 (c1858-64).

Shihomi Inou-Heller, sop; Maria Luise Wilke, cont; Klaus Thiem, bar; Berlin Philharmonic Choir; Berlin RSO/Uwe Gronostay.

8 Schwann 313 013 H1 Respighi, O. The flight into Egypt, from Church windows (1925). Pacific SO/Keith Clark.

8 Reference RR-15 15:00 SEVENS AND NINES Prepared by Denis Patterson Moscheles, I. Septet in D, op 88 (1832). Walter Hermann, cl; Christoph Moinian, hn; Mayumi Shimizu, vn; Jaap Zeijl, va; Christoph Groth, vc; Volker Donandt, db; Caroline Weichert, pf.

Koch Schwann 3-1178-2 29 Parry, H. Nonet in B flat (1877). Capricorn.

Hyperion CDA66291 24 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with David Ogilvie 19:00 JAZZ NICE ‘N EASY with Ken Weatherley 20:00 STORMY MONDAY with Austin Harrison and Garth Sundberg 22:00 THE AUSTRALIAN JAZZ SCENE with Susan Gai Dowling and Peter Nelson

14:30 THE FLIGHT INTO EGYPT Prepared by Richard Austin Berlioz, H. Overture to Flight into Egypt, from L’enfance du Christ, op 25 (1850-54). Sydney SO/Robert Pikler.

Chandos CHAN 6587 7

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Tuesday 24 February

Jan Caeyers 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 Artist of choice: Maurice André Prepared by Madilina Tresca

10:30 MORNING CONCERT Prepared by Michael Field Schumann, R. Overture, scherzo and finale, op 52 (1841/45). Hanover Band/Roy Goodman.

RCA 09026 61931 2 17 Ries, F. Piano concerto in A flat, op 151, Gruss an den Rhein (1826). Christopher Hinterhuber, pf; New Zealand SO/Uwe Grodd.

Naxos 8.557638 29

Bach, J.S. Jesus, joy of man’s desiring, from Cantata: Herz und Mund und Tat und Leben, BWV147 (1723) Marcel Lagorce, tpt; Bernard Jannoutot, tpt; Jean Pirot, tpt; Jacques Lecointre, tpt; Gabriel Masson, tb; Andre Gosset, tb; Raymond Katarzinski, tb; Elie Raynaud, tuba; Armand Birbaum, cond.

Decca 478 4664 4

Prokofiev, S. Cantata, from Alexander Nevsky, op 78 (1939). Larissa Avdeeva, mezz; Choral Ensemble of the Russian Republic; USSR NO/ Yevgeny Svetlanov.

Le Chant du Monde CM 201 38

Haydn, J. Trumpet concerto in E flat, Hob. VIIe:1 (1796). London PO/Jésus López-Cobos.

EMI CMS 7 69880- 2 16

13:00 RUSSIAN DANCES Prepared by Emyr Evans

Vivaldi, A. Trumpet concerto in A flat. O/ Arman Birbaum.

Decca 478 4664 7 Hertel, J. Double concerto in E flat Maurice Bourge, ob; Württemberg CO/Jörg Faerber.

EMI CMS 7 69880-2 18 Viviani, G. Sonata in C (pub. 1678). Hedwig Bilgram, org.

Decca 478 4664 7 Vivaldi, A. Double concerto in C. Marcel Lagorce, tpt; Jean-François Paillard CO/JeanFrançois Paillard.

Erato 2292-45062-2 13 Bach, J.S. Brandenburg concerto no 2 in F, BWV1047 (1717-18). Severino Gazzelloni, fl; Heinz Holliger, ob; Felix Ayo, vn; I Musici.

Decca 478 4664 13 Maurice André, tpt (all above) 48

Eugene Goossens

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12:00 JAZZ RHYTHM with Jeannie McInnes

Riccardo Chailly 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Stephen Wilson 19:00 THE JAZZ BEAT with Lloyd Capps 20:00 RECENT RELEASES with Charles Barton 22:00 INTO THE 20TH CENTURY Prepared by Judy Ekstein Copland, A. Billy the kid (1938). Czecho-Slovak RSO/Stephen Gunzenhauser.

Naxos 8.550282 21 Milhaud, D. Sonata, op 47 (1918). Emmanuel Pahud, fl; François Meyer, ob; Paul Meyer, cl; Eric Le Sage, pf.

EMI 5 57948 2 18

Stravinsky, I. Suite from The firebird (1910).

New York PO/Leonard Bernstein.

CBS MYK 42540 21

Glazunov, A. Violin concerto in A minor, op 82 (1904-05). Itzhak Perlman, vn; Israel PO/ Zubin Mehta.

EMI CDC 7 49814 2 20

Rachmaninov, S. Symphonic dances, op 45 (1940). London SO/Eugene Goossens.

Price-Less D 22654 31

Eckhardt-Gramatté, S-C. Sonata no 2 (1923).

Marc-André Hamelin, pf.

Altarus AIR-9052 23

14:00 THE PIPER’S SON Prepared by Stephen Wilson

Stravinsky, I. Suite no 2 (1921). Suisse Romande O/Ernest Ansermet.

Decca 473 810-2

Reicha, A. Wind quintet in F (1811). Academia Wind Quintet of Prague.

Hyperion CDD22006 21 Grand solo. Bruno Hoffmann, glass hp; Pro Musica O/Paul Angerer.

LP Fono FSM 53233 15 Symphony in F (1808). Beethoven Academie/ Jan Caeyers.

Audivis-Valois V 4834 36 Octet, op 96 (1807). Ensemble Carl Stamitz.

Pierre Verany PV 789101 37

Shostakovich, D. Suite from MoscowCheryomushki, op 105 (1959; arr. Cornall).

Philadelphia O/Riccardo Chailly.

London 452 597-2

6

20

Wednesday 25 February

Antonín Dvorák

Carol Neblett

René Kollo

0:00 CONTEMPORARY COLLECTIVE

Dvorák, A. Symphony no 9 in E minor, op 95, From the New World (1893). London PO/ Mstislav Rostropovich.

EMI 5 65705 2 49

Korngold, E. PAUL: René Kollo, ten MARIETTA: Carol Neblett, sop FRANK: Benjamin Luxon, bar Bavarian Radio Ch; Munich RO/Erich Leinsdorf.

RCA GD 87767(2) 2:17

3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Peter Kurti 9:00 DIVERSIONS IN FINE MUSIC Music of the 18th Century Prepared by Chris Blower Aubert, J. Concerto grosso no 4 in E minor, op 26, Le carillon (1739). Collegium Musicum 90/ Simon Standage.

Chandos CHAN 0577 11 Edelmann, J. Sonata in F, op 10 no 1 (1782).

Sylvie Pécot-Douatte, pf.

Calliope CAL 9296 11 Dauvergne, A. Concert de simphonies in F, op 3 no 2 (1751). Mary Saint-Palais, sop; Sophie Marin-Degor, sop; Nicolas Revenq, bar; JeanMarc Salzmann, bass; Cappella Coloniensis/ William Christie.

Harmonia Mundi HMA 1901454 21 Devienne, F. Sonata in C, op 71 no 3 (1799).

Burkhard Glaetzner, ob; Christine Schornsheim, pf.

Berlin 0012852BC 18 Pleyel, I. String quartet in E flat, op 2 no 4 (1784). Enso Quartet.

Naxos 8.557497 19

12:00 JAZZ SKETCHES with Robert Vale 13:00 YOUNG VIRTUOSI 14:00 IN CONVERSATION with Michael Morton-Evans What exactly does it take to make music?

Leading musicians, composers and performers, both local and visiting from overseas, will be talking live on air telling us why they do it and how they do it.

15:00 SEVENS AND EIGHTS Prepared by Denis Patterson Bax, A. Concerto (1936).

Chandos CHAN 9602

Svendsen, J. String octet in A, op 3 (1866).

Chandos CHAN 9258 37 Academy of St Martin in the Fields Chamber Ensemble (2 above) 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Camille Mercep 19:00 JAZZ STARS AND STRIPES with Peter Mitchell

10:30 MORNING CONCERT Prepared by Paul Hopwood

20:00 AT THE OPERA Prepared by Colleen Chesterman

Suppé, F. Overture to The light cavalry (1866).

New York PO/Leonard Bernstein.

CBS MYK 44719 7

Korngold, E. Die Tote Stadt. Opera in three acts. Libretto by ‘Paul Schott’, a pseudonym for the composer and his father, Julius. First performed simultaneously in Hamburg and Cologne,1920.

Tausch, F. Clarinet concerto no 1 in B flat, op 27 (1797). Thea King, cl; Nicholas Bucknall, cl; English CO/Leopold Hager.

Hyperion CDA66504 24

19

Paul’s wife, Marie, has recently died and he is in mourning, keeping mementoes including a lock of her hair. His friend Frank urges him to move on. Paul tells him he has met a woman he thinks is Marie and invited her to his home.

The woman, Marietta, a dancer, appears and flirts with him, but leaves in disappointment.

Paul believes that his photo of Marie has come to life; these visions alienate his friends. He hallucinates that he is seduced by Marietta; in extremis he strangles the vision with the lock of hair. Waking he realises his fantasy and tells Frank he will leave the city and start anew.

22:30 FOCUS ON EDWARD ELGAR Prepared by Emyr Evans Elgar, E. Overture: Cockaigne, op 40, In London Town (1900-01). London PO/Georg Solti.

Decca 421387-2 14 Introduction and allegro for strings, op 47 (1904-05). BBC SO/Andrew Davis.

Teldec 9031-73279-2 15 Coronation march, op 65 (1911). London SO/ Barry Tuckwell.

IMP PCD 913 10 Serenade for strings in E minor, op 20 (1892).

Sydney SO/Vladimir Ashkenazy.

Exton EXCL-00030 12 Variations on an original theme, op 36, Enigma (1898-99). BBC PO/Edward Downes.

Conifer CDCF 187 31

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Thursday 26 February

Franz Schubert

Christiaan Bor

0:00 CONTEMPORARY COLLECTIVE

Quin Yong Cheng. Romance (arr. Breiner).

Takako Nishizaki vn; Czecho-Slovak RSO/ Kennneth Jean.

Marco Polo 8.223350 5

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 Name the composer Be the first to identify the mystery composer and win a CD. All other correct answers go in a draw for a second CD: 9439 4777 10:30 MORNING CONCERT Prepared by Jan Brown Sibelius, J. Overture in F minor (1889-90).

London Gabrieli Brass Ensemble/Christopher Larkin.

Hyperion CDA66470 9 Violin concerto in D minor, op 47 (1903/05).

Henning Kraggerud, vn; Bournemouth SO/ Bjarte Engeset.

Naxos 8.557266 32 Mozart, W. Symphony no 36 in C, K425, Linz (1783). English Baroque Soloists/John Eliot Gardiner.

Philips 422 419-2 42 12:00 JAZZ, PURE AND SIMPLE with Maureen Meers 13:00 ALPHABETICAL COMPOSERS The Qs Prepared by Chris Blower Quilter, R. Suite no 1: Where the rainbow ends (1911). Northern Sinfonia/Richard Hickox.

EMI CDC 7 49933 2 15 Quagliati, P. Toccata. Andrea Marcon, hpd.

Giulia GS 201010 3

50

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February 2015

Qigang Chen. The five elements (1999). NO of France/Didier Benetti.

MFA 5 45549 2 10 Quilter, R. Weep you no more; My life’s delight; The faithless shepherdess; Brown is my love; By a fountainside,from Seven Elizabethan lyrics, op 12 (1909). Christopher Saunders, ten; Stefan Cassomenos, pf.

Master Performers MP 020 9

20:00 LIVE AND LOCAL Australia Ensemble Recorded by Roger Doyle for FINE MUSIC Rubinstein, A. Quintet in F, op 55 (c1855/60). 39 Schubert, F. String quartet in C, D.956 (1828). 55 Australia Ensemble and guest artists (2 above) 21:40 A LITTLE SUITE Prepared by Elaine Siversen Debussy, C. Petite suite (1889; arr.).

Amsterdam Guitar Trio.

Newton 8802093

17

Quantz, J. Horn concerto no 9 in E flat. Barry Tuckwell, hn; Academy of St Martin in the Fields/Iona Brown.

Decca 417 406-2 9

22:00 EVENINGS WITH THE ORCHESTRA Rachmaninov: the early years Prepared by Stephen Wilson

14:00 CLASSSICAL CHAMBER Prepared by Elaine Siversen

Rachmaninov, S. Scherzo (1888). Cincinnati SO/Paavo Järvi.

5 Telarc 80670

Reicha, A. Quintet in A, op 91 no 5 (c1817-19).

Academia Wind Quintet of Prague.

Hyperion CDD22006 33

The Rock, op 7 (1893). Sydney SO/Vladimir Ashkenazy.

Exton EXCL-00018 14

Schubert, F. Trio no 2 in E flat, D929 (1827).

Christiaan Bor, vn; Godfried Hoogeveen, vc; Pascal Devoyon, pf.

Vanguard 99020 44

Symphony no 1 in D minor, op 13 (1895). USSR SO/Yevgeny Svetlanov.

Melodiya SUCD 10-00141 47

Mozart, W. Clarinet quintet in A, K581 (1789).

Angela Malmsbury, cl; Coull Quartet.

LDR 1011 33

Debussy, C. Three nocturnes (1894-96).

Montreal Symphony Ch & O/Charles Dutoit.

Decca 4783691 25

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

Rachmaninov, S. Caprice bohémien, op 12 (1892-94). BBC PO/Gianandrea Noseda.

Chandos CHAN 10677 18

19:00 JAZZ VIBES with Matt Bailey

Friday 27 February 0:00 CONTEMPORARY COLLECTIVE

Didgeridoo (1991).

Jade 1026

3:00 CLASSICAL TILL DAWN

1

Betty Beath, pf (2 above)

6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Janine Burrus

Lament for Kosovo (1999). Camerata of St John’s/Brendan Joyce.

8

9:00 DIVERSIONS IN FINE MUSIC Exploring chamber Prepared by Di Cox

Lament of Ovid (2004).

3

Danzi, F. Quintet in B flat, op 56 no 1 (pub.

1821). Vega Wind Quintet.

LDR 1002 13

Margaret Schindler, sop (2 above)

Schubert, F. Sonata in A minor, D821, Arpeggione (1824). Pieter Wispelwey, vc; Paolo Giacometti, pf.

Onyx 4046 24 Boccherini, L. String quartet in D, op 32 no 3 (pub. 1781). Quartetto Esterházy.

Teldec 4509-95988-2 14 Brahms, J. Trio in E flat, op 40 (1865). Barry Tuckwell, hn; Brenton Langbein, vn; Maureen Jones, pf. ex libris 6059 30 10:30 MORNING CONCERT Prepared by Madilina Tresca Offenbach, J. Overture; Ballet pastorale, from Orphée aux enfers (1858). Philharmonia O/ Antonio de Almeida.

Philips 422057-2 18 Schubert, F. Five German dances and seven trios with coda, D90 (1813). I Musici de Montréal/Yuli Turovsky.

Chandos CHAN 8928 16 Dvorák, A. The wood dove, op 110 (1897).

Polish NRSO/Stephen Gunzenhauser.

Naxos 8.550598 19 Paganini, N. Violin concerto no 2 in B minor, op 7 (1826). Salvatore Accardo, vn; London PO/ Charles Dutoit.

DG 437 210 2 31 12:00 NOONTIME JAZZ with Peter Mitchell

A loving embrace (2004).

3

Betty Beath, pf (3 above) Wirrapang Wirr 024 (4 above) 13:30 OPERA HIGHLIGHTS Prepared by Giovanna Grech Verdi, G. Il Brindisi, from La traviata (1853).

Joan Sutherland, sop; Luciano Pavarotti, ten; London Opera Ch; National PO/Richard Bonynge.

Decca 400-058-2 3 Donizetti, G. Bella siccome un angelo, from Don Pasquale (1843). Dmitri Hvorostovsky, bar; Philharmonia O/Ion Marin.

Philips 434 912-2 3 Offenbach, J. Couplets du berger joli, from Orpheus in the Underworld (1858). Frederica von Stade, mezz; Scottish CO/Antonio de Almeida.

RCA 09026 68116 2 3

3

An excuse for not returning the visit of a friend (1979). Floyd Williams, cl; Gary Williams, vc.

Beathcox BC 02 1

16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with James Hunter 19:00 FRIDAY JAZZ SESSION with Sally Cameron 20:00 THE ROMANTIC CENTURY Prepared by Phil Vendy Offenbach, J. Concerto rondo (1851). Guido Schiefen, vc; Cologne WDR RO/Helmut Froschauer. cpo 777 069-2 20 Reinecke, C. Sonata, op 167, Undine (c1885).

Robert Aitken, fl; Robin McCabe, pf.

BIS CD-183 20 Saint-Saëns, C. Algerian suite, op 60 (187980). Monte Carlo PO/David Robertson.

Auvidis V 4688 20 Grieg, E. At the cloister gate, op 20 (1871).

Solveig Kringelborn, sop; Ingebjørg Kosmo, mezz; Bergen PO/Ole Kristian Ruud.

BIS CD-1740/42 10 Schumann, C. Sonata in G minor, op 22 (183338). Yoshiko Iwai, pf.

Naxos 8.553501 20

Puccini, G. E lucevan le stelle, from Tosca, Act II (1900). Thomas Edmonds, ten; Adelaide SO/ James Christiansen.

MBS 11 3

Hiller, F. Piano concerto no 2 in F sharp minor, op 69 (1843). Tasmanian SO/Howard Shelley, pf & dir.

Hyperion CDA67655 20

Verdi, G. Act II prelude; Ecco l’orrido campo; Ma dell’arrido stelo divulsa, from A masked ball (1859). Rita Hunter, sop; Tasmanian SO/ Dobbs Franks.

ABC 426 804-2 10

22:00 BAROQUE AND BEFORE Prepared by Rex Burgess

14:00 CLASSICAL MASTERPIECES Prepared by Elaine Silversen

13:00 PATRICK THOMAS PRESENTS Music of Betty Beath: part 1 Beath, B. River mother, river child (1992).

Queensland SO/Richard Mills.

Wirrapang Wirr 024

Love makes you see a place differently (2004). 3

Haydn, J. Mass in B flat, HobXXII:14, Harmony Mass (1802). Lynda Russell, sop; Catherine Wyn-Rogers, cont; William Kendall, ten; Michael George, bass; Winchester Cathedral Choir; Brandenburg O/David Hill.

Hyperion CDA66508 40

Schubert, F. Sonata no 19 in C minor, D958 (1828). Imogen Cooper, pf.

Ottavo OTR C78923 32 Beethoven, L. String quartet no 8 in E minor, op 59 no 2, Razumovsky (1805-06). Australian String Quartet.

ABC 426 805-2 37

Anglebert, J-H. Suite in G minor (bef. 1689).

Kenneth Gilbert, hpd.

Harmonia Mundi HMA 190941 12 Charpentier, M-A. La descente d’Orphée aux Enfers (c1686). Les Arts Florissants/William Christie..

Erato 0630 11913-2 56 Rameau, J-P. Suite from Platée (1745).

Philharmonia Baroque O/Nicholas McGregan.

Conifer 75605 51313-2 43

Janet Delpratt, sop (2 above) February 2015

fineMusic 102.5

51

Saturday 28 February 0:00 CLASSIC-ALL THROUGH THE NIGHT

14:00 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

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

15:00 THE GOLDEN AGE Shostakovich, D. The Golden age, ballet, op 22 (1927-30). Royal Scottish NO/José Serebrier.

Naxos 8.570217-18 2:22

9:30 GREAT ROMANTIC ORCHESTRAL WORKS Prepared by Chris Blower Horneman, C. Overture to Aladdin (1864).

Danish National RSO/Michael Schönwandt.

Chandos CHAN 9373 11 Schoenberg, A. Verklärte Nacht, op 4 (1899).

Janine Jansen, vn; Boris Brovtsyn, vn; Amihai Grosz, va; Maxim Rysanov, va; Torleif Thedéen, vc; Jens Peter Maintz, vc.

Decca 478 3551 30 Stenhammar, W. Aladdin of the lamp, from Songs and moods, op 26 (1903-04). Peter Mattei, bar; Bengt-Ake Lundin, pf.

BIS CD-654 5 Luigini, A. Ballet égyptien, op 12 (1875).

London SO/Richard Bonynge.

Decca 452 772-2

22

Rimsky-Korsakov, N. Scheherazade, symphonic suite after 1001 nights, op 35 (1888).

Daniel Majeske, vn; Cleveland O/Lorin Maazel.

Decca 480 6627 42 11:30 ON PARADE Prepared by Paul Hopwood Williams, J. Main theme, from Star wars. 3

18:00 SOCIETY SPOT Sydney Schubert Society Prepared by Ross Hayes Schubert, F. Die Zwillingsbruder, D647. Helen Donath, sop; Nicolai Gedda, ten; Dietrich Fishcher-Diskau, bar; Hans-Joachim Gallus, bass; Bavarian State Opera Ch & O/Wolfgang Sawallisch.

EMI 4 64323 2 47 19:00 THE MAGIC OF STAGE AND SCREEN Prepared by Maureen Meers Arlen, H. Excerpts from The Wizard of Oz (1939). Judy Garland, Frank Morgan, Ray Bolger, Bert Lahr, Jack Haley, voices.

Rhino R271999 19 Sondheim, S. Excerpts from A little night music (1973). Patricia Elliot, Victoria Mallory, Glynis Johns, Len Cariou, voices.

Columbia CBS Masterworks SK 65284 13 Loewe, F. Excerpts from Brigadoon (1947).

David Brooks, Marion Bell, Pamela Britton, Lee Sullivan, voices.

RCA Victor 1001-2-RG 19

Rossini, G. Nightmare, from Album de chaumière (1850). Frederic Chiu, pf.

Harmonia Mundi HMU 907102

21:00 OPERA ON AND OFF STAGE Prepared by Giovanna Grech Delius, F. The walk to the Paradise Garden, from A village Romeo and Juliet (1907). London SO/Anthony Collins.

8 Belart 461 3582 10 Liszt, F. Paraphrase on Verdi’s Aida (pub. 1879).

Daniel Barenboim, pf.

Erato ECD 75477 12 Rossini, G. Che ascolto!, from Otello (1816).

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

7 Decca 470 024-2 Gluck, C. Excerpts from Iphigénie en Tauride (1779; arr. Triebensee). Albion Ensemble.

Helios CDH55037 20 Verdi, G. Eviva! beviam! beviam!, from Ernani (1844). Welsh National Opera Ch & O/Richard Armstrong.

4 EMI 5 66115 2 22:00 SATURDAY NIGHT AT HOME Listening to Australian Ballet Prepared by Elaine Siversen

Grimethorpe Colliery U.K. Coal Band (3 above) RCA 74321 88393 2

Glinka, M. Autumn night (1829). Yevgeny Nesterenko, bass; Yevgeny Shenderovich, pf.

LP Melodiya 200 956-366 2

James, W. Ballet: The debutante (c1970).

Sydney SO/Dobbs Franks.

LP ABC AC 1052

Fernie, A. Scottish rhapsody. Douglas Blackledge, cond.

Schumann, R. Spring night (arr. Liszt). Isador Goodman, pf.

ABC 432 210-2 3

Bernstin, E. March, from The great escape. 2

6

Strauss, J. II Blue Danube waltz (arr. Richards).

Phillip McCann, cond.

7 Sellers Engineering Band (2 above) Chandos CHAN 4511 12:00 A LITTLE TASTE OF JAZZ with Rob Thomas 13:00 ASIAN MUSIC Prepared by Oscar Foong A bi-monthly exploration of music from across Asia fineMusic 102.5

February 2015

Casella, A. A night in May, op 20 (1913). Olivia Andreini, mezzo; Rome SO/Francesco La Vecchia.

Naxos 8.572416 15 Delius, F. Summer night on the river (1911). BBC SO/Andrew Davis.

Teldec 4509-90845-2 6 Coates, E. Waltz: Dancing nights (1931). Sydney SO/John Lanchbery.

LP HMV ESD 7062 9

11

Mozart, W. Der Hölle Rache, from The magic flute, K620 (1791). Sumi Jo, sop; Vienna PO/ Georg Solti.

3 Decca 458 927-2

20:00 A LOT OF NIGHT MUSIC Prepared by Michael Morton-Evans

Barry, J. Medley of themes from James Bond movies.

6

52

17:30 ARTS IN FOCUS Produced by Tom Forrester-Paton

Trad. (All through the night. Bryn Terfel, bassbar; Black Mountain Chorus; Risca Male Choir; Welsh National Opera O/Gareth Jones.

5 ABC 479 0494

13

Antill, J. Suite from ballet Corroboree (1946).

Sydney SO/Stuart Challender.

LP HMV OASD 7554 23 Mills, R. Pas de deux, from Snugglepot and Cuddlepie ballet (c1987). Queensland SO/ Richard Mills.

4 ABC 480 6403 Lanchbery, J. Ballet: The sentimental bloke (1985). State O of Victoria/John Lanchbery.

ABC 456 684-2 1:10

The following composers have works of at least five minutes on the February dates listed Abel, C. 1723-1787 22 Adam, A. 1803-1856 22,23 Albéniz, I. 1860-1909 16 Albinoni, T. 1671-1751 7,17,18 Allegri, G. 1582-1652 21 Anglebert, J-H. 1635-1691 27 Antill, J. 1904-1986 1,28 Arlen, H. 1905-1986 28 Aubert, J. 1689-1753 25 Babell, W. c1690-1723 17 Bach, C.P.E. 1714-1788 8,10,15 Bach, J.S. 1685-1750 1,4,6,8,9,11,13,15,18,22,24 Bainton, E. 1880-1956 15 Bairstow, E. 1874-1946 15 Balbastre, C-B. 1727-1799 22 Banister, J. d c1735 20 Bantock, G. 1868-1946 2 Barber, S. 1910-1981 15,17 Barry, J. b1933 28 Bartók, B. 1881-1945 1 Barton, W. b1981 19 Bassano, G. c1558-1617 7 Baur, J-P. 1719-1773 22 Bax, A. 1883-1953 8,11,25 Beach, A. 1867-1944 3 Beath, B. b1932 1,14 Beethoven, L. 1770-1827 1,4,6,7,8,9,10,12,15,17,21,27 Bellini, V. 1801-1835 7 Benda, F. 1709-1786 6 Berkeley, L. 1905-1989 21 Berlin, I. 1888-1989 14 Berlioz, H. 1803-1869 7,13,14,15,22,23 Berwald, F. 1796-1868 8 Biber, H. 1644-1704 10 Bizet, G. 1838-1875 2 Bliss, A. 1891-1975 5 Blow, J. 1649-1708 20 Boccherini, L. 1743-1805 15,27 Borne, F. 1840-1920 20 Borodin, A. 1833-1887 2,14 Boulanger, L. 1893-1918 12,19 Bowen, Y. 1884-1961 12 Boyd, A. b1946 15 Brahms, J. 1833-1897 3,4,8,9,12,16,19,21,27 Britten, B. 1913-1976 2,3,14,21 Brouwer, L. b1939 21 Bruch, M. 1838-1920 18,23 Burgmüller, N. 1810-1836 8 Butterley, N. b1935 12 Byzantine chant 13

Chávez, C. 1899-1978 10 Chen Yi. b1953 14 Chopin, F. 1810-1849 21 Coates, E. 1886-1957 2,28 Copland, A. 1900-1990 5,17,19,24 Corelli, A. 1653-1713 10,17 Couperin, F. 1668-1733 6 Cowen, F. 1852-1935 11 Crusell, B. 1775-1838 8,15 Czerny, C. 1791-1857 12 d’Indy, V. 1851-1931 14,22 Danzi, F. 1763-1826 27 Dargaville, T. b1962 1 Dauvergne, A. 1713-1797 25 Debussy, C. 1862-1918 3,8,12,16,21,26 Delius, F. 1862-1934 15,17,28 Devienne, F. 1759-1803 22,25 Dieupart, C. c1667-c1740 17 Dohnányi, E. 1877-1960 3,6 Donizetti, G. 1797-1848 1 Dukas, P. 1865-1935 1 Duruflé, M. 1902-1986 12 Dvorák, A. 1841-1904 2,6,8,10,11,14,16,20,21,25,27 Eckhardt-Gramatté, S-C. 1899-1974 24 Edelmann, J. 1749-1794 25 Edwards, R. b1943 8 Elgar, E. 1857-1934 3,7,17,21,25 Fasch, J. 1688-1758 18 Fauré, G. 1845-1924 12,13 Fernie, A. b1960 28 Field, J. 1782-1837 8 Foote, A. 1853-1937 17 Ford, A. b1957 1 Françaix, J. 1912-1997 14 Franck, C. 1822-1890 2,6,8,14 Frerer, J. b1995 19 Frescobaldi, G. 1583-1643 7 Furrer, B. b1954 19

Gal, H. 1890-1987 15 Gassmann, F. 1729-1774 14 Gershwin, G. 1898-1937 3,5,10 Ghandar, A. b1943 1 Gjeilo, O. b1978 12 Glass, P. b1937 22 Glazunov, A. 1865-1936 24 Glier, R. 1875-1976 7,21 Glinka, M. 1804-1857 1,15,16,20 Gluck, C. 1714-1787 28 Goldmark, K. 1830-1915 18,20 Canteloube, J. 1879-1957 7 Gounod, C. 1818-1893 13,21 Cara, M. c1470-c1525 7 Gouvy, T. 1819-1898 19 Casella, A. 1883-1959 12,28 Grainger, P. 1882-1961 20 Chabrier, E. 1841-1894 17 Grétry, A-E-M. 1741-1813 10 Charpentier, M-A. 1635-1704 27 Grieg, E. 1843-1907 5,6,10,11,27 Chausson, E. 1855-1899 15 Gross, E. b1926 15

Hahn, G. b1908 19 Halffter, E. 1905-1989 10 Handel, G. 1685-1759 1,6,9,11,13 Hanson, H. 1896-1981 19 Harris, W. 1883-1973 14 Harty, H. 1879-1941 3 Harvey, J. b1939 19 Haydn, J. 1732-1809 4,8,13,15,22,24,27 Haydn, M. 1737-1806 15 Hertel, J. 1727-1789 24 Hiller, F. 1811-1885 27 Hoffmeister, F. 1754-1812 1 Holland, T. 1878-1947 2 Holst, G. 1874-1934 2,15,19 Horneman, C. 1840-1906 28 Hotteterre, J-M. 1674-1763 18 Humfrey, P. 1647-1674 20 Hummel, J. 1778-1837 1,6,13,23 Ippolitov-Ivanov, M. 18591935 11 Ives, C. 1874-1954 13 James, W. 1895-1977 28 Janácek, L. 1854-1928 1,8,9 Janequin, C. c1485-1558 13 Joachim, J. 1831-1907 13 Josquin Desprez. c1440-1521 13 Karlowicz, M. 1876-1909 4 Kats-Chernin, E. b1957 19 Khachaturian, A. 1903-1978 4 Kodály, Z. 1882-1967 13 Koechlin, C. 1867-1950 20,22 Koehne, G. b1956 20 Korngold, E. 1897-1957 13,25 Kozeluch, L. 1747-1818 22 Kraus, J.M. 1756-1792 8,9 Kreisler, F. 1875-1962 13 Krommer, F. 1759-1831 8,12,22 Krumpholtz, J-B. 1742-1790 19 Kuhlau, F. 1786-1832 22 Kvandal, J. 1919-1999 3

Mahler, G. 1860-1911 16 Maldere, P. 1729-1768 22 Márquez, A. b1950 5 Martinu, B. 1890-1959 12 Mascagni, P. 1863-1945 13 Massenet, J. 1842-1912 14 Méhul, É-N. 1763-1817 5 Mendelssohn, F. 1809-1847 2,5,11,15,17,19,20,21 Mendelssohn, Fanny. 18051847 19 Messager, A. 1853-1929 20 Meyerbeer, G. 1791-1864 7,19 Milhaud, D. 1892-1974 7,24 Mills, R. b1949 8 Milner, A. 1894-1972 14 Minkus, L. 1826-1917 14 Moeran, E.J. 1894-1950 3 Monn, M. 1717-1750 13 Monteverdi, C. 1567-1643 15 Moscheles, I. 1794-1870 23 Mozart, L. 1719-1787 7 Mozart, W. 1756-1791 1,2,4,5,8,9,15,19,21,26 Muczynski, R. b1929 7 Murrill, H. 1909-1952 15 Mussorgsky, M. 1839-1881 16 Naderman, F-J. 1781-1835 22 Neukomm, S. 1778-1858 5 Neumann, H. 1792-1861 22 Nielsen, C. 1865-1931 5,10 Norg?rd, P. b1932 22 Nyman, M. b1948 5 Offenbach, J. 1819-1880 5,19,22,27 Orff, C. 1895-1982 5 Otto, L. fl c1750 18

Pachelbel, J. 1653-1706 23 Paganini, N. 1782-1840 20,22,23,27 Palestrina, G. da c1525-1594 23 Parry, H. 1848-1918 23 Pärt, A. b1935 3,23 Lalo, E. 1823-1892 18 Pasculli, A. 1842-1924 17 Lambert, C. 1905-1951 17 Pateras, A. b1979 19 Lanchbery, J. b1923 28 Penderecki, K. b1933 1 Lara, A. 1900-1969 10 Petrassi, G. 1904-? 3 Lentz, G. 20th c 22 Piazzolla, A. 1922-1992 5,7,15 Leyendecker, U. b1946 1 Pierné, G. 1863-1937 23 Lidl, A. 1740-1789 5 Pleyel, I. 1757-1831 5,20,22,25 Ligeti, G. 1923-2006 19 Ponce, M. 1882-1948 10 Liszt, F. 1811-1886 Posford, G. 1906-1976 2 10,13,14,17,20,23,28 Poulenc, F. 1899-1963 7,17 Lloyd Webber, W. 1914-1982 14 Prokofiev, S. 1891-1953 8,24 Locatelli, P. 1695-1764 13 Puccini, G. 1858-1924 9,14 Locke, M. c1621-1677 20 Purcell, H. 1659-1695 20 Loewe, C. 1796-1869 22 Qigang Chen. b1951 26 Loewe, F. 1901-1988 28 Quantz, J. 1697-1773 26 Luigini, A. 1850-1906 28 Quilter, R. 1877-1953 21,26 Lyapunov, S. 1859-1924 2

Rachmaninov, S. 1873-1943 5,7,13,24,26 Rameau, J-P. 1683-1764 6,12,17,27 Ravel, M. 1875-1937 3,10,20,21 Reger, M. 1873-1916 20 Reicha, A. 1770-1836 22,24,26 Reinecke, C. 1824-1910 6,27 Respighi, O. 1879-1936 23 Revueltas, S. 1899-1940 10 Rheinberger, J. 1839-1901 14 Rich, R. 20th c 15 Ries, F. 1784-1838 24 Rimsky-Korsakov, N. 1844-1908 13,14,16,19,28 Rodgers, R. 1902-1979 7,14 Rodrigo, J. 1901-1999 5,21,23 Rossini, G. 1792-1868 13,28 Rózsa, M. 1907-1995 6 Rubinstein, A. 1829-1894 5,26 Saariaho, K. b1952 19 Saint-Saëns, C. 1835-1921 1,8,14,17,21,22,23,27 Salieri, A. 1750-1825 10 Sanfilippo, B. b1965 15 Sauer, E. 1862-1942 3 Scarlatti, A. 1659-1725 18,22 Scarlatti, D. 1685-1757 6 Scharwenka, X. 1850-1924 22 Schobert, J. 1740-1767 11 Schoenberg, A. 1874-1951 28 Schubert, F. 1797-1828 1,7,10,11,14,15,16,20,26,27,28 Schumann, C. 1819-1896 27 Schumann, R. 1810-1856 1,6,10,16,18,19,20,21,24 Sculthorpe, P. b1929 15 Seiber, M. 1905-1960 16 Serebrier, J. b 1938 7 Shostakovich, D. 1906-1975 4,13,16,18,24,28 Sibelius, J. 1865-1957 17,26 Sirmen, M. 1745-1818 22 Solère, E. 1753-1817 17 Somervell, A. 1863-1937 6 Sondheim, S. b1930 28 Spohr, L. 1784-1859 1,3,22 Stainer, J. 1840-1901 14 Stamitz, J. 1717-1757 11 Stanford, C. Villiers 1852-1924 8,20 Starzer, J. 1726-1787 5 Stenhammar, W. 1871-1927 8 Stratford, W. fl.15th-16th c 13 Strauss, J. II 1825-1899 2,28 Strauss, R. 1864-1949 7,11,12,14 Stravinsky, I. 1882-1971 13,17,24 Suppé, F. 1819-1895 7,16,25 Svendsen, J. 1840-1911 25 Szymanowski, K. 1882-1937 9,16

Takemitsu, T. 1930-1996 21 Tartini, G. 1692-1770 16 Tausch, F. 1762-1817 25 Tavener, J. b1944 12 Tchaikovsky, P. 1840-1893 7,9,13,18,23 Tcherepnin, A. 1899-1977 14 Telemann, G. 1681-1767 6,11,18 Thalberg, S. 1812-1871 7 Tomlinson, E. b1927 16 Tveitt, G. 1908-1981 16 Vaughan Williams, R. 18721958 7,8,10 Veracini, F. 1690-1768 3 Verdi, G. 1813-1901 7,9,13,15,20,27 Vianna da Motta, J. 18681948 5 Vieuxtemps, H. 1820-1881 17 Villa-Lobos, H. 1887-1959 5,7,8,17,20 Vitali, G. 1632-1692 8 Vivaldi, A. 1678-1741 15,21,23,24 Viviani, G. 1638-c1692 24 Wagenseil, G. 1715-1777 8 Wagner, R. 1813-1883 8,19,20,21 Waller, J.F. 19 Walton, W. 1902-1983 21 Weber, C.M. 1786-1826 15,16,19,21 Weill, K. 1900-1950 22 Wesström, A. 1720-1781 9 Westlake, N. b1958 20 Whitacre, E. b1970 12 Wieniawski, H. 1835-1880 19 Wikmanson, J. 1753-1800 9 Williams, C. 1893-1978 19 Williams, J. b1932 14 Wills, A. b1926 2 Wirén, D. 1905-1986 8 Witt, C. 1660-1716 21 Wranitzky, A. 1761-1820 22 Xenakis, I. 1922-2001 19 Ysaÿe, E. 1858-1931 3 Zandonai, R. 1883-1944 21 Zelenka, J. 1679-1745 18,21 Zemlinsky, A. 1871-1942 15 Zimmer, H. b1957 7,14

Key Music duration is shown after the record and citation SO: Symphony Orchestra Orchestra bshn: basset horn

PO: Philharmonic Orchestra NO: National Orchestra RO: Radio Orchestra FO: Festival Orchestra CO: Chamber Orchestra TO: Theatre Orchestra RSO: Radio Symphony Orchestra RTO: Radio & Television

Prom O: Promenade Orchestra Ch & O: Chorus & Orchestra NSO: National Symphony Orchestra alto: male alto ban: bandoneon bar: baritone

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 elec: electronic eng horn: English horn 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

February 2015

sop: soprano tb: trombone ten: tenor timp: timpani tpt: trumpet treb: treble voice va: viola vc: cello vle: violone vn: violin

fineMusic 102.5

53

PERSONNEL MUSIC BROADCASTING SOCIETY OF NEW SOUTH WALES CO-OPERATIVE LTD

Owner and operator of Australia’s first community operated stereo FM station, 2MBS-FM now known as Fine Music 102.5. The Objects of the Society are primarily to broadcast fine music and operate one or more FM broadcasting stations for the encouragement of music. Another 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. Our mission is to be Sydney’s preferred fine music broadcaster.

Member of the Community Broadcasting Association of Australia.

DIRECTORS Peter Kurti - Chairman, David Ogilvie - Vice-Chairman, Janine Burrus - Secretary, Nicholas Chaplin - Treasurer, Jacqui Axford, Roger Doyle, Maureen Meers, Stephen Wilson STAFF

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MEMBERSHIP The Music Broadcasting Society of NSW Co-Operative Ltd is registered under the Co-operatives Act 1992 (NSW). Annual membership fee is $22 and members are entitled to vote at Society general meetings. Enquiries - admin@finemusicfm.com VOLUNTEERS

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fineMusic 102.5

February 2015

FINE MUSIC PATRONS & FRIENDS BENEFACTORS ($2500 +)

Mr Michael Ahrens, Mr Max Benyon OAM, Dr David Block, Mr J D O Burns, The Berg Family Foundation, Frank Family Foundation, Yim Family Foundation, The Late Prof Jacqueline Goodnow AC, Mrs Freda Hugenberger, Prof Clive Kessler, Ms Aino Mackie, The Garrett Riggleman Trust, Mr Ron Walledge, Ms Ann Whyte, Ms Jill Wran, Anonymous 1

GOLD PATRONS ($1000-$2499)

Mr Robert O Albert, Mrs L Alison Carr, Hon Mr Justice David Davies Sc, Honorable Mrs Ashley Dawson-Damer, The Holden Family Foundation, Prof Michael Field AM, Miss J E Hamilton, Mrs Christine Kelly, Ms Phlyssa Koshland, Mr Ian & Mrs Pam McGaw, Mrs E M McKinnon, Ms Nola Nettheim, Mr Ken Nielsen, Mrs Renee Pollack, Prof Jack Richards, Mrs Joyce Sproat, Mr Anthony C Strachan, Mr P M Weate, Mrs Therese Wilson, Dr Richard Wingate, Anonymous 7

SILVER PATRONS ($500-$999)

Mr Chris Abbott AM, Dr Anthony Adams, Sydney Conservatorium Association Inc, Dr H Bashir, Prof Dame Marie Bashir AD CVO, Mr Claus Blunck, Mr David Brett, Mr Lloyd & Mrs Mary Jo Capps, Mr Robert E S Clark, Mr Noel Craven, NSW Doctors Orchestra, Mrs Elizabeth Donati, Ms Frances Farmer, Mrs Flora Fisk, Mr Heinz Gager, Mr Roger Hurley, Mrs Ann Kirby, Mrs Meryl MacArthur, Mrs Judith McKernan, Mr John K Morgan, Mr Michael Morton-Evans OAM, Fed Magistrate K Raphael, Mr Kenneth Reed, Ms Alice Roberts, Mrs Valerie Stoney, Ms Anne Taylor, Mrs June M Walpole, Mr A G Whealy QC, Anonymous 4

BRONZE PATRONS ($250-$499)

Prof Peter Bayliss, Mr John Benecke, Ms Baiba Berzins, Dr Frances Booth, Mr Stephen Booth, Mrs Jan Bowen, Dr Alexandra Bune, Ms Judith Byrnes-Enoch, Ms Pam Cameron-Smith, Mrs Dorothy Curtis, Mrs Agnes Czeiger, Prof C E Deer, Mr John Eager, Mr R D & Mrs P M Evans, Mrs Rita Felton, Mr William G Fleming, Mr Malcolm France, Prof J Furedy, Mr John Giannoutsos, Mrs G S Graham, Mrs Mirrella Hainsworth, Mrs Alison H Hale, Mr Geoffrey Hogbin, Mr Allan Hough, Mrs Freda Hugenberger, Ms Barbara Hunter, Mrs Meila Hutchinson, Mr Paul Jackson, Mr David Levitan, Mr B Lister, Mr Ian K Lloyd, Mr Diccon Loxton, Dr Jim Masselos, Mr Philip Maxwell, Dr D S Maynard, Mrs Patricia McAlary, Dr Yugan & Dr Abby Mudaliar, Mr John Nowlan, Mr Trevor Parkin, Mr Denis Patterson, Mr Jeremy Pearson, Mr Michael Peck, Miss Joan Perkins, Mr Anthony Reynolds, Mr J A Roberts, Mr Gregory L Sachs, Mrs M Saunders, Ms Marilyn Schock, Ms Marilyn Schock, Ms Christina Smith, Mr Colin Spencer, Mrs Ruth A Staples, Mrs Mary Stening, Mrs J R Strutt, Dr Martin Suthers, Mr Peter & Mrs Margaret Titley, Dr Robin Torrence, Mrs Christine Tracy, Mrs June Walpole, Dr J O Ward, Mrs Beatrice L Watts, Dr Barry Webby, Assoc Prof Gerard Willems AM, Anonymous 17

FINE MUSIC FRIENDS FOR LIFE

Dr Anthony Adams, Mr Brian Adams, Mr Geoffrey Ainsworth, Evans Webb & Associates Pty Ltd, Mr John Bagnall, Mr Graham Barr, Mr M T Beck, Dr Kathrine Becker, Mr Russell Becker, Mr H J Benyon OAM, Mr Max Benyon OAM, Mr Anthony R Berg, Mrs Joan & Mr Ross Berglund, Mr David E W Blackwell, Mr M & Mrs L Blomfield, Dr Nancy Brennan, Mr Geoffrey Briot, Ms Jill Brown, Mr Mark Bryant, Mr Stephen Buck, Prof Elizabeth Burcher, Mr Rex Burgess, Ms Janine Burrus, Mrs E A Burton, Mr G K Burton Sc, Mr Philip Butt, Mr Ian Cameron, Mrs Judith Campbell, Mrs L Alison Carr, Ms Chris Casey, Ms Deanne Castronini, Miss Emily Chang, Mr Roger Chapman, Dr Stephen K Chen, Mr Roger Cherry, Mr Peter Chorley, Dr Peter Chubb, Mr Gordon Clarke, Mr K G Coles, Mr Bernard Coles QC, Mr Phillip Cornwell, Mr Robin Cumming, Mrs Dorothy Curtis, Miss Sheila Darling, Mrs Susan Davey, Hon Mr Justice David Davies SC., Mr Geoffrey De Groen, Mr Lawrence D Deer, Mr Timothy Denes, Mr D J & Mrs C Dignam, Mr Alan Donaldson, Mrs Jennifer Dowling, Mr Peter Downes, Mr Peter Dunn, Mr Emyr Evans, Ms Elizabeth Evatt, Mr John Fairfax, Mr Ian Fenwicke, Mr Hugo D Ferguson, Prof Michael Field AM, Mr David Fisher, Mr Francis Frank, Dr Sid French, Mr Ross Gittins, Mrs Inez Glanger, Mrs Betty Goh, Mr Ray Grannall, Mr Michael J Guilfoyle, Mrs E W Hamilton, Mrs Emesini Hazelden, Mr Paul Hense, Dr Peter Hook, Mr Roger Howard-Smith, Mr David E Hunt, Mr Robert Hunt, Mr David Hurwood, Mr John Hyde, Dr C P Ingle, Mrs Virginia Jacques, Ms Ruth Jeremy, Mr Ken Johnstone, Mr Christopher Joscelyne, Mr Michael Joseph, Dr Thomas E Karplus, Dr Keith Keen, Mr Paul L Kelly, Mrs Christine Kelly, Ms Patricia Kennedy, Prof Clive Kessler, Mrs Frances Kevans, Mr Roger Kingcott, Mr R J Lamble AO, Mr Stewart Lamond, Ms Sophie Landa, Mrs Sarah Lawrence, Mr Gregory Layman, Ms Judy Lee, Ms Annette Lemercier, Ms Karen Loblay, Dr David C Ludowici, Mrs Ruth G MacLeod, Mr Joseph Malouf, Mrs Anita Masselos, Miss Lynne Matarese, Mr J T McCarthy, Ms Elizabeth McDonald, Mr Phillip McGarn, Mr Alain G Middleton, Mr Nick Minogue, Mrs Greta Moran, Ms Bernice Murphy, Mr Hal Myers, Mr Christopher John Nash, Ms Natasha Ng, Mr Mark Nichols, Mr Ken Nielsen, Ms Christina O’Faillbhe, Assoc Prof Robert Osborn, Prof Earl R Owen AO, Ms Susan Pearson, Mr Michael Pope, Prof R G H Prince, Dr Neil A Radford, Ms Elsina Rasink, Mrs Angela M Raymond, Mr Brian L Regan, Mr Alex & Mrs Pam Reisner, Mr Grahame Reynolds, Mr Bruce Richardson, Mr R E Rowlatt, Mrs Mitzi L Saunders, Mrs Clara Schock, Ms Marilyn Schock, Mr John Sharpe, Mrs Linda Shoostovian, Dr William Thomas Sidwell, Mr John Simpson, Mr Alan Slade, Dr J M Stern, Mr John Stevenson, Mr I R Stubbin, Miss Jozy Sutton, Mr Mark Swan, Mr Edmund Sweeney, Baroness Taube-Zakrzewski, Australian Elizabethan Theatre Trust, Mrs H F Thomas, Mr P A Thomas AM M.B.E., Miss Margaret Thompson, Mr Iain M Thompson, Mr Christopher A Thorndike, Dr Robin Torrence, Mrs Helen J Tweeddale, Mr Richard Verco, Mr Edward J Wailes, Mr Ron Walledge, Mrs June Walpole, Dr Duff Watkins, Ms Ellen M Waugh, Ms C A Webster, Drs Lourdes & Spencer White, Mr Neville Wilkinson, Mrs Elizabeth Wilkinson, Mr Cameron Williams, Ms Jocelyn Woodhouse, Ms Jill Wran, Mrs Robin Yabsley, Mr Nicholas Yates, Anonymous 13

FINE MUSIC GOLD & SILVER FRIENDS

Mr David W Allen, Mr James Allsop, Dr R & Mrs H Barnard, Ms Sandra Batey, Mr Robert Baume, Mr & Mrs J & M Beardow, Mr John Boden, Mr Stephen Booth, Mrs Barbara Brady, Mr D Branscomb, Mr David Brett, Mrs Halina Brett, Sir Ron Brierley, Mr Anthony Browell, Rev Peter G Carman, Rev Jane S Chapman, Ms Joan Childs, Ms Elizabeth Collins, Mr John P Corsham, Prof Roger Covell, Ms Ann Coventry, Mr Noel Craven, Dr Mark Cross, Prof & Mrs S J Dain, Mrs Rhonda Dalton, Mr Brett Ayron Davies, Mr Peter Deakin, Ms Julie Deane, Prof C E Deer, Dr Nita Durham, Mrs Margaret Epps, Mr Paul Evans, Ms Frances Farmer, Mr William G Fleming, Ms Helen Fleming, Ms Eleonore Fuchter, Prof J Furedy, Mrs M A Grant, Mrs Winifred Green, Ms Margaret Hext, Mr Peter Hillery, Mrs Dorothy Holland, Mrs Diana R Hooper, Mr Paul Hopwood, Prof Jacqueline Huie, Mr Rod Hyland, Dr David Jeremy, Mr Gar Jones, Ms Cynthia Kaye, Mr Andrew J Kennedy, Mrs Alison King, Mr Gerhard Koller, Mr Ian Lansdown, Mr Goldwyn Lowe, Mrs Meryll MacArthur, Mrs Elisabeth Manchur, Dr Charles Matthews, Dr Bernard Maybloom, Mr Ray McDonald, Mr Peter McGrath, Dr R McGuinness, Mrs E M McKinnon, Mr Kevin McVicker, Ms Judith Miller, Dr Andrew Mitterdorfer, Tom Molomby, Ms Ursula Mooser, Mr Michael Morton-Evans OAM, Mr Andrew Nelson, Mr John Niland, Mr John Nowlan, Mr Pieter Oomens, Mr Julius Opit, Mr G C Osborne, Dr Gordon H Packham, Mr Trevor Parkin, Mr Ken Paul, Mr Michael Paul, Mr Bruce Peel, Mr Bert Percy, Ms Barbara Peretz, Dr Tri Pham, Ms Anne Pickles, Mrs Mavis Pirola, Mr Pino Re, Mr Kenneth Reed, Dr John G Richards, Mr A & Mrs E Roth, Ms Janet Rowe, Dr Janice Russell, Mr Harvey Sanders, Mr D J Schluter, Dr Gideon Schoombie, Dr Vivian Shanker, Dr Michael Shellshear, Mr R A Stark, Mr N A Stoke, Ms Lora Stopic, Mrs J R Strutt, Dr S Morris & Ms M Sullivan, Mr Douglas G Thompson, Mrs Judy Timms, Dr Jennifer Turner, Mr D & Mrs C Wall, Mr Ian Wallace, Mr Linxiu Wang, Mrs Beatrice L Watts, Dr Barry Webby, Mrs C & Mr L Welyczko, Mr Robin Wever, Mr Richard Wilkins, Mrs Dorothy Wood, Hon F L Wright QC, Prof Klaus A Ziegert, Mr Peter Zipkis, Anonymous 10 To discuss Fine Music’s Patron program, or bequests, call David Sidebottom on 9439 4901.

February 2015

fineMusic 102.5

55

Australian Composers’ Cryptic Crossword No. 1 !

1

2

3

4

5

7

6

8

ACROSS

DOWN

3. Loud gas explosion…so.

1. Left tyre lube needs replacing… before he.

5. Drop all clue…and.

9

7. Repair all tin pieces.

10

8. Middle of the thumb left exposed.

11

12 13 15

16

14

17 18

19

20

21

22

24

23

25

This Crossword is dedicated to Lizzie Herbert © Copyright Stephen Pleskun 2014 All the composers above can be found in the four-volume A Chronological History of Australian Composers and their Compositions 1901-2013.

The Crossword 72-76 Chandos Street St Leonards NSW 2065

3. Great, but not a Dane.

4. Throw all away.

10. It’s tough, hon…to solve things when I am.

5. Provisional, rich and very well appointed.

12. Hot and unwell.

6. Damaged dry fuse.

13. The back end of a double barrel... and 19. three-fifths of the name given to it.

9. Hyperboles re-arranged without dregs.

15. Re-align that body! ...24 and give it a name!

14. Shaken, shaken, but not heading to what it should be.

17. Chairs the middle of a meeting.

16. Figure more van space is needed.

20. N.B. the prey proved elusive…but.

18. Bathe properly!

21. Mod nest needs rebuilding…so.

23. Are you ready? It could be a new era!

Name:_______________________________________________ 22. Learn properly!

Address: _____________________________________________ 25. Such enth degree calculations must be figured out.

Tel:______________ Email_______________________________ To go in the draw to win Roger Woodward - A Concerto Collection, email your crossword answers to competitions@finemusicfm.com by 23 February 2015

2. Scales the middle of a labyrinth.

11. Rare gin concoction…is.

CROSSWORD SOLUTION - JANUARY 2015

Across: 6 Tiddler, 7 Pasta, 9 Well, 10 Underwrote, 11 Et cetera, 13 Thread, 15 Soma, 17 Meter, 18 Seem, 19 Stitch, 20 Delegate, 23 Baking soda, 26 Rend, 27 Train, 28 Art deco.

Down: 1 Adulterant, 2 Allude, 3 Brad, 4 Operator, 5 User, 6 Tweet, 8 Actuate, 12 Acted, 14 Rose garden, 16 Outcast, 17 Mahogany, 21 Lean-to, 22 Tango, 24 Imam, 25 Oral.

MUSICAL TRIVIA WITH MICHAEL MORTON-EVANS How well do you know the world of classical music? Test your knowledge with these musical brain teasers from Fine Music 102.5 presenter, Michael Morton-Evans.

1. About whom was Robert Schumann speaking when he said: “He has arrived, a young man at whose cradle the Graces and Heroes have stood guard.?”

2. Beethoven’s Kreutzer Sonata for violin and piano, though finally dedicated to Rodolphe Kreutzer, was originally called the Sonata Mulattica.

For whom was it originally written?

3. Who wrote the 1923 opera The Perfect Fool?

4. Calm Sea and Prosperous Voyage is a concert overture by Mendelssohn. When he wrote it Mendelssohn had never actually seen the sea. Was he 16, 19 or 23 years old?

5. Which one of these three composers did not write opera in the Bel Canto style? Mozart, Rossini, or Donizetti?

6. What nationality was Adolphe Sax, the inventor of the saxophone?

7. Vltava is the Czech name for which river featured in Smetana’s My Country?

8. ….. And one for our jazz lovers. What was Jelly Roll Morton’s real first name?

TRIVIA ANSWERS 1. Johannes Brahms. 2. George Bridgetower, a Mulatto friend. 3. Gustav Holst. 4. 19. 5. Mozart. 6. Belgian. 7. Moldau. 8. Ferdinand.

56

fineMusic 102.5

February 2015

Met Opera LIVE ON SCREEN The Death of Klinghoffer Adams Jan 31, Feb 1, 5

Die Meistersinger von Nürnberg Wagner Feb 21, 22, 26

The Merry Widow Lehár Mar 14, 15, 19

Les Contes d’Hoffmann Offenbach Apr 11, 12, 16

Iolanta / Bluebeard’s Castle Tchaikovsky / Bartók May 2, 3, 7

La Donna del Lago Rossini Jun 13, 14, 18

Cavalleria Rusticana / Pagliacci Mascagni / Leoncavallo Jul 4, 5, 9

HAYDEN. ORPHEUM CREMORNE

O R P H E U M .CO M . AU

/

orpheum.com.au metopera.org/HDLive Renée Fleming and Nathan Gunn in The Merry Widow PHOTO: BRIGITTE LACOMBE/METROPOLITAN OPERA

For its 26th season, the ALLIANCE FRANÇAISE FRENCH FILM FESTIVAL is proud to present a tantalising line-up of features and documentaries, showcasing the latest work of directors such as Anne Fontaine, Benoît Jacquot, François Ozon, Bertrand Bonello, Volker Schlöndorff, Mathieu Amalric, André Téchiné, Dany Boon, Christophe Gans, Jean Becker, Mélanie Laurent and Mia Hansen Love.

exclusive north side season 3 -22 march

AllianceFrançaise

Australie