Fine Music - April 2016

April 2016

MAGAZINE

Tognetti & Constable Music and the movies

Claron McFadden On the nature of ‘secrets’

Stephen Hough Touring for Musica Viva

Riccardo Massi Stuntman turned tenor

Coming up in April

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CONTENTS

EDITOR’S DESK

VOL 43 No 4

In April, audiences can experience a fascinating collaboration between Richard Tognetti and the Australian Chamber Orchestra; and Timothy Constable and Synergy Percussion. Their Cinemusica will draw on the great history of cinema to present a concert of works either made famous through association with movies or suites of music originally written as film scores, with a somewhat ominous feel.

2 COVER STORY Synergy and ACO come together for Cinemusica 4 From the Chair… with Janine Burrus 5 Claron McFadden talks to Fine Music 6 Stuntman turned tenor: Riccardo Massi 7 Yamaha’s new educational initiative 9 Alexander Gavrylyuk returns to Sydney 10 Stephen Hough tours for Musica Viva 11 Interview with trailblazer Kathryn Selby 12 Flashback with Derek Parker 13 Feature: William Sterndale Bennett 14 What’s On – Sydney and surrounds 16 CD Reviews 18 Young Virtuosi 19 Jazz CD Reviews 20 Swinging on the Vine 22 April Program Highlights 56 Crossword and Trivia Quiz

Telling Fine Music’s Simon Moore that for many, film music has been a way of accessing sounds they may not have otherwise listened to, Constable and Tognetti have put together a mix of classical works as well as a brand new piece

by Constable for percussion and strings. On the program are works from Xenakis, Thomas Newman, Bartók and Hermann’s iconic Psycho: A Suite for Strings.

Fine Music also catches up with soprano Claron McFadden. While in Sydney earlier this year, to perform her show Secrets for Sydney Festival, McFadden spoke to Fine Music’s Andrew Bukenya and you can pick up the story on page 5.

Sponsor of Fine Music’s new program New Australian Music for HSC, Yamaha Music Australia has also launched its new program for schools. Spearheading the initiative will be expat director, educator and conductor Dr Rob McWilliams, who has returned to Australia after 23 years to work directly with music educators and young musicians. Read the full story on page 7.

You can also find a range of fascinating interviews in this issue of Fine Music including one of the stars of Opera Australia’s Turandot on Sydney Harbour, Riccardo Massi; and true polymath Stephen Hough who is touring Australia this month for Musica Viva.

Throughout this month, Fine Music will also be paying tribute to the undisputed head of English music for much of the 20th century who unfortunately became relegated to the footnotes of musical history, William Sternadale Bennett. Through a series of programs, listeners can learn more about the composer, pianist, conductor and influential music educator, to commemorate 200 years since his birth in April 1816.

Digital Channel Fine Mus - page 21

40 YEARS

And, you can find more program highlights for this month on page 22.

1974 - 2014

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Cover image: l-r: Artistic Director and Leader of the Australian Chamber Orchestra Richard Tognetti and Synergy Percussion Artistic Director Timothy Constable. Image – Andrew Quilty

Com Young poser

Paula Wallace - Editor

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Fine Music 102.5 and Willoughby Symphony Orchestra invite composers up to the age of 30 years to enter

Compose A CLARINET CONCERTO

Applications open until 15 July 2016 How to enter: finemusicfm.com/young-virtuosi April 2016

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SYNERGY AND ACO COME TOGETHER For a unique ‘cinemusica’ experience percussion which will make its premiere in Cinemusica.

“There’s no celeste in my piece but it could be arranged,” chimes in Constable.

Archetypes of fear Perhaps the archetypal “scary” music is that which can be found in Alfred Hitchcock’s ground-breaking masterpiece, Psycho, scored by Bernard Hermann.

“Hermann was unfortunately a bit of a failure as a concert composer,” Tognetti explains. “I think it might have been the bane of his existence. He really was desperately trying to be a concert composer – and an accepted one – but didn’t make it.”

“As a film composer, I think it’s safe to say that he is standing there in pole position.”

Artistic Director and Leader of the Australian Chamber Orchestra Richard Tognetti and Synergy Percussion Artistic Director Timothy Constable.

Image – Andrew Quilty “It’s scary music, but scary is good,” says Richard Tognetti. “Many people love going to scary films, come to a scary concert.”

The Artistic Director of the ACO has joined forces with Synergy Percussion and its Artistic Director Timothy Constable, to create Cinemusica – a concert celebrating the love of film. It will feature a mix of classical works that have been made famous as incidental music, as well as suites of music originally written as film scores. And much of the music in the concert has a darker, scarier edge to it.

The pair spoke to Fine Music magazine, at the ACO’s rehearsal rooms, buried several floors underground at East Circular Quay.

They agree that film music has been a very important entry point for people to develop an appreciation of music written in the classical style.

“It was a way in for myself,” says Constable.

Tognetti adds: “I think for many people this is the portal through which you can travel to access musical sounds that you wouldn’t otherwise listen to, and it also helps to underline the incredible influence that 2

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has come from music in the 20th century, that still a lot of people are scared of, yet they’ve experienced all their lives without realising”.

But the real ‘scariness’ of Cinemusica, which will be performed around Sydney from 2-6 April, isn’t its origin in the 20th century.

“Bartok’s Music for Strings, Percussion and Celeste is scary otherwise Kubrick wouldn’t have used it (in The Shining),” says Tognetti. “And many other people have used it in delightful ways, in a scary context. It was used in Doctor Who, which used to scare the bejesus out of me.”

“Scary can also be extraordinarily beautiful, and in my humble opinion this is one of the most extraordinarily beautiful works written in the 20th century. The most important work written for strings percussion and celeste until…” says Tognetti, pausing to look at Constable. He continues: “…Until this week – it was the only one”.

He’s referring to the fact that Timothy Constable had just put the final touches prior to rehearsals, to his new work for strings and

The shower scene with its famous vrink-vrink-vrink soundtrack terrified a generation and re-wrote the rule book on thrillers. Indeed, Bernard Hermann had observed that Hitchcock only finished a film to 60%, and it was up to him to add the rest in the form of the music.

How will the film scores ‘work’ in performance without the context of the film and visual references?

“There’s two very strong categories of music on this program, and used for film generally,” Tognetti explains. “One is the monolithic theme that stands alone as a work in its own right, and in the case of the Bartok was a work before it was utilised in film. And then there is the more deliberately spare, stripped-back style of music, which deliberately leaves space for the visuals and that emotional landscape to come in.”

“In the latter case, if the scene’s really iconic, then people are simply going to recall the imagery, and the emotional world that went with that,” said Tognetti.

He continues: “In the case of say the Bartok, bits of it may trigger a similar response, but I think you couldn’t help but be compelled by the fact that it’s such a

Tognetti recalls the comment of a young child who said that he enjoyed radio rather than television because he “sees more”.

Strings and percussion “Percussion often sits at the back of the orchestra because it does that very well,” says Constable.

“There are a lot of percussive sounds that articulate time, and punctuate the larger rhythmic slabs in a way that’s very arresting – think of cymbal crashes or base drums, it’s a very significant full stop.”

“And in more recent times we may be at the back of the orchestra but we’re making far more timbral and orchestrational contributions. From there I don’t see it as a big stretch to integrate more fully,” he says, referring to the collaboration with the Australian Chamber Orchestra.

“With film compositions, it’s a bit of a moot point if you are at the back or the front,” Constable explains. “It’s conceived to be recorded where there is parity between all the instrumental groups, and often that forceful forward moving rhythmic material necessitates getting the percussion in the heart of things. It’s just another instrumental group really”.

Just another instrumental group, with one notable exception – the musicians must be masters of a wide variety of instruments.

“You all need to do everything,” says Constable. “We all have things we prefer to do, but by and large we get around the core instruments. With percussion we’re really talking hundreds, if not thousands, of instruments.”

Tognetti interrupts at this point: “Including the piano. We fight about that one.”

Constable continues: “Anything that was a bit unusual – whether it was blowing a whistle or making some sort of strange noise – somehow got chucked into the percussionists vocabulary”.

For the love of film What are the fundamental changes that have occurred from the era of Bernard Hermann and Psycho, and the 21st century to Thomas Newman’s score for American Beauty, which also features in the upcoming program?

“It was much more to the fore,” says Tognetti, referring to the earlier era of film music. “But also the syntax, or the vernacular, was quite different. It came very much from the stream of outpouring romanticism that you find with Eastern European composers.”

“They’d jumped over the psychic terror of the second Viennese school, and ended up in Hollywood composing not neo-romantic, but romantic music. For the most part cinema was an escape,” says Tognetti, adding that this has continued through the work of John Williams.

He says: “Thomas Newman very much comes from minimalism, but also his father’s spirit imbibes his music. He writes terrifically for strings even though it’s paired down”.

”

wonderful concert work, and is very strong in that context”.

Scary can also be extraordinarily beautiful…

”

Thomas Newman’s father, Alfred Newman, composed scores for more than 200 films in his career, and is the man responsible for the famous 20th Century Fox fanfare that still can be heard at the beginning of films nearly three-quarters of a century after its introduction, thanks to his time as music director at Fox. “(Alfred Newman) won many Oscars, which are still eluding Thomas,” says Tognetti, before adding, “I would argue robbed – in my mind he’s the greatest film composer alive”.

Thomas Newman has in fact received his 13th nomination this year for his score on Bridge of Spies, but is yet to win the statue.

And between Hermann and Thomas Newman, there has also been a dramatic change in the way the film scores are written and recorded.

“You have to remember that when Bernard Hermann was writing music, certainly in the earlier part of his career, it would have been a one-take band. You just had a big orchestra, and synching with the film would have been really complicated.

Man. Listen to the sounds of the instruments in American Beauty,” says Tognetti.

Constable adds: “By the time you get to Thomas Newman (and American Beauty) the European tradition has given way to that American influence”.

And, we should not forget the “father of all this sound, Aaron Copeland”, according to Tognetti.

“Yes,” says Constable, “in actual fact that American folk music tradition and the Appalachian music which Copeland was not only a fan of, but a great contributor to, is the music of much wider open spaces.”

“It’s almost what you don’t put in the score, rather than what you put in the score,” says Tognetti.

One feels like this is a conversation that could go much further and, like the film scores that we come back to either through listening or memory, one we could return to many times with new awareness.

- Simon Moore EVENT CINEMUSICA 2-12 April 2016 Venues: City Recital Hall, Sydney Opera House Program Xenakis, Voile Thomas Newman, American Beauty (selections) Hermann, Psycho: A Suite for Strings Xenakis, Psappha Timothy Constable, New work for strings and percussion (World premiere) Bartók, Music for Strings, Percussion and Celest Artists Richard Tognetti, Director & Violin Timothy Constable, Artistic Director, Synergy Percussion

“So, you wrote the score with pen and paper and you handed it out to the musicians. One or two takes later you had the score, which is amazing.”

Joshua Hill, Percussion

“These days you can spend weeks in a studio altering one note. It’s a very different process and very different sounds have therefore come out of it. Look at the drum music in Bird

For more information visit: www.aco.com.au/whats_on/event_ detail/cinemusica

Bree van Reyk, Percussion Bobby Singh, Tabla

April 2016

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From the chair...

What a privilege it is to be a volunteer. Fine Music is a hive of activity.

The season of musical opportunity is upon us.

Australian composers under the age of 30 are invited to apply for the Young Composer Award. This year’s challenge is to compose a Clarinet Concerto. The winning concerto will be performed with the Willoughby Symphony Orchestra at The Concourse in Chatswood.

From May we shall be accepting applications for our Kruger Scholarship.

Australian musicians under the age of 30 are invited to embark upon a musical project with the support of Fine Music and $10,000 made possible from the Bequest of Stefan Kruger.

The 17 finalists in the 2016 Young Virtuoso awards are being broadcast on Wednesdays at 1pm. This edition of Fine Music Magazine features those who will be broadcast this month.

Applications for our work experience program are now open. Do let any Year 10

students in your life know that they could program and present classical or jazz music at Fine Music 102.5 for a week.

Fine Music presenters are stepping beyond the studio delivering pre-concert talks for the Willoughby Symphony Orchestra and for the Enjoy, Learn, Discuss series - specialised talks highlighted by musical extracts typically on the third Sunday of each month at 2.30pm.

Our technical and recording teams have over 30 concerts already booked for this year. Planning is underway for Live from the Joan in Penrith. This follows the success of Live from Town Hall last year.

Check your May magazine or online at finemusicfm.com for more details.

To discuss any aspect of Fine Music or to speak to me about supporting Fine Music please contact me. I would be delighted to meet you for a coffee or give you a tour of the station.

Janine Burrus Chair, Fine Music

Enjoy, Learn, Discuss

The popular series of events which enables people to learn more about a diverse range of music from Fine Music presenters, continues throughout the year. Designed for the novice and devoted enthusiast, these informative events will be held at the studios of Fine Music 102.5 on the third Sunday of each month from 2.30pm.

The line-up is as follows: 17 April, David Ogilvie: Latin Horizons 15 May, Michael Field: Bach’s sparkling jewels: the Brandenburg Concertos 19 June, John Buchanan: The Story of the 1930’s Swing Era 17 July, Marilyn Schock: Spanish Music 21 August, Brendan Walsh: Puccini - the man, his operas and his legacy 18 September, Gerry Myerson: Klezmer, the music of the Yiddish-speaking Jewish populations of Eastern Europe 16 October, Angela Cockburn: Staging musical productions: a look at some of the hidden – and not so hidden problems of musical stage productions 13 November, Joe Neustatl: Kurt Weill: his world and his music 11 December, Ross Hayes: A nest of singing birds great Australian Opera Singers of the past For bookings or enquiries, please contact the receptionist at Fine Music 102.5 during business hours on 02 9439 4777.

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CLARON MCFADDEN TALKS TO FINE MUSIC

On the nature of secrets

an artist encouraged people to write down secrets they had never revealed to anyone, on a postcard, and mail them anonymously to a post box – to be used as part of an exhibition. Apparently the response was overwhelming and the artist is still receiving ‘mail’ more than a decade later.

“People feel the need to confess, to get it out… many say ‘what a relief it was to be able to share this’”.

The secrets received by McFadden seemed to fall into five or six general categories such as lost love, poor body image and suicide to name a few.

“These secrets,” she says, “everybody has them”.

Claron McFadden While in Sydney earlier this year, to perform her show Secrets for Sydney Festival, Claron McFadden caught up with Fine Music magazine.

An intimate jazz theatre show about all the things we’d prefer to keep ‘hush hush’, Secrets draws its material from the anonymous true confessions entrusted to the performers by past audiences around the globe.

American soprano McFadden, equally enchanting when whispering surreptitiously into the mic or singing from the rooftops, was joined on stage by experimental accordion-brass-cello trio Michel Massot, Tuur Florizoone and Marine Horbaczewski.

McFadden studied voice at the Eastman School of Music in Rochester, New York, finishing her degree in 1984, and gained international fame when making her Glyndebourne Festival Opera debut in the title role of the opera Lulu, conducted by Sir Andrew Davis.

Returning to Australia after a seven year absence, McFadden, who is known for singing many of the major oratorio works, brought something quite different for Sydney Festival.

“It’s a funny thing when the trio opened up and allowed me to join,” she says.

“We had to find a way to embrace the fact that it’s called Secrets so it’s based on these stories.

“I felt almost like the guardian of the secrets,” says McFadden, “They were teasing me at one point, it was like I was the mother of all these people who had entrusted me with some very deep and painful things”.

At first the group was going to set the ‘secrets’ to music and lyrics and then it became quite clear that the stories were so diverse and had their own “musicality, their own rhythm”, that they couldn’t impose a musical structure on them.

“They indicated themselves what kind of environment they wanted to be in,” said McFadden.

“In the end there were only a few that are actually used as lyrics and for the rest we create a kind of carpet of sound on the actual instrument… Coming from that I sort of step out and become a re-teller and tell the secret and then step back in.”

Coming together The players had wanted to work together for some time and McFadden said it was up to her to “come up with a concept”.

“I was inspired by a book I had gotten as a present,” about a project in the US where

“For some reason there’s a need for secrets to be spoken or voiced, so I started to ask myself ‘do secrets only really come to life when they’re spoken?’”

McFadden realised her role was to be instrumental literally and figuratively in giving them a voice through which they could be expressed. It was initially suggested that she read them as neutrally as possible, as if she were just conveying the words of others.

“I thought long and hard about that and at first I was reading them quite neutral while we were in the creative process just to try and get a feeling of what they were. But it became very clear, it’s like telling stories to a child… just enough to give it life.”

There was one story that gave McFadden much more cause for thought, a suicide story.

In re-imagining a conversation between a mother and daughter involved in this story, McFadden became aware of the critical nature of how words are expressed, and the role of emphasis and intention.

Describing the creative process as a broad musical palette, McFadden says, “It was great for me to be able to add my colours to the palette so that we could make even more colours and with the beauty of the text,” it allowed her to further explore her skills as a true instrumentalist.

- Andrew Bukenya April 2016

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The stuntman turned tenor

Riccardo Massi his “sunny tone offered rare pleasure.” (Opera, UK)

C in di quella pira in Il trovatore... this is one of the most popular cases,” adds Massi.

So it would appear that Sydney just can’t get enough of the attractive powerhouse tenor, or possibly it’s just that they can’t get enough of Riccardo Massi’s Puccini tenor; he’s already scheduled to be back as the heroic Calaf at the Handa Opera on Sydney Harbour with Puccini’s Turandot.

“Once upon a time these embellishments, or liberties, were left up to the performer, in time the audience accepted these embellishments as the correct version.”

When asked what he finds different between the two Puccini roles, Massi describes Cavaradossi as “delicate and sweet, while Calaf is almost always heroic and passionate”. He goes on saying that “they are completely different in character and the approach needed as a singer is very different for each role”.

Calaf arguably has the most famous aria in the entire opera repertoire, Nessun Dorma. Opera Australia Artistic Director Lyndon Terracini recounts “when Pavarotti sang out the top B in Nessun Dorma across a huge crowd at the 1990 FIFA World Cup, the world collectively held its breath. A generation of football fans were learning what opera was all about – music that can transport you to another world, another place, a place where emotion wells up inside you at the sound of a single note”.

Riccardo Massi in Opera Australia’s ‘Tosca’ in 2015.

Image - Branco Gaica So what does it take to become an international tenor? Well, Italian tenor Riccardo Massi seems to have it figured out... his career has skyrocketed in a relatively short time since it launched in 2009, singing major roles at major opera houses including London’s Royal Opera House, the MET, the Berlin State Opera.

At the same time he has collaborated with the biggest names in the business such as Anna Netrebko, Daniel Oren and Placido Domingo, just to name a few.

But it takes more than just a great voice to make it to the top - it also takes a smart, level headed guy who is willing to give 200% to his art-form.

The first time that Sydney audiences heard Massi was in Verdi’s La forza del destino in 2013, and then again in Puccini’s Tosca where The Sydney Morning Herald wrote that Massi’s performance “was carried by attractive sound and shape of line”.

Recently, he performed the same role at London’s Covent Garden next to the celebrity soprano Angela Gheorghiu, where again 6

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Many don’t know that Puccini did not write the ending of Nessun Dorma as it is normally sung today, and even the great Pavarotti himself did not sing it as Puccini intended.

“The long-held high B flat at the end of Nessun Dorma is an exception created by years of traditions” Massi says. “The aria is so famous now that if a tenor were to sing what Puccini wrote, the audience would think that the tenor was unable to sing the high note.”

There are many other exceptions and traditions forged by an era of great opera singers, where high notes were added or held much longer for emotional effect “like the high

Massi’s favorite interpreter of Calaf is the legendary Franco Corelli, “the greatest Calaf ever” he says, and “tenors of today surely don’t have it easy having to follow in the footsteps of the great tenors of the past; but it does push us to strive and to try to give 200%”.

Not many know that before becoming an international opera sensation, Massi worked as a stuntman for the film industry, participating in Martin Scorsese’s Gangs of New York, the ABC mini-series Empire and the HBO series Rome. So how can this experience be useful on the opera stage?

“It’s actually very useful in Tosca’s fire-squad scene” and also “whenever there is a sword fight,” Massi says. “But now opera is my thing... I have to admit though, I had a lot, I mean a lot of fun in my years as a stuntman.”

Turandot is not the last chance to see or hear Riccardo Massi in Australia this season, he will also be performing in Verdi’s Luisa Miller (Rodolfo) for the first time in Melbourne in May.

- Brad Joseph Burns

EVENT TURANDOT ON SYDNEY HARBOUR 24 March-24 April 2016 Conductor, Brian Castles-Onion Director & Choreographer, Chen Shi-Zheng Set & Costume Designer, Dan Potra Opera Australia Chorus Australian Opera and Ballet Orchestra Information: https://opera.org.au/whatson/ events/turandot-on-sydney-harbour

Yamaha Music Australia goes into schools

New music education initiative Yamaha’s new initiative “Off to a Great Start” is one example. Part of this initiative involved the production of two excellent videos for recruitment purposes [yamahabackstage. com.au/greatstartyamaha/] FM: In your experience, what are some of the most important factors for students of music to be successful and go on to pursue careers in music – specifically classical and jazz as opposed to popular music?

Dr Rob McWilliams Expat director, educator and conductor Dr Rob McWilliams has returned to Australia after 23 years to work directly with music educators and young musicians.

Recently, he spoke to Fine Music magazine about his charter at Yamaha, which is to be in the front line, in schools, helping ensemble directors and students reach their full potential.

FM: Can you explain your role with Yamaha and what you will be doing with music students and schools in Australia?

RM: The main purpose of this role is to increase the quality and participation within the instrumental music scene across Australia. Firstly, I see it as vital to collaborate directly with teachers, educational administrators (locally, regionally, and nationally), and community music organisations in providing professional development (PD) for all aspects influencing (and hopefully improving) the art of being an effective ensemble director.

Secondly, working directly with ensembles via guest conducting, music camps, etc. can also make an important contribution.

Thirdly, my role can help by providing direct support for new and/or fledgling programs to grow and improve by working with them in program set-up, recruitment, advocacy, etc.

In addition to “hands-on” support, there are a number of very useful materials from a variety of sources available that can also help.

RM: Having the right attitude toward all issues that influence having a successful career is probably number one (and probably two and three as well). This encompasses being dedicated to the study of your instrument and having the persistence to overcome the inevitable obstacles that all musicians encounter. Progress is rarely, if ever, linear and there are moments where our progress plateaus or even declines slightly before moving forward again.

Being a reliable and good colleague is also a vitally important disposition. Being on time and treating everybody with appropriate respect goes a long way to continued musician employment.

FM: How is Yamaha supporting children to study music and why is this important?

RM: Supporting children in the study of music is truly important because the study of music is a unique form of intelligence and a significant means of understanding our world and ourselves in a unique and powerful way. Music is often considered the “language of emotions” and this alone makes it a significant part of human development and a critical component of a well-rounded education. There is also, of course, an increasing amount of research that speaks to a significant link between learning a musical instrument and positive brain development – especially at the formative ages. Music is also a cultural asset – we have not yet found evidence of any culture (including those we might label as “primitive” or “undeveloped”) that does not have music-making of some sort as a defining characteristic. If that wasn’t enough, we also know that being involved in music-making teaches us a lot about collaboration, teamwork, persistence, hard work, etc. So as I think you can see, supporting music education is, indeed, critically important.

Yamaha supports children in the study of music in a number of ways. Firstly via the Yamaha Music Education program which has more than 690,000 students and educators, across more than 5,650 locations worldwide.

This program strives to enrich the learning experience of the students, with a dedication to a curriculum of the highest standard.

FM: Can you tell us a little more about you?

RM: I was born and raised in Melbourne, Australia. I taught myself piano from a relatively young age and learned trumpet formally from Year 7. After graduating with a Bachelor’s degree in Music Education from the University of Melbourne, I taught at Eltham College, an independent K-12 school in Melbourne where I established a brand new instrumental program recognized for its excellence.

I served as Professor of Music and Director of Bands and Instrumental Music Education at the University of Wisconsin-Oshkosh from 1996 to 2014 where I also served as Head of the Music Department from 2011. At Oshkosh I conducted many of the university’s symphonic and jazz ensembles including primary responsibility for the University Wind Ensemble and Symphonic Band. I also taught courses in instrumental music education, conducting, and jazz.

In early 2015 my family and I relocated to Brisbane, where I have recently taken up my new role with Yamaha as well as continuing to freelance as a musician, educator, conductor, adjudicator, and composer/ arranger.

- Paula Wallace DIGITAL Yamaha Music Australia sponsors New Australian Music for HSC From February 17, 2016 Fine Music Digital FINE MUS or replay on demand via finemusicfm.com April 2016

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arts on screen YO U R V I P T I C K E T S T O T H E W O R L D ’ S B E S T.

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A stunning series of big screen events in Sydney’s most elegant cinemas. Great stage performances captured live in London, breathtaking tours of international galleries, spectacular Bolshoi Ballet productions , the world’s finest Opera presentations from the Metropolitan, New York and film festivals of new international films and retro classics.

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THEME & VARIATIONS FOUNDATION SUPPORTS Gavrylyuk’s triumphant return to sydney

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more: Gavrylyuk returns to Brahms, with ‘fingers of steel, the courage of a lion and a heart of burning lava’ (the requirements James Huneker considered necessary for playing these variations). His interpretation is comparable to the greatest recordings in the catalogue”.

Alexander Gavrylyuk

This year of course also sees Gavrylyuk undertake an extensive tour of Australia and New Zealand, including recitals in Sydney and Melbourne, and concerto appearances with the Adelaide Symphony and Tasmania Symphony. As part of this tour, he will perform at the Theme and Variations showroom in Willoughby to a salon audience passionate about virtuoso piano playing. Those attending will include the former Governor of NSW, Professor Dame Marie Bashir, and the current NSW Treasurer, Hon Gladys Berejiklian, both long time music lovers.

Gavrylyuk moved to Sydney from the Ukraine on a scholarship in 1998.

Although he was just 14, he already had an enviable international reputation, which he subsequently enhanced by winning the third International Horowitz competition in Kiev in 1999. When he won first prize in the Hamamatsu International piano Competition in Japan in 2000, critics proclaimed him as the best 16-year-old pianist of the late 20th century.

Gavrylyuk’s career has gone stellar and now takes him to recital venues around the world, but he regards Sydney as his second home.

When he was 18 he took out Australian citizenship and tries to return each year to play concerts and catch up with friends.

Nyree and Ara Vartoukian are always on his visiting list. During his teenage years in Sydney they became his second family, with home cooked meals and the use of Steinway practice pianos in their Theme and Variations piano business showroom.

The Theme & Variations Foundation was the culmination of a desire by the Vartoukians to assist talented, but underfunded young Australian pianists. When it was set up in

2011, Alexander Gavrylyuk agreed to become its ambassador and assist in its fundraising by giving private concerts when he was in Australia.

Highlights of Gavrylyuk‘s 2015/16 season include concerto performances with Valeriy Gergiev and the Rotterdam Philharmonic as part of the Gergiev Festival, Orchestre de la Suisse Romande, Cincinnati Symphony Orchestra, NHK Orchestra, Gothenburg Symphony Orchestra and the Hallé Orchestra amongst others. He will also give recitals in Toulouse, Fribourg, Moscow, Minneapolis, New York and London as well as performing with Janine Jansen throughout Europe.

In January, Gavrylyuk had New York critics showering him with praise for his Lincoln Centre performances of the Tchaikovsky first piano concerto.

”

One of the finest pianists to come out of Australia, Alexander Gavrylyuk (Sasha to his friends), will return this year for two Sydney concerts, one at a private fundraiser for the Theme & Variations Foundation which assists young Australian pianists, and the other for the general public presented by Andrew McKinnon and the City Recital Hall in June.

During drinks and refreshments Gavrylyuk will chat with guests about his career and music in general. Admission to this major fundraiser is by donation only and there will be a limited number of places available for this unique musical event.

- Fraser Beath McEwing EVENT Alexander Gavrylyuk in recital 14 May Theme & Variations Showroom, Willoughby Enquiries: Anita Levy on 0409 300 490

… subdued delicacy and scurrying lightness.

”

Anthony Tommasini of the New York Times said: “Mr Gavrylyuk brought muscular virtuosity to the challenging concerto. During some passages, he went for steely tone and uninhibited power, especially bursts of arm-blurring octaves. When called for, he played with subdued delicacy and scurrying lightness. The finale had whiplash crackle, like a breathless Russian dance”.

Famous musicologist and piano critic Eric Schoones, in his review of Gavrylyuk’s latest CD said: “A daredevil virtuoso? That and

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A MODERN-DAY ‘GREAT’

Stephen Hough tours for music viva Keeping the faith In the new sonata, commissioned jointly by the Catholic magazine The Tablet and the Barbican Centre, Hough – whose Catholic faith is a driving force in his creativity – has been inspired by the symbolism of the number three and what he sees as the parallel dogmas of the Trinity in the church and of 12-tone serialism in music.

Stephen Hough Stephen Hough is a familiar visitor to Australia’s concert halls – and this muchloved British pianist has a fascinating story to tell about his own Antipodean roots. But then, everything about Hough is fascinating.

He explores a vast range of repertoire, records prolifically for the Hyperion label and enjoys lively chamber music relationships with such artists as the cellist Steven Isserlis, with whom he has toured twice for Musica Viva. His artistic activities extend to composition, painting and writing – he has been named one of ‘20 Living Polymaths’

by The Economist – and he is now working on a novel. Indeed, he has evolved almost accidentally into the modern-day equivalent of the great “golden age” composer-pianists of the past.

Far from finding his intense travel schedule as a performer a hindrance to creativity, Hough seems to thrive on it. “I find being on the road is actually more creative than being at home,” he says. “I might get musical ideas while warming up backstage.

And often there is more time on tour: for instance, with American orchestras, if I have three concerts in a week, the second and third nights I have nothing to do until the evening concert except practise. If I have a piece to write I assemble sketches throughout the year, all the time; finally comes the moment when I sit down and put it all together.”

Hough’s program for his Musica Viva tour includes his own latest piano work, the Sonata No.3, ‘Trinitas’ – which follows in his output hot on the heels of two other sonatas, the first of which was co-commissioned by 10

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Musica Viva, the Wigmore Hall in London and the Louvre in Paris.

Initially, he says, he had not been eager to write music to perform himself – but gradually this outlook has altered. “What’s funny is that I hadn’t been planning to do that,” he says. “But the commission of the Sonata No.1 started me off, and I think I got over that point.”

He enjoys the fact that other pianists are playing his works now, but he also likes “having control over the performance myself”.

The Sonata No.3 qualifies as an Australian piece, Hough half-jokes, because he has an Australian passport. He grew up in Cheshire in the north of England and discovered his Australian connection relatively late.

“My father was born in Australia,” says Hough. “His parents were married in India, where they were involved in the steel business in India; they then went to Newcastle, New South Wales, where the Australian steel industry was based.

“My father was born in 1926, and then my grandmother took him back to India after a few months. He never saw his father again.

His father tried to correspond with him, but his mother intercepted the letters and they did not make contact until much later.

“I found that I was already Australian by law, because if someone was born there before 1947, it made their children automatically Australian. Getting an Australian passport seemed a nice way to tie together the loose ends of a slightly tragic story.”

It forms part of a program that begins with Schubert’s A minor Sonata D784, one of the composer’s most concentrated and tragic piano works. “The whole first half is a progression from darkness to light,” Hough says. “In the Schubert there almost isn’t any light at all. Even when it goes into the major, it’s more heart-breaking than it is in the minor.

Then the Franck Prelude, Chorale and Fugue is an incredible, deep-suffering piece that, at the end, has an amazing opening-out: you really do come out of the darkness.

“There’s a triptych idea behind this as well: the three-movement Schubert, the Franck in three parts, and my sonata being the ‘Trinitas’.

“Then there is Liszt: I feel a very strong connection myself with Liszt because I play so much of his music, but also between Liszt and Schubert because Liszt’s transcriptions brought Schubert’s song literature to a wider audience.”

And so the program comes full circle – rather like Hough’s Australian connection. “I love going to Australia,” he remarks. “I love the quality of the light and the space – not just geographical, but also artistic. The traditions there are much less lengthy and ‘stuck’.

There’s room to feel that you can bring this music and it’s fresh and new.”

- Jessica Duchen EVENT

Musica Viva presents Stephen Hough 16 April, 2pm and 18 April, 7pm City Recital Hall Information: musicaviva.com.au/Hough

HOME-GROWN CHAMBER MUSIC SUCCESS

Selby & friends celebrates 10 years

Relationship with music Having seen Kathryn Selby perform consistently in Australia for more than 25 years has provided audiences with the chance to see her evolve as a musician.

But how has Selby’s relationship with music changed?

“When I was little I was probably as glued to the piano as most people are to their mobile phones, I spent a lot of time thinking about it, practising… that was a vital time for me that established a link to this amazing instrument.

Kathryn Selby

Selby says of her 2016 season: “A decade is a significant milestone for an artistic venture in Australia. Selby & Friends was born out of my love for chamber music and my experience collaborating with many brilliant Australian and international guest artists, so it is fitting that in 2016 we celebrate that decade by highlighting extraordinary Australian musical talent”.

It has been ten years that Selby has been presenting concerts in this format but she has been actively performing in Australia since 1989, “doing what I love”, she says.

“It’s great to have people in the audience who have been coming for that long, it’s a really family type of thing.

“Some people even communicate with me as if they know me well, it’s very nice for me that they feel they can talk to me that way,” says Selby.

There have been a lot of pitfalls along the way however, she explains. “We don’t get taught as musicians how to live this kind of existence… so you basically have to teach yourself or be a really quick learner.”

One of the things Selby has learned is that Australian audiences are “very smart… they like to have input, they like to let me know what they think”.

”

Australian virtuoso pianist and entrepreneur, Kathryn Selby AM, will celebrate the 10th anniversary of her renowned chamber music series Selby & Friends in 2016, continuing the dynamic and intimate performances for which Selby has become known. The first leg of the tour commenced in February - with old friends, violist Andrew Haveron and cellist Timo-Veikko Valve – and there are a further four tours planned for the remainder of the year.

… they like to let me know what they think.

”

As for working overseas, it’s a decision Selby made early in her career, to live and work in Australia and raise a family here.

“I was lucky because I could have ended up not doing what I love which is performing, I could have ended up doing other things. It’s not easy to make a living as a musician,” she said.

So how does Selby continue to engage audiences, without the kind of marketing budget that can put advertising on the sides of buses?

“They like to write to me or phone up, it’s word of mouth for me mostly. A lot of them have been coming for a long time, sometimes decades, they like what they’re hearing and have a great experience,” Selby said of her audience.

The response to this year’s tour has been extremely positive with concerts sold out in Canberra and close to capacity in Melbourne and Sydney.

In all but one of the 2016 concerts, she will perform with musicians based in, or born in, Australia.

“Many of the things that I did then, I still use now - to work, to practice, to learn. What’s changed is that I probably have less time at the piano and I know I have a limited window to in which to practice every day,” said Selby.

The desire to keep learning new music provides a constant change to the way she uses the keyboard.

“I also love the challenge of running my own business and trying to keep it going. I love the challenge of communicating with people and learning what they want and don’t want,” said Selby, adding “All that has an impact on me as a musician”.

Like many composers, Selby has always been attracted to the piano trio, which she describes as a “terrific combination”.

However, she says the idea behind Selby and Friends is to branch out from piano trio to take in quartets for instance. While this is often decided by available finances, it hasn’t stopped Selby dreaming of her ultimate tour which would be with no less than a full orchestra. We hope that one day it becomes a reality.

- Paula Wallace EVENT Selby & Friends Upcoming tours in April, June, September & November at various venues in Sydney, Adelaide, Melbourne, Canberra, Turramurra and the NSW Southern Highlands. www.selbyandfriends.com.au/what-son/2016-season-overview/ April 2016

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FLASHBACK with derek Parker

All stand

night of the Proms - though I will say that the accusations of blatant expansive nationalism misfire: nobody actually believes that Britain is about to set her bounds wider still, and wider.

Like, I suppose, most people, my first experience of the National Anthem was being made to stand still and not fidget while God was to save the King. Later, of course, the Queen, or in Australia, on one celebrated occasion, the Governor-General.

But nobody, actually, has the right to force anybody to do anything while the National Anthem is being played - it’s no more compulsory than the singing of Jerusalem and Land of Hope and Glory, both of which are arguably considerably more effective, musically.

God Save the King wasn’t, as some people assume, a phrase cooked up during the 18th century. The phrase has been sung at every British coronation since 973, and is considerably older than that, as readers of the 1st Book of Kings can tell you. The tune, however, is another matter. I suppose nobody will claim that this is on a par with those of the most inspiring of National Anthems – the Marseillaise, for instance (was it actually based on the allegro maestoso of Mozart’s 25th piano concerto?) or the Deutschlandlied (Haydn, of course, and a birthday present for The Emperor of the Holy Roman Empire, Francis II). The melody of God Save the King seems to have emerged from nowhere – it’s been argued that it originated in plainsong, and was picked up and set down by John Bull, a rather disreputable composer who taught two of the children of King James II before 12

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fleeing to the continent to avoid being charged with adultery.

But he certainly didn’t write the music of God Save the King. Purcell is a slightly better bet; but then, the tune is certainly heard in a suite

by Handel written as early as 1720 – and he may have got it from an old Scots carol. The first published version which more or less accords with the tune as we know it wasn’t published until 1744. By the following year it was being sung in London theatres, in a version in G major by Thomas Arne (military bands played it in B minor, which made it easier for brass instruments but more difficult for singers).

Probably because of the tune’s basic simplicity, over 140 composers have pounced on it to use in one form or another – including Beethoven (seven piano variations), J. C. Bach (finale to a keyboard concerto), Liszt (piano paraphrase), Johann Strauss (as a waltz entitled Homage to Queen Victoria of Great Britain), Debussy (in his Homage to Samuel Pickwick) – not to mention the ‘arrangements’, the most distinguished of which are probably those by Elgar and Britten.

And the words?

If it’s difficult to criticise the tune (which can probably best be described as ‘just about all right’) what is one to say about the words?

I’m not about to defend the traditional version, as hollered by the audiences at the last

Republicans who take offense at the current verses of God Save the King would be a great deal more offended should they be invited to sing some of the other versions produced from time to time, starting in 1745 with ‘God bless the prince, I pray/ Charlie, I mean.’ When an assassin took a pot shot at George II, the theatre audience the following night bellowed: ‘O’er him Thine arm extend/ For Britain’s sake defend/Our father, king, and friend’ - and during the war against France: ‘From foreign slavery/Priests and their knavery/ And Popish Reverie/ God save us all.’ So far no anti-European verses have been produced, but I wouldn’t be surprised.

To return to the tune, how did it come to be used for the American anthem My country, tis of thee? No connection to the British anthem, it seems: one Lowell Mason is said to have spotted the tune in Clementi’s third symphony, and got his friend Samuel Francis Smith to write some lyrics to it: ‘My country, ‘tis of thee/ Sweet land of liberty/ Of thee I sing.’ Maybe the anthem’s finest moment was when A. G. Duncan used it in 1843 to condemn his country’s racism: ‘My native country, thee/Where all men are born free/If white’s their skin . . .’

For a century now there have been rumblings in England about the suitability of the National Anthem: why not Jerusalem?

Advance, Australia Fair hasn’t been immune from criticism, either – nobody’s against Mr McCormick’s tune, I imagine - $100 well earned; but his lyrics? ‘Girt by sea’, indeed – the line is surely simply the result of a desperate search for a rhyme to the excellent ‘we are young and fair’. And again, republicans might hesitate to join with fervour in the lines of the second verse, all about ‘gallant Cook’, ‘true British courage’ and ‘old England’s flag/The standard of the brave’.

Nevertheless, maybe we should remember Dr Johnson’s defence of a little wholesome boasting on a tombstone, and put up with, maybe even celebrate, what our National Anthems have to say about us.

FINE MUSIC MARKS BICENTENARY

The birth of William Sterndale Bennett by youthful vitality, a strong sense of style, timing and economy, first rate craftsmanship and structural finish, an individual gift of melody, an accurate and pure sense of tone colours. He was a pianist’s musician with mastery of the instrument’s potential. Above all he was poetic by nature, a miniaturist with watercolours rather than a conceiver of a grandiose canvas, and acknowledged as being among the finest embodiments of the classical spirit between Beethoven and Brahms.

William Sterndale Bennett The undisputed head of English music for much of the 20th century became relegated to the footnotes of musical history although he was much regarded internationally in his lifetime. Composer, pianist, conductor and influential music educator William Sterndale Bennett was born 200 years ago on 13 April 1816. More recent research has shed new light on his considerable achievements not least by Henry Hadow who wrote: “Bennett found English music a barren land, enriched its soil and developed its cultivation”. In addition, the Grove Musical Dictionary states that Bennett was the most distinguished English composer of the Romantic era.

At the age of 10, having been a chorister at King’s College, he won a scholarship to the newly founded Royal Academy of Music in London where he studied violin and piano.

His composition teacher, composer Cipriani Potter, gave him a thorough grounding in the works of Bach and Mozart. When Mendelssohn heard Bennett’s first Piano Concerto, he invited the 20 year old to Germany ‘not as my pupil but as my friend’.

He was warmly received in Leipzig where he was greatly admired by both Mendelssohn and Schumann and his considerable talents as a pianist/composer were quickly recognised.

His three extended visits to Leipzig were to be his most prolific as a composer and by the time he returned to England in 1842, he had produced five piano concertos, a symphony, four concert overtures, three chamber works, two sets of songs and several solo piano works. These were characterised

His failure to sustain his early success as a composer stems from being in awe of the great masters, a need for reassurance in an atmosphere which discouraged indigenous talent and later the demands of high profile key administrative roles.

Using his remarkable skills as a pianist, he regularly performed in public and from 1843 to 1855, organised a series of Classical Chamber Concerts to explore chamber music with piano and serious piano solos, and to introduce to the London stage important artists such as Jenny Lind, Joseph Joachim and Clara Schumann.

In 1851 Bennett was appointed a Metropolitan Local Commissioner and musical Juror, alongside Berlioz, for the Great Exhibition, and the music for the opening procession was placed under his supervision.

For the 1862 International Exhibition he was commissioned to write an Ode for the opening which was later performed in Melbourne.

Later in life Bennett returned briefly to composition with a symphony, a sonata for piano and cello, several anthems and two choral works largely at a time when he was professor of music at Cambridge where he set about raising the standards for obtaining music degrees. Then in 1866 he was appointed principal of the Royal Academy of Music in London, where his pupils included Arthur Sullivan. It was a most critical time for the Academy and through his efforts, he saved it from extinction. A scholarship and prize are still awarded there in his name. He was also an early private teacher of Hubert Parry and he greatly encouraged the work of Charles Villiers Stanford and John Stainer.

His particular interest in female musical education led him to become a founding director of Queen’s College and Bedford College in London.

William Sterndale Bennett, who was knighted in 1871, died on 1st February 1875, aged 58, and was buried in Westminster Abbey.

Several of his descendants entered the world of music and theatre and his substantial library is now housed at the Bodleian in Oxford.

Of his 122 works, approximately a quarter have now been recorded. This bicentenary therefore provides an opportunity to enjoy some fine music not often performed and to reflect on his contribution to the musical landscape.

- Barry Sterndale Bennett

Music further afield Bennett’s interest in Bach’s music can be traced back to his friendship with Mendelssohn who had rediscovered the St Matthew Passion in 1829. As a result, in 1849, Bennett founded the Bach Society and had the work translated into English.

The ground breaking performance of an abridged version took place at the Hanover Square Rooms in London on the 6 April 1854 conducted by Bennett. This was the beginning of a long and distinguished history of further editions and performances of this monumental work in Britain. After succeeding Wagner in 1855, he was chief conductor of the London Philharmonic Society’s orchestra for ten years, later receiving the Society’s coveted gold medal.

ON AIR A series of programs throughout April featuring the work of William Sterndale Bennett Sunday 10 April, 3pm Sunday Special Thursday 14 April, 2pm William Sterndale Bennett 1816-1875 Sunday 17 April, 3pm Sunday Special Tuesday 19 April, 2pm William Sterndale Bennett 1816-1875 April 2016

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What’s On SYMPHONIC BBC Proms Australia 13-16 April, various times Venue: Arts Centre Melbourne Tickets: $79-$159 Bookings: www.bbcpromsaustralia.com

ENSEMBLE SYDNEY CONSORT Stan Kornel: violin Monika Kornel: harpsichord Hans-Dieter Michatz: flute, recorder and csakan Mosman Concert Series 15 May, 2.30pm Venue: Blessed Sacrament Church 62 Bradley’s Head Road Mosman Tickets: $25, seniors $20, children free (includes free afternoon tea) Bookings: At door only, Pre-booking unnecessary.

Information: mosmanconcertseries.org.au The core of the ensemble - violinist Stan Kornel and harpsichordist Monika Kornel with their permanent member flautist HansDieter Michatz - have been performing together for almost 20 years. The ensemble has performed many concerts before Australian as well as European audiences. Devoted to early music, the ensemble has prepared a program for this afternoon concert featuring the most prominent masters of the Baroque era.

Works by Johann Sebastian Bach, Georg Philipp Telemann and Antoni Vivaldi will be performed among other composers. Stan Kornel on baroque violin will also play on a fourteen-string viola d’amore and HansDieter Michatz will demonstrate a very rare instrument, largely neglected in our time – the csakan.

An iconic event in the United Kingdom, and beloved by British audiences for over 120 years BBC Proms is one of the world’s foremost musical experiences, and comes to Australia for the very first time in 2016. The classical concert series will take place over four days (April 13-16) at Hamer Hall and will be the first time the Proms has been held outside of the UK in this way. In an Australian first, the Melbourne Symphony Orchestra, Queensland Symphony Orchestra and Sydney Youth Orchestras will unite under the one program. The MSO’s Chief Conductor, Sir Andrew Davis will ENSEMBLE Dreams and Prayers Australia Ensemble @UNSW 16 April, 8pm Venue: Sir John Clancy Auditorium Tickets: $30-$50 Bookings: 9385 4874 or email Australia. ensemble@unsw.edu.au Information: www.ae.unsw.edu.au A movement from Argentinian-born composer Osvaldo Golijov’s Dreams and Prayers of Isaac the Blind is at the thematic heart of this program, which explores a number of threads including the inflections of music from South America, Hebraic themes and ideas of contemplation and intimacy. Villa-Lobos’ Quatuor takes Brazilian street music as a starting point in a colourful and rhythmic piece for winds.

CHORAL Franz von Suppé’s - Requiem Sydney University Graduate Choir and Orchestra Christopher Bowen OAM: Music Director 8 May, 3pm Venue: Great Hall University of Sydney Tickets: $25-$45 Bookings: Seymour Centre Box Office on 02 9351 7940 or seymourcentre.com Ticketmaster on 1300 723 038 or ticketmaster.com.au The Sydney University Graduate Choir’s 2016 concert series opens with an Australian premiere performance of Franz von Suppé’s 14

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join Music Director Designate for the QSO, Alondra de la Parra and a host of domestic and international musical virtuosi including cellist and BBC Young Musician 2012, Laura van der Heijden; internationally renowned Argentinian pianist Sergio Tiempo and Australian beatboxing powerhouse, Tom Thum, who has collaborated with Australian composer and conductor, Gordon Hamilton to create a truly unique beatbox and classical music experience, Thum Prints.

Haydn’s fortieth String Quartet, nicknamed ‘Ein Traum’ (A Dream), is one of the composer’s Prussian quartets and a superb example of balanced form and imaginative textural exploration, while Shostakovich fashions Jewish-style melodies in his brittle yet glorious Piano Trio no.2. We welcome a new work while the music lasts by the very fine Australian composer, Gordon Kerry, commissioned by Dr Patricia Brown for Professor Roger Covell, to round out this diverse program.

Requiem. An Austrian composer from the Kingdom of Dalmatia, von Suppé, is largely known for his composition of more than 40 light operettas, in the latter part of his life he turned to the composition of sacred music. His Requiem, dedicated to his friend and mentor theatre director Franz Pokorny, is an indisputable masterpiece on a grand scale, which deserves to be heard more often and to take its place alongside other great works of this genre. The orchestral and choral writing are characterised by a refinement and a richness one might not expect from the composer of so-called ‘light music’. Suppé combines romantic phrasing with classical forms and compositional techniques from still earlier periods. First performed in 1855, and then largely forgotten until the early part of the 20 century, the Sydney University Graduate Choir is pleased to present this fine work to Australian audiences.

RECITAL Musica Viva presents Stephen Hough Stephen Hough, piano 16 April, 2pm 18 April, 7pm Venue: City Recital Hall Tickets: $60.50-$122.50 Bookings: 1800 688 482 Information: musicaviva.com.au/Hough Stephen Hough is acclaimed throughout the world as a superb pianist. Lending a particular beauty to his playing is a wide-ranging intellect and thoughtful spirituality. Stephen writes on many topics, paints, and composes, all with a high degree of excellence; he is also a noted connoisseur of fine tea, perfume, and hats. This wonderful recital program lightly references some of these extra-musical things, while offering a listening experience of great emotion and breathtaking virtuosity. It opens with one of Schubert’s late sonatas,

SYMPHONIC INSPIRATIONS The Willoughby Symphony Caro String Quartet 16 April, 7pm 17 April, 2pm Tickets: $10.50-$47 Bookings: 8075 8111 or theconcourse.com.au Information: theconcourse.com.au Experience purity and transcendence as the renowned Caro String Quartet join the Willoughby Symphony in a performance of mesmerising works for this unusual yet glorious combination of instruments. Be transfixed by the magical sound world created in Vaughan Williams’ stunning Fantasia on a Theme by Thomas Tallis. Under the baton of conductor Alexander Briger, Artistic Director of the Australian World Orchestra, the full symphony orchestra will reassemble on stage to perform the beautiful music of Mendelssohn’s Midsummer Night’s Dream: Overture, op. 21 and Schubert’s Symphony No.6 in C Major. The concert will also introduce 2016 Composer-in-Residence, Matthew Hindson, one of Australia’s most intriguing and original voices. His innovative work, the Rave and the Nightingale is an extraordinary composition that will ignite your imagination and astonish you with its sheer boldness.

followed by what Hough considers “the most deeply felt and serious work for the instrument to come out of France in the 19th century – the Prélude, Choral et Fugue” by César Franck. Such symbolism can also be traced in Hough’s own new Piano Sonata III, written for the anniversary of The Tablet, an international Catholic magazine: he nicknames the sonata ‘Trinitas’. More familiar are the stunning pieces by Liszt which close the program.

ENSEMBLE Four Last Songs Omega Ensemble with guest artist Lee Abrahmsen 20 April, 7:30pm Venue: Virtuoso Series - City Recital Hall Tickets: $29-$94 Bookings: cityrecitalhall.com or 8256 2222 Information: omegaensemble.com.au Acclaimed soprano Lee Abrahmsen joins Omega Ensemble to perform heart-rending songs of farewell. The essence of Wagner’s revolutionary Tristan und Isolde is perfectly captured in excerpts skillfully arranged by Australian composer James Ledger. As Isolde grieves over the body of her soulmate, her anguish and torment are conveyed in music both affecting and groundbreaking.

Strauss’s Four Last Songs, written as the composer meditated on his inevitable and imminent death, are more wistful but no

less hauntingly beautiful. A new work by Australian composer Andrew Ford and a rare gem from Mahler’s early years round out the program.

RECITAL Butterflying 10 April, 3pm Venue: Riverside Theatre, Parramatta Tickets: $15-$35 Bookings: https://riversideparramatta.com. au/show/butterflying/ From one of Australia’s great contemporary composers, Elena KatsChernin, and her long-time collaborator, internationally acclaimed pianist TamaraAnna Cislowska: performing their four hands at the one piano the music of Kats-Chernin, this is a veritable aural feast. The duo traverse the wonderful catalogue of Kats-Chernin’s music, shining light onto new treasures and old favourites, in a thrilling, unique experience of creation, expression

and adventure. Widely acknowledged and awarded around the world, Elena Kats-Chernin has created works for the Vienna Boys Choir, Australian Chamber Orchestra and the state symphony orchestras of Australia. You may have heard her latest work in The Divorce aired on ABC. Don’t miss this concert – Cislowska and Kats-Chernin’s Sydney launch in a national tour for their new album, Butterflying, released by ABC Classics. Image Credit: Steven Godbee.

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CD Reviews Schubert The Edition 1 Orchestral, Chamber & Piano Box Set: 39 CDs Deutsche Grammophon - 4795545

✶✶✶✶✶ Deutsche Grammophon describes this as the most authoritative Schubert project ever made, featuring all the masterpieces in timeless recordings – plus many rare gems that manifest Schubert’s genius. This first edition comprehensively covers Schubert’s vast orchestral, chamber and piano output, containing all the masterworks in recordings by legendary artists: Abbado (symphonies), Kempff (piano sonatas), Melos Quartet (string quartets & string quintet – the latter with Rostropovich), Pires (piano works), Gidon Kremer (violin works) Beaux Arts Trio (trios). Individual recordings of famous

Concertos, Symphony in D Veriko Tchumburidze, violin Chiara Enderle, cello Munich Chamber Orchestra, Howard Griffith Anton and Paul Wranitzky, composers Sony - 88875127122

✶✶✶✶

A fresh taste of music from the classical period, Wranitzky’s Concertos are a pleasure Seong-Jin Cho Winner of the 17th International Chopin Piano Competition Warsaw, 2015 Chopin - Preludes, Op 28; Nocturne in C Minor, Op 48 No 1; Piano Sonata No 2 in Flat Minor, Op 35; Polonaise in A Flat Major, Op 53 ‘Heroic’ Deutsche Grammophon - 479 5332

✶✶✶✶ Seong-Jin Cho, the first winner of the 17th International Chopin Piano Competition from South Korea, is the man of the moment in this dazzling live expose from his victory late last year. His compelling renditions electrified the

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works include the Trout Quintet with the Amadeus Quartet and Emil Gilels, and string trios with the Grumiaux Trio. The rarities collected here include well-received completions of Symphonies nos. 7, 8 & 10

by British musicologist Brian Newbould, played by the Academy of St. Martins in the Field under Neville Marriner, a set of early overtures played by the Haydn Sinfonietta Wien, as well as many little-known piano solo and duet pieces (with Jörg Demus and Paul Badura-Skoda) – one of the many delights of the set. A bonus disc compares three legendary recordings of the “Unfinished” Symphony, conducted by Carlos Kleiber, Wilhelm Furtwängler and Leopold Stokowski. Two of the recordings featured have never been released before (Marches militaires D 733 Nos. 2 & 3 by Paul Badurato tune into. The melodies are simple and classy. In particular, the Violin Concerto in C Major, Op. 11 - II Adagio. Romanza Cantabile captures the simplicity and sheer beauty of its construction. A truly under-rated composer, Wranitzky is able to capture the subtle nuances in sound and expression.

His music is not overly grand, and does not attempt to beautify its melodies, because they are simply just beautiful. The elegance is shown through its instrumentation, subtle expression and delicate control of the sound.

Another beautiful work is the Symphony in D Major, Op. 16, No. 3 - II Adagio non troppo. Within the first minute, a vast range of expression has already been presented.

Mystery, intrigue, fairytale, innocence and growth are painted with flair, transporting the listener through a series of doors, beautifully audiences and satisfied the jury consisting of the likes of Martha Argerich, a previous winner of the competition. He delivers a brash, lively account of the 24 Preludes, Op 28. From his sensitive reading of No 4 in E Minor to the energetic No 12 in G Sharp Minor, Cho expresses a youthful exuberance which is both exciting and pleasant to the ear. His reading of the fiendishly demanding No 16 in B Flat Minor is the highlight of the set. Here, his technical mastery is on show with the evenness of his playing proving to be quite extraordinary during this gem of the miniature oeuvre. The C Minor Nocturne from Op 48 shows a depth of maturity in his playing with his ability to not overstate the baseline whilst

Skoda & Jörg Demus). Fans of Schubert will already possess a great deal of this material but what makes it appealing is its overall presentation. The liner notes are extensive and set out in a way that makes it easy for the listener to work their way through the catalogue of works. This is a monumental achievement by DG to encompass the legacy of Schubert in such an accessible way.

- Frank Shostakovich closing each emotion before moving onto the next. Although there is a lot of repetition and a number of common classical compositional techniques are used, it still is a work of art and worth listening to over and over again.

This program concludes with an extremely fun and charming Cello Concerto in C Major, Op. 27 - III. Finale. Rondo - Allegro di molto.

Wranitzky cleverly crafts his transitions of colour and texture, merging the different sections seamlessly. However, it would have been more effective in drawing the curtains had this movement been a little longer. Overall, the works are a pleasant choice of music to listen to.

- Leslie Khang

bringing out the elegant, tranquil melody being a highlight of the disc. He moves on to ever popular 2nd Sonata in B Flat Minor, Op 35. On occasion his variation in tempo might be called into question, especially during the Funeral March but overall it is more than an acceptable account of this warhorse of the solo pianistic repertoire. He closes with a fabulously grandiose and yet sentimental performance of the Heroic Polonaise which sent the audience into understandable raptures. This rounds out a very entertaining debut album.

- FS

CD Reviews The Pleasure Garden Genevieve Lacey recorders, co-composer Jan Bang producer, co-composer ABC

✶✶✶✶ Genevieve Lacey, recorder virtuosa, spent her childhood in stories and gardens, real and imagined, old and new – which now form her musical response to the original Pleasure Garden, is a series of exquisite musical vignettes by the Dutch nobleman Jacob van Eyck who was a recorder player, much-loved in his lifetime and mourned in poetry, song and statue on his death. His 17th century Der Fluyten Lust-hof (The Flute’s Pleasure Garden) is a recorder

When You Wish Upon A Star Bill Frisell, electric and acoustic guitar Petra Haden, voice Eyvind Kang, viola Thomas Morgan, bass Rudy Royston, drums, percussion Sony

✶✶✶✶

Cello Music from Austria-Hungary Samuel Magill, cello Beth Levin, piano Works by Beethoven, Schnabel, and Moór PARMA

✶✶✶

Samuel Magill & Beth Levin have presented an excellent recording of cello and piano music of Beethoven, Schnabel and Moór.

The Sonata in A Major, Op. 47 “Kreutzer” breathes excitement and energy in its first movement which is in Presto. The first movement truly is worth listening to over and over again. Levin’s accompaniment works effortlessly with Magill’s charming artistry. Both performers have not failed

player’s treasure trove and is the largest surviving collection of solo woodwind from any age. Appearing with Genevieve is Jan Bang, the Norwegian musician, one of the most accomplished and influential record producers, and the epithet ‘electronic guru” has stayed with him for a long time.

The music consists of 14 delightful tracks which feature Bang and Lacey, originals by van Eyck, as well as one from recording engineer Jim Atkins. Sprinkled amongst the tracks are the delightful van Eyck Amarilli variations, and Granite with its birdsongs accompanied by periodic solo and harmonic clusters from a carillon. The sounds of the Whipbird will be very familiar to Australian listeners. Lacey is a former artistic director The legendary guitarist shines a new light on his affinity for Americana by drawing on his favourite themes from film and television. Aside from a couple of well-known standards (Moon River, Shadow of Your Smile), the repertoire is refreshingly diverse. Elmer Bernstein’s bittersweet To Kill a Mockingbird sets the mood with a nod to Frisell’s more impressionistic, improvised oeuvre before a languishing groove sets in. Frisell sounds especially at home on the frontier – a short rendition of the Bonanza theme announces the centrepiece of the album: a trio of pieces from the great Ennio Morricone score Once Upon a Time in the West. It’s hard to classify this album as jazz – the tunes are carefully arranged, and abstraction is minimal. The songs are the focus here; each theme is presented with nostalgic warmth and clarity. An exception is made for an in bringing Beethoven to life, capturing his brilliance in composing music of the heart. The pure emotion of heartache and loneliness can be felt especially in the second movement, Andante Con Variazioni.

The final movement Presto exudes excitement and mellowness, not a second of this will put you to sleep. The second Sonata for Solo Cello was not as enjoyable to me perhaps due to its main characteristic of being atonal. However, it’s not to say that Schnabel’s music is terrible. He is an incredible interpreter of Beethoven’s music.

The third movement Larghetto certainly was my favourite out of the four, almost sounding like Shostakovich’s fugues for

of the Four Winds Festival in Bermagui which would have influenced the outcome of Bermagui Dawn. For the final track we’re offered Pale Blue Evenings with lots of bird sounds, carillon and other percussive sounds. The overall effects, electronics and otherwise, are mesmeric, hypnotic and generally delightful.

- Emyr Evans appropriately weighty nine-minute exploration of The Godfather, which should sate fans of Frisell’s more adventurous work. Ultimately, it’s the distinctive sound of the ensemble that defines this project; the dark timbre of Eyvind Kang’s viola is superbly effective on the eerie Psycho Pt.1 against drummer Rudy Royston’s unsettling rhythmic shifts, whilst vocalist Petra Haden soars elegantly on the Bond classic You Only Live Twice. Bassist Thomas Morgan is focused and interactive as ever, imbuing the title track with his breathless vulnerability.

Each piece drips with Frisell’s ambrosial guitar tone, rounding out a highly listenable (if not revolutionary) addition to his extensive discography.

- David Groves piano but with more of a theatrical flavour.

Moór’s Ballade in E Major, Op. 171 is absolutely beautiful.

The opening melody is breathtaking, taking any listener to a place of peace and tranquility. Both Levin and Magill draw the listener to a world of magic, then suddenly taking the listener on a series of exciting dissonant adventures. Overall, this is a beautiful recording. Whether the Schnabel fits is entirely up to the listener.

- LK

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YOUNG VIRTUOSI

Broadcasts of yva semi-finalists continue Fine Music 102.5 will continue broadcasts of the 17 semi-finalists in the 2016 Young Virtuoso Awards throughout April. There will be four performers featured in this month’s program including Laura Chung, Wendy Kong, Robbin Reza and John Keene.

On offer are cash prizes, live-to-air broadcasts and a chance to perform with the North Sydney Symphony Orchestra and the North Sydney Youth Symphony.

Laura Chung Flute Twenty-year-old Laura Chung is undertaking a combined Music and Medicine degree at the University of Sydney and studying at the Sydney Conservatorium of Music with Emma Sholl, Associate Principal Flute of the Sydney Symphony Orchestra.

“A regional tour was definitely one of the highlights of 2015. Trying to give your best performance every night in a different venue for two weeks was challenging but it was an incredible learning experience.

“Playing principal flute in Stravinsky’s Firebird at AISOI was also another highlight.

It seemed like a dream come true that I was given a chance to play my favourite orchestral work,” Chung tells Fine Music magazine.

She was principal flute of the Bishop and Alexander Orchestras at the Australian Youth Orchestra National Music Camp. She has studied with Denis Bouriakov, Principal Flute of the Metropolitan Opera Orchestra; William Bennett from the Royal Academy Music; Leone Buyse from Rice University; Lorna Magee; Margaret Crawford; and Virginia Taylor.

“I am entering the YVA because I think it is a wonderful opportunity to learn and perform new repertoire to the best of my ability,” said Chung.

Wendy Kong -Violin Twenty-year-old Wendy Kong, who completed her secondary school studies with Charmian Gadd and Robin Wilson, is currently a full scholarship recipient at the Sydney Conservatorium of Music under the 18

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tutelage of Ole Bohn.

She made her solo orchestral debut with the Sutherland Shire Symphony Orchestra at the age of 14, has performed with many orchestras in Australia, winning many competitions, including the 36th National Youth Concerto Competition and the Sydney Eisteddfod Doctors Orchestra Instrumental Scholarship.

Kong says: “I think it’s very important to be well-rounded musician. I have been the Concertmaster of the Sydney Conservatorium Orchestra and attended a Chamber Music Festival in Italy with my string quartet. I feel that the Young Virtuoso Award is very unique in that we are able to make a recording through the process of the competition.

“Recording opportunities are rare and I think it will be a great experience to be able to record in a professional environment.”

Robbin Reza – Piano Robbin Reza, 21, is in his third year of a BMus (Performance) at the Sydney Conservatorium of Music, studying with Daniel Herscovitch.

Winner of many prestigious Awards and Scholarships, notably the NSW Secondary Schools Concerto Competition; a finalist in the ABC Symphony Australia Young Performers Awards, the Sydney Eisteddfod Allison/Henderson Piano Scholarship, the Theme and Variations Foundation; and best overall pianist scholarship and the Irene Hope Gibson Award.

Reza says his musical ‘highlights’ come from fulfilling his goals, “whether it be big, like winning a major competition or small, like finally being able to play a passage I have been working on for so long, and the feeling of satisfaction you get after that”.

“I love learning new works that keeps me going on and on. Standouts were playing with the Kuringai Philharmonic and traveling to Melbourne for the ABC YPA finals.”

Having been a semi-finalist before, Reza speaks from experience when he says that every musician participating in the YVA brings

something unique, “something of their own”.

John Keene – Double Bass John Keene, 19, an SSO Fellow, is in his second year of a BMus (Performance) at the Sydney Conservatorium of Music studying with SSO Principal Double Bass Alex Henery.

He says that being selected as the youngest ever Sydney Symphony Fellow was “quite special” and “a shock”.

“All the experiences that followed within the program were amazing, such as the opportunity to play with the Sydney Symphony, to play six chamber music concerts with the other fellows and to receive private tutelage from the SSO musicians,” he says.

Conducting the Tasmanian Symphony Orchestra in a workshop was also an unexpected highlight for Keene, who will also this year make his concerto debut with the Sydney Conservatorium Chamber Orchestra.

“The YVA, which is highly reputed in musical circles is allowing me to further extend my musical pursuits and education. Requiring me to present a recital, is a great incentive to push myself to perfect pieces in a short period of time,” said Keene.

- Judy Deacon

ON AIR Young Virtuosi Wednesdays, 1pm 6 April: Laura Chung, flute 13 April: Wendy Kong, violin 20 April: Robbin Reza, piano 27 April: John Keene, double bass Presenter: Chloe Chung Audio engineer: Greg Ghavalas YVA repertoire can be found at the Fine Music website Co-ordinator: Judy Deacon yv@finemusicfm.com

Jazz cd reviews Renaissance: A Journey From Classical To Jazz Bucky Pizzarelli Arbors ARCD 19448

✶✶✶✶✶

Class with a capital C! An apt description for this superb album by Bucky Pizzarelli, the complete jazz guitarist, who seems to have been around forever in a musical journey which has taken him from the Swing Era to the present day encompassing studio work, rock and roll and every conceivable form of jazz setting. Although he has had no classical training, one of the many highlights is Pizzarelli’s moving interpretation of Mario Castelnuovo-Tedesco’s Concerto No.1 in D, his tribute to Andre Segovia who premiered

Brad Mehldau- 10 Years Solo Live Nonesuch Records

✶✶✶✶✶

Brad Mehldau’s 10 Years Solo Live album is culled from 19 live recordings made over

Speak Low Johnny Varro Arbors ARCD 19418

✶✶✶✶ I missed this modest little gem the first time around but as an example of the best in 21st century mainstream jazz there are few better

the work in 1939. His delicate touch on the six string guitar is framed by strings and woodwinds. The rest of the album mainly consists of seven-string guitar duets with long-time friend and former pupil Ed Laub.

Their musical empathy is uncanny, each having the ability to finish one another’s musical thoughts to such an extent that at times it feels like there’s only one guitar. And there is only one on the tender medley of Richard Rodgers’ It’s Easy To Remember (written with Lorenz Hart) and This Nearly Was Mine (Oscar Hammerstein II). His playing is so effortless, its simplicity makes it sound so easy.

But perhaps Laub sums him up best: “Bucky is like a kid - he’s so excited about learning something new or re-learning something he hasn’t played in decades. It’s amazing to wit-

ness an 89-year-old man (at the time of the 2015 recording) demonstrating such passion as something as simple as a chord”. And we the listeners are the beneficiaries. The proof is here.

- Kevin Jones

a decade of the pianist’s European solo concerts and is divided into four thematic subsets of four sides each, Dark/Light, The Concert, Intermezzo/Rückblick, and E Minor/E Major. Within these themes the variety of five hours of piano solo is astounding. Every track on this four-CD pack is a world to its own and Mehldau expertly shows his prowess throughout.

Sides 1–4 focus on this dichotomy in pairs, beginning with the dark energy of Jeff Buckley’s Dream Brother, followed by the grace of Lennon/McCartney’s Blackbird.

The songs on Sides 5–8 (The Concert) come from different concerts arranged in the sequence he would play them live. They are amazingly much more than just superb.

Mehldau has performed around the world

at a steady pace for 25 years with his trio as well as with other collaborators and as a solo pianist building a large and loyal audience. Mostly he plays in the classiest classical venues like the Mozartsaal in Vienna and the Palais des Beaux-Arts in Brussels. He is an engaging, playful and elegant improviser and one of the admirable things about him is his restless musical curiosity. He is a terrific pianist and a conceptual improviser. There are so many favourite tracks from such a voluminous collection that it would be pointless just to name a few. However, The Concert -Get Happy was the one that gave me real insight into what and who I was listening to the pianism of a jazz great.

- Barry O’Sullivan

than this 2010 session led by veteran Johnny Varro, whose light swinging touch reminds me of such legendary pianists as Teddy Wilson and Billy Kyle. A consummate and elegant soloist with a flawless technique, Varro leads a quintet of the highest quality headed by a front line of Warren Vache, the best thing to happen to the cornet since Ruby Braff, and tenor saxophonist Harry Allen, to whom swinging comes as naturally as breathing.

Add bassist Nicki Parrott and drummer Chuck Riggs to the mix and you have the ultimate present-day swing group. Most of the tracks are standards, chosen by Varro because of their melodic content. He wanted songs that “hadn’t been played to death”; beautiful songs which deserved to be tastefully

embellished without losing the melody - and the quintet does them proud! Pride of place must go to the tender reading of Antonio Carlos Jobim’s Once I Loved where Vache and Allen take turns in caressing the lovely Latin melody. The lightly propulsive versions of two of the finest from the Rodgers and Hart songbook, Falling in Love With Love and My Heart Stood Still, show how well these musicians love playing together, the former noted for their interplay, and as for the latter I have never heard a more satisfying treatment. But there is much to savour in a disc that sounds better each time I play it. Unreservedly recommended.

- Kevin Jones April 2016

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swinging on the vine

Basie one more time

As a band pianist Basie was one of the very best. His sure tempi, crisp chording and brilliant attack cutting through the sound of the full band made important contributions to the music. And let’s not forget the way in which he could set up a performance with either a few bars or with a chorus or two of piano, something in which he shared complete mastery with Ellington. Superb examples of opening Basie piano solos can be heard on Texas Shuffle and Panassie Stomp, as admirable in themselves as they are in the way they established the right mood.

Count Basie Even Big J’s drunken snores are no match for the sound of the heavy rain falling on the roof of my Hunter Valley hideaway as I gaze with a deep feeling of nostalgia at one of the pages of Leonard Feather’s initial Encyclopaedia Of Jazz, a treasured Christmas present from 1957. The doyen of jazz critics had named his five greatest jazz musicians headed by Louis Armstrong, Duke Ellington, Charlie Parker and Dizzy Gillespie.

I could find no argument with those four, having named them myself when selecting my five greatest jazz musicians of the 20th century in another life. But the fifth was interesting to say the least - Count Basie, pianist and leader of jazz’s most swinging big band and, in my humble opinion, the music’s most under-rated piano soloist.

Basie did not dominate the music of his orchestra as Duke Ellington did, being neither a composer and only sometimes an arranger but the basic character of the music was essentially his, especially in those classic recordings from 1937-38, which remain an essential part of any serious collection. The most noticeable qualities of this early band were its fire, enthusiasm and spontaneity. Of all the big bands in the Swing Era, this is the one which closely approached the spirit of a small jazz group.

The marvellous verve of the ensemble enabled it to play more simple arrangements which without this spirit would have sounded very thin.

It swung hard, the sound light but powerful, a marvel of pulsating cohesion. Such was the looseness and seemingly informality of the ensemble it was wrongly assumed to have relied on “head” arrangements made up on the bandstand when it also used charts by such noted arrangers as Eddie Durham, Don Redman and Jimmy Mundy. With respect to the “King of Swing” Benny Goodman, if any artist deserved that title it was Basie.

Goodman, who spent hours listening to Basie’s famous theme, One O’Clock Jump, was always trying to get his band to play with that same spirit. Guitarist and raconteur Eddie Condon recalled during his long engagement at the legendary club Nicks, the home of Dixieland jazz in Greenwich Village in the 1940’s, an English gentleman often calling to him for the band to “play softly, like when Count Basie plays the One O’Clock Jump”. Condon quipped: “When Count Basie played the One O’Clock Jump in New York you could hear it in the foothills of Connecticut!”

What is often overlooked is that Basie was one of the strongest solo voices in his early band. Although associated with the Kansas City style of jazz, Basie was a member of the New York stride school. He was a great admirer of Fats Waller; listen to the theme statements on the recordings of Pennies From Heaven and Exactly Like You. In fact his style owed so much to Waller that many of the phrases which became Basie trademarks in the highly simplified solo style he used with the band showed Fats was his most important formative influence.

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No band, except Ellington’s, had a richer array of soloists - they included the tenors Lester Young and Herschel Evans, trumpeters Buck Clayton and Harry ”Sweets” Edison, and trombonist Dickie Wells. To top it off was Basie’s classic All American rhythm section with bassist Walter Page, guitarist Freddie Green and drummer Jo Jones, the epitome of superb musicianship and taste. Its drive was energised

by Basie’s brisk piano punctuations and the subtle understatement of Green’s guitar.

Many of the highlights on these early recordings are provided by Young and Evans: Honeysuckle Rose and Roseland Shuffle contain two of Young’s classic tenor solos and Blue and Sentimental and Texas Shuffle illustrate his quirky, individualistic style on clarinet; Evans shows on Swinging The Blues and One O’Clock Jump where both tenors solo that he was not prepared to play second best to anyone.

But in the 21st century how many are familiar with Evans, who died much too young, or for that matter the wonderful early Basie band.

Disconsolate at the thought, I open another bottle of red wine.

- Patrick D. Maguire

Sydney Jazz Club Co-op Ltd Presents Live Jazz Sydney Flying Squadron

76 MacDougall Street, Milsons Point 13 April From 12.30 until 3pm (Doors open 11.45am) Geoff Bull’s Olympia Jazz band $10.00 Entry Fee

Picnic at Berry Island At the end of Shirley Road, Wollstonecraft 17 April Jugalug String band From 12.00 noon to 3.00 pm Unique experience picnicking in the Australian Bush, but still close to the City

PO Box 186 Broadway, NSW 2007

www.sydneyjazzclub.com Tel +61 2 9719 3876

April fine music digital schedule 00:00 03:00 06:00 09:00 10:30 11:00 12:00 12:30 13:00 14:00 15:00 16:00 17:00 17:30 18:00 18:30 19:00 19:30 20:00 20:30 21:00 22:00 22:30 24:00

Weekdays

Saturday

Sunday

Mon: Contemporary Collective Tue-Frid: General classical General classical Fine Music Breakfast Repeat of Morning concerts Repeat of Diversions in fine music

Contemporary Collective

Contemporary Collective

General classical Saturday Morning Music General classical Small forces

General classical Sunday Morning Music

The Classical era General classical Jazz General classical

Opera

Magic of stage and screen General classical

General classical

Repeat of Saturday night at home

Repeat of Sunday night concert

Mon: Baroque, Tue: Romantic, Wed: 20th century, Thur: Chamber, Fri: General classical General classical Mon: General classical Tues-Frid: Jazz

General classical

Jazz classic & traditional Repeat of Sunday special

In a sentimental mood Young virtuosi In conversation General classical

After hours jazz

Ultima thule

Pathfinders named keats a reinvigorated dissemination of Australian composition and performance.

Horace Keats Among Australia’s music publishers and retailers, names from years ago include Paling’s, Albert’s, Nicholson’s, and James’ Music. In 1987, Wirripang Pty Ltd, joined this elite group, with its own story of imagination and commitment. Since that time, its enviable achievement in promoting this country’s creative talent has stemmed principally from the tireless efforts of its two founders, Brennan Keats and his wife, Anne Keats, (each OAM). There is no doubt their single-minded mission during their firm’s almost 30 years of existence has resulted in

Based in the NSW city of Wollongong, Wirripang gained its name from joint founder, Brennan Keats’ childhood home in Mosman, Sydney. Yet the firm’s latent prowess derives many years earlier from Brennan’s father, the noted composer/pianist, Horace Keats, whose life in music began in London as a boy soprano and then as an adventurous teenage ship’s pianist. Horace arrived in Australia from England in 1915 as the associate artist and accompanist of visiting vocalist and theatre celebrity, Nella Webb; and very soon found himself similarly sought by such performers as Australia’s famous bass baritone, Peter Dawson. From that point, Horace Keats’ reputation burgeoned further as a gifted and versatile musician, who over the years played an increasingly diverse and influential role in Australia’s music life.

From around the mid-1920s, he and his singer-wife, Janet, became busily engaged in concerts and appearing regularly on commercial radio station, Farmer Brothers’ 2FC. Then, with the advent of the ABC in 1932, 2FC became part of its national network, and Keats, the conductor/pianist of the Commission’s Sydney studio ensemble.

Over the following decades, it was this small

group that developed into today’s Sydney Symphony Orchestra. Keats, in the years before his death in 1945 aged 50, remained a distinguished contributor to Australian music.

Today his name lives on as an esteemed composer, and also through the legacy that Brennan and Anne Keats have so ably perpetuated.

- Patrick Thomas ON AIR 15 April, 1pm Patrick Thomas presents Horace Keats: The poet’s composer The tribute to Horace Keats on Fine Music includes examples of his song settings and instrumental music, as recorded on the CD titled Movement, released recently in celebration of the 120th anniversary of his birth in 1895. The performers include soprano, Louise Page; flautist, Janet Webb; pianist, Phillipa Candy, and the Linden String Quartet.

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April program highlights roughly translates into Australian English as bloke, or perhaps even mate. Despite all this, the sense of alienation and despair in this cycle points unavoidably in the direction of Schubert and his Winterreise.

You can hear Thomas Hampson sing Mahler’s Songs of a Wayfarer in Morning Concert, 10:30 am on 1 April. And if Mahler lieder are your thing, and Thomas Hampton your baritone, Till Death Us Do Part at 1pm on 7 April brings a performance of Kindertotenlieder.

Francois Couperin

Death and reconciliation in song For fans of late German orchestral lieder, April starts with a couple of treats on Fine Music 102.5.

The flowering of the German lied as we know it coincided with, and depended upon, the flowering of German literature and poetry that took place in the late 19th century. The efforts of early exponents such as Mozart and Beethoven were quickly eclipsed by the arrival of Schubert. Although Beethoven had shown the way with the first throughcomposed cycle of lieder, An die Ferne Geliebte, it was Schubert who consummated the partnership of voice and accompaniment that is the hallmark of the German lied.

And for nearly a hundred years, that accompaniment was assigned almost exclusively to the piano. Indeed, Mahler’s Lieder eines fahrenden Gesellen were originally written for that instrument. However it’s in their orchestrated form that we know them best today.

The cycle’s title perhaps needs some explanation. It is usually rendered in English as Songs of a Wayfarer. However the German word geselle means journeyman – a craftsman who has completed his apprenticeship, is yet to become a master and is travelling from city to city gaining experience under a variety of masters.

Notwithstanding that this was a pretty fair description of Mahler’s own life at the time, geselle also has a colloquial usage which 22

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By contrast, Richard Strauss’ Four Last Songs are healing balm for the wounds lamented by Mahler’s travelling bloke.

Although the title was supplied posthumously, they really were his last works, and he knew it. But while they deal extensively with death, they are suffused with acceptance, reconciliation and calm. And each is a celebration; of his long and, despite her eccentricities, happy marriage to the soprano Pauline de Ahna. The subject matter perfectly suited Strauss’ fondness for writing soaring soprano cantilena. There are many fine recordings of these songs, but few can surpass that of Jessye Norman, with the Gewandhaus Orchestra under Kurt Masur.

Norman’s Wiegenlied is a master class in how a singer of immense power should perform a song that demands that she withhold almost all of it.

Like the Mahler cycle, you can hear the Four Last Songs later on the 1 April in Vale Kurt Masur, a program at 1pm devoted to the work of the great conductor, who died last December.

In Baroque and Before, 8 April, Andrew Dziedzic treats us to a feast of Couperin.

Francois Couperin, that is, as he was but the most celebrated of a celebrated family of musicians. Although Couperin was very much a composer of the Baroque (he acknowledged a debt to Corelli, whose trio sonata form he had imported and blended with home-grown dance forms), he ploughed his own furrow in a couple of ways that take him out of that milieu and justify the esteem in which he is held as a composer for all time.

Live and Local Thursdays, 8pm Fine Music’s coverage of local music continues to extend its reach, adding to our precious archive of recorded performance.

Kurt Masur Sydney University Graduate Choir (7 April) teams Brahms with a cantata by Fanny Mendelssohn in the first half of a program which concludes with a performance of the first of Beethoven’s op9 trio by violinist John Harding, violist Esther van Stralen and cellist Peter Morrison.

There’s more Brahms, this time of the parlour variety (14 April), as violinist Ronald Thomas and pianist Jennifer Wakeling perform a trio of his sonatas.

The Kuring-gai Philharmonic Orchestra continues its tradition of delivering interesting, engaging and community-focused musical fare. On 21 April in Live and Local you can hear the Remembrance concert it gave on 14 November last year. Assisted by soloists, a narrator and the Choirs of Abbotsleigh, Barker and Brigidine Colleges, they present a well-rounded program which takes in the Dambusters’ March and the themes to Schindler’s List and Saving Private Ryan, and concludes, appropriately, with the choir singing Holst’s Venus, the Bringer of Peace.

Finally, on 28 March, Live and Local presents a compilation from the Fine Music archives of recordings of the Canberra School of Music orchestras performing Vivaldi, Haydn, Schumann and the 20th century Swiss composer Frank Martin.

- Tom Forrester-Paton

Friday 1 April

Ferruccio Busoni

Rumon Gamba

Carlo Maria Giulini

0:00 CONTEMPORARY COLLECTIVE

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

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

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 Only strings Prepared by Frank Morrison Capponi, R. Sonata for mandolin and lute. Caterina Lichtenberg, mand; Mirko Schrader, gui.

Schwann 3-6435-2 11 Bartók, B. 44 duos for two violins, bk 1 (1931). Valery Oistrakh, vn; Antal Zalai, vn.

Brilliant Classics 9270 13

13:00 PATRICK THOMAS PRESENTS David Ellis Ellis, D. Vale royal suite (2009).

12

Concert music for strings (1959).

19

Manchester Sinfonia/Richard Howarth (2 above)

20:00 THE ROMANTIC CENTURY Prepared by Robert Small

September threnody (2011). Northern CO/ Nicholas Ward.

10

Berlioz, H. Overture: King Lear, op 4 (1831).

Scottish NO/Alexander Gibson.

Chandos CHAN 8316 14

Celebration (1979-80). RNCM Sinfonia/ Edward Downes.

Divine Art DDA 25119 (all above)

7

Busoni, F. String quartet no 2 in D minor, op 26 (1889). Reger Quartet.

Pantheon D 14090 33

14:00 VALE KURT MASUR 1927-2015 Prepared by Sheila Catzel

Gross, E. Mandigar 3 (1992). Paul Hooper, mand; Adrian Hooper, mandola; Joyce Bootsma, mandola; Barbara Hooper, gui.

Jade JADCD 1063 7

Liszt, F. Symphonic poem no 3: Les préludes (1848/53).

EMI CDM 1 66431 2 14

Rossini, G. String sonata no 6 in D (1804).

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

Hyperion CDA66595 16 10:30 MORNING CONCERT Prepared by Rex Burgess Wallace, W. Symphonic poem no 5: Sir William Wallace (1905). BBC Scottish SO/ Martyn Brabbins.

Hyperion CDA66848 21 Mahler, G. Songs of a wayfarer (1884/92/96).

Thomas Hampson, bar; Vienna PO/Leonard Bernstein.

DG 477 8825 18 d’Indy, V. Symphony no 2 in B flat, op 57 (1902-03). Iceland SO/Rumon Gamba.

Chandos CHAN 10514 44

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

Beethoven, L. Fantasia in C minor, op 80, Choral (1808). Susan Scheinpflug, sop; Kerstin Klein, sop; Andrea Pitt, cont; Albrecht Sack, ten; Ekkehard Wagner, ten; Reinhard Decker, bass; Bavarian Radio Choir; Mitteldeutschen Radio Choir; Menahem Pressler, pf.

Decca 478 6962 18 Mendelssohn, F. Piano concerto no 2 in D minor, op 40 (1837). Cyprien Katsaris, pf.

Teldec 242 430-2 20 Strauss, R. Four last songs, op posth (1948).

Jessye Norman, sop.

Philips 411 052-2 25

Albéniz, I. Piano concerto no 1 in A minor, op 78, Concierto fantastico (c1887). Melani Mestre, pf; BBC Scottish SO/Martyn Brabbins.

Hyperion CDA67918 28 Berlioz, H. Orchestral music from Romeo and Juliet (1840). Chicago SO/Carlo Maria Giulini.

EMI 5.85974 2 53 Saint-Saëns, C. Fantasy in A, op 124 (1907).

Gérard Poulet, vn; Isabelle Moretti, hp. naive V 5129 12 22:00 BAROQUE AND BEFORE Prepared by Robert Small Handel, G. The resurrection, HWV47 (1708).

Klaartje van Veldhoven, sop; Stefanie True, sop; Kristine Gether, cont; Marcel Beekman, ten; Mitchell Sandler, bass; Contrasto Armonico/Marco Vitale.

Brilliant Classics 94317 1:55

Bruch, M. Scottish fantasy, op 46 (1880).

Salvatore Accardo, vn.

Philips 462 167-2 31 Gewandhaus O/Kurt Masur (all above)

April 2016

fineMusic 102.5

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Saturday 2 April Stravinsky, I. Excerpts from The firebird.

Buy-As-You-View Band/Robert Childs.

Doyen DOY 195

8

12:00 JAZZ SATURDAY @ STUDIO A with Leita Hutchings 13:00 INSPIRED BY THE SEA Prepared by Frank Morrison Mendelssohn, F. Overture: Calm sea and prosperous voyage, op 27 (1828). Vienna PO/Christoph von Dohnányi.

Decca 460 239-2 12 Helmuth Rilling 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

Franck, C. Piano quintet in F minor (1878).

Werner Bärtschi, pf; Amati Quartet.

DIVOX CDX 29001 35 Eros and Psyche, from Psyche (1887-88).

Melbourne SO/Willem van Otterloo.

ABC 434 896-2 7 Alleluia, from Choeur de Pâques. Choir of King’s College, Cambridge/Stephen Cleobury.

EMI 5 57896 2 10

12

Symphony in D minor, op 48 (1887-88). Royal Concertgebouw O/Karel Ancerl.

Radio Nederland RCO 06004 37 11:30 ON PARADE Music that’s band Prepared by Owen Fisher Gould, M. Tropical. Gregory Seifert, tpt; Craig Paine, tb; Allentown Band/Ronald Demkee.

AMP 20059 3 Trad. Scarborough fair. Buy-As-You-View Band/Robert Childs.

Doyen DOY 195 4 Sousa, J.P. New York hippodrome march.

Allentown Band/Ronald Demkee.

AMP 28173 A 4 Giannini, V. Allegro con brio, from Symphony no 3 (1958). Dallas Wind Symphony/ Frederick Fennell.

Reference RR-52 5 24

Debussy, C. Dialogue of the wind and the sea, from La mer (1905). London SO/Charles Mackerras.

Centaur CRC 2090 8 Glazunov, A. The sea, op 28 (1889-90; arr.

Glazunov for two pianos, eight hands). Aurora Piano Quartet.

Naxos 8.557717D 16

9:30 MINING THE MAJORS Prepared by Elaine Siversen

Chorale no 3 in A minor (1890). Eric Lebrun, org.

Naxos 8.554698

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

Marco Polo 8.223288 10

Elgar, E. The swimmer, from Sea pictures (1899). Elizabeth Campbell, mezz; Adelaide SO/Nicholas Braithwaite.

ABC 476 796-6 6 Rimsky-Korsakov, N. The sea and Sindbad’s ship, from Sheherazade, op 35 (1888) Seattle SO/Gerard Schwarz.

Naxos 8.578269-70 11 Britten, B. Four sea interludes, from Peter Grimes, op 33 (1945). Royal Opera House O/ Benjamin Britten.

ABC 480 7301 16 14:30 CHRISTUS Prepared by Di Cox Liszt, F. Oratorio: Christus (1863-66).

Gächinger Kantorei Stuttgart; Krakauer Kammerchor; RSO Stuttgart/Helmuth Rilling. hänssler 98.121 2:42 Brahms, J. Ballade in B, op 10 no 4 (1854).

Claudio Arrau, pf.

Philips 432 302-2 9 17:30 STAGING MUSIC with Angela Cockburn 18:00 SOCIETY SPOT Folk Federation of NSW with Gerry Myerson 19:00 THE MAGIC OF STAGE AND SCREEN with Annabelle Drumm 20:00 INFLUENCES AND CONNECTIONS Bériot and the Belgian violin school Prepared by Chris Blower

For a digital schedule turn to page 21 or find online: www.finemusicfm.com/digital.html

Karel Ancerl Viotti, G. Sinfonia concertante no 1 in F (1786). Roberto Baraldi, vn; Alberto Martini, vn; Accademia dei Filarmonici/Aldo Sisillo.

Naxos 8.553861 26 Bériot, C-A. de Violin concerto no 2 in B minor, op 32 (1835). Philippe Quint, vn; Slovak RSO/Kirk Trevor.

Naxos 8.570360 28 Thalberg, S. Memories of Beethoven, grand fantasy on Symphony no 7, op 39 (c1835).

Francesco Nicolosi, pf.

Naxos 8.553701 17 Vieuxtemps, H. Cello concerto no 1 in A minor, op 46 (1877). Alban Gerhardt, vc; Royal Flemish PO/Josep Caballé-Domenech.

Hyperion CDA67790 25 Ysaÿe, E. String quartet, London (arr.

Jacques Ysaÿe). Kryptos Quartet.

Klara KTC 4034

14

22:00 SATURDAY NIGHT AT HOME Prepared by Rex Burgess Cherubini, L. Overture to The crescendo (1810). Tuscan O/Donato Renzetti.

Europa 350-221 12 Castelnuovo-Tedesco, M. Romancero gitano (1951). Cantillation; Karin Schaupp, gui; Philip Chu, cond.

ABC 476 3627 23 Cui, C. Miniature suite, op 20 (1882). Hong Kong PO/Kenneth Schermerhorn.

LP Marco Polo 6.220308 14 Coleridge-Taylor, S. Clarinet quintet in F sharp minor, op 10 (1895). Members of Nash Ensemble.

Hyperion CDA67590 30 Chopin, F. Piano concerto no 2 in F minor, op 21 (1829). Maria João Pires, pf; Royal PO/ André Previn.

DG 479 1112 33

Sunday 3 April 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SUNDAY MORNING MUSIC with Terry McMullen 9:00 MUSICA SACRA Prepared by Barrie Brockwell Haydn, M. Ave Regina. Choir of St John’s College, Cambridge/George Guest.

Decca 430 159-2 8 Biber, H. Sonata XIII, The descent of the Holy Spirit upon the Apostles, from Mystery sonatas (c1676). Reinhard Goebel, vn; Phoebe Carrai, vc; Konrad Junghänel, lute; Andreas Spering, org.

Archiv 431 656-2 7 Stanford, C. Villiers Coelos ascendit hodie, from Three motets (1905). York Chapter House Choir/Jane Sturmheit.

Guild GMCD 7140 2 Weckmann, M. Nun freut euch Lieben Christen Gemein. Wolfgang Zerer, org.

Naxos 8.553850

2

Heinichen, J. Nisi Dominus (1723). Jörg Dürmüller, ten; Musica Antiqua of Cologne/ Reinhard Goebel.

Archiv 447 092-2 5 Haydn, J. Father, forgive them, from The seven last words of our Saviour from the cross, Hob.III:50-56 (1787). Lindsay String Quartet.

ASV DCA 853 8 Widor, C-M. Messe à deux chœrs et deux orgues, op 36. Choir of Westminster Cathedral; Hyperion baritone Ch; Joseph Cullen, org; Andrew Reid, org; James O’Donnell, cond.

Hyperion CDA66898 16

Donizetti, G. Solo for oboe. John Anderson, ob; Gordon Back, pf.

ASV WHL 2100 4 Cherubini, L. Symphony in D (1815). Tuscan O/Donato Renzetti.

Europa 350-221 29 12:00 SYDNEY JAZZ CLUB PRESENTS 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 14:00 FEATURING THE COR ANGLAIS Prepared by Gael Golla Chabrier, E. Lamento. Jean-Marc Jordan, cora; Monte Carlo PO/Hervé Niquet.

Naxos 8.554248 8 Donizetti, G. Cor anglais concertino in G. Jeremy Polmear, cora; Diana Ambache, pf.

Meridian CDE 84147 9 Edwards, R. Love duet, from Oboe concerto.

Diana Doherty, ob; Alexandre Oguey, cora; Sinfonia Australis/Mark Summerbell.

ABC 481 0116 4 Rodrigo, J. Adagio, from Concierto de Aranjuez (1939). Alexa Murray, cora; Slava Grigoryan, gui; Queensland O/Brett Kelly.

ABC 476 3338 11

10:00 THE CLASSICAL ERA Prepared by Barrie Brockwell Bach, J. Christian La calamita de cuori (c1781). Netherlands CO/David Zinman.

Philips 442-276-2

Moscheles, I. Anticipations of Scotland: a grand fantasy, op 75 (1828). Tasmanian SO/ Howard Shelley.

Hyperion CDA67276 15

5

Mozart, W. Piano concerto no 12 in A, K414 (1782). Vienna PO/Maurizio Pollini, pf & dir.

DG 4790913 25 Boccherini, L. Guitar quintet no 2 in E. Pepe Romero, gui; Academy of St Martin in the Fields Chamber Ensemble.

Decca 478 5669 15 Beethoven, L. Ye shepherds of this pleasant vale; O sweet were the hours; Duncan Gray, from 12 Scottish songs, WoO 156 (1822).

Edith Mathis, sop; Alexander Young, ten; Dietrich Fischer-Fiskau, bar; Andreas Roehn, vn; Georg Donderer, vc; Karl Engel, pf.

DG 480 0385 8

Honegger, A. Little suite (1934). Aurèle Nicolet, fl; Heinz Holliger, cora; John Constable, pf; Academy of St. Martin in the Fields/Neville Marriner.

Philips 434 105 2 3 Ravel, M. Rhapsodie espagnole (1907). Colin Stark, cora; Ulster O/Yan Pascal Tortelier.

Chandos CHAN 9202 16 15:00 SUNDAY SPECIAL Busoni at 150 Prepared by Barrie Brockwell Bach, J.S. Prelude in E flat, BWV552, St Anne (pub. 1739; transcr. Busoni). Nikolai Demidenko, pf.

Hyperion CDA66566 10

Busoni, F. Comedy overture, op 38 (1897/1904). London SO/Charles Mackerras.

Carlton Classics 15656 91372 7 Duettino concertante after Mozart’s K459 (1919). Isabel von Vintschger, pf; Jürg von Vintschger, pf.

Jecklin JD 579-2 8 Beethoven, L. Benedictus, from Missa Solemnis, op 123 (arr. Busoni). Tanja BeckerBender, vn; BBC Scottish SO/Garry Walker.

Hyperion CDA68044 9 Sonatina no 6, piano fantasy on Bizet’s Carmen (1920). Marc-André Hamelin, pf.

Hyperion CDA66765

8

Introduction and elegy (1921). Dieter Klöcker, cl; Consortium Classicum.

Orfeo C 213 901 A 9 Turandots Frauengemach, from Elegien (1907). Geoffrey Tozer, pf.

Chandos CHAN 9394

3

Violin concerto in D, op 35a (1896-97). Tanja Becker-Bender, vn; BBC Scottish SO/Garry Walker.

Hyperion CDA68044 23 Toccata (1921). Geoffrey Tozer, pf.

Chandos CHAN 9394

10

Bach, J.S. Chaconne in D minor, from Partita no 2, BWV1004 (1720, transcr. Busoni).

Evgeny Kissin, pf.

Sony 88697301102 15 17:00 HOSANNA Prepared by Meg Matthews Hymns: We sing the praise of Him who died; The God of Abraham praise; All my hope in God is founded; O praise ye the Lord. Choir of St Mary ‘s Episcopal Cathedral, Edinburgh.

Priory PRCD 376 14 Bach, J.S. Cantata, BWV12: Weinen, klagen, sorgen, zagen (1714). Calmus Ensemble of Leipzig; Lauten Compagney of Berlin.

Carus 83.381 5 In Dir ist Freude, BWV615 (1713-15). Arthur Eger, org.

Ars Vivendi MRC 021 3 In die ist Freude (arr.). Calmus Ensemble of Leipzig; Lauten Compagney of Berlin.

Carus 83.381 5 Haydn, J. Excerpts from The Creation, Hob. XXI:2 (1796-98). Emma Kirkby, sop; Anthony Rolfe-Johnson, ten; Michael George, bass; Choir of New College, Oxford; Academy of Ancient Music Ch & O/Christopher Hogwood.

L’Oiseau-Lyre 430-397-2 22 April 2016

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Sunday 3 April

Monday 4 April

18:00 CHAMBER INTERLUDE

0:00 CLASSIC-ALL THROUGH THE NIGHT

Boccherini, L. String quintet in C, G268 (1771). La Magnifica Comunità.

Brilliant Classics 94386 19

6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with James Hunter

Bach, C.P.E. Trio sonata in F, Wq163 (1755).

Dan Laurin, rec; Henrik Frendin, va; Paradiso Musicale.

BIS CD-1895 10 Beethoven, L. Serenade, op 8 (1796-97).

Alexa Still, fl; Robert Alemany, cl; JoAnn Falletta, gui.

Koch 3-7404-2H1 24 19:00 SUNDAY NIGHT CONCERT Prepared by Stephen Matthews Verdi, G. Prelude to Act I of La traviata (1853). Queensland SO/Wilfred Lehmann.

LP EMI SMP 0041 4 Mendelssohn, F. Symphony no 4 in A, op 90, Italian (1833). Gewandhaus O/Kurt Masur.

Teldec 243 463-2 29 Bellini, V. Oboe concertino in E flat.

Peterborough String O/Nicholas Daniel, ob & dir.

Helios CDH55034 7 Puccini, G. Messa di gloria (1880). Lorenzo Rositano, ten; Jae-Hyeok Lee, bar; Sydney University Graduate Ch & O/Christopher Bowen.

Fine Music Concert Recording CR.023 43 20:30 NEW HORIZONS Prepared by Chris Blower Cordero, E. Concierto festivo (2003). Pepe Romero, gui; I Solisti di Zagreb.

Naxos 8.572707 25 Beauvais, W. In Joplin’s pocket. William Beauvais, gui; Raffi Altounian, gui; Michael Kolk, gui; Rob MacDonald, gui.

Centrediscs CMCCD 14809 15 Rigney, S. The garden of forking paths (2001). Slava Grigoryan, gui; Flinders Quartet.

ABC 476 227-1

14

Hagvil, S. Confluente (2003). Dan Larsson, cl; Magnus Grönlund, gui.

Caprice CAP 21787 10 Westlake, N. Jovian moons (2001/02). Slava Grigoryan, gui; Michael Kieran Harvey, pf.

ABC 476 574-4 16 22:00 AFTER HOURS JAZZ with Kevin Jones

26

Mozart, W. Symphony no 31 in D, K297, Paris (1778). Symphony Nova Scotia/Georg Tintner.

Naxos 8.557233 17

9:00 DIVERSIONS IN FINE MUSIC A year in retrospect: 1819 Prepared by Jennifer Foong Rossini, G. Overture to Bianca e Falliero (1819). Prague SO/Christian Benda.

Naxos 8.572735 7 Moscheles, I. Grande sonate concertante, op 44 (1819). Hans-Udo Heinzmann, fl; Caroline Weichert, pf.

Koch Schwann 3-1178-2 26 Schubert, F. Der Wanderer, D649 (1819).

Dietrich Fischer-Diskau, bar; Gerald Moore, pf.

DG 477 5765 4 Mendelssohn, F. Lied zum Geburtstage meines guten Vaters (1819). Katherine Broderick, sop; Eugene Asti, pf.

Hyperion CDA67753

Müller, I. Le château de Madrid, op 79.

Friederike Roth, cl; Erika le Roux, pf.

Naxos 8.572885

8

Gounod, C. Maid of Athens (1872). Anthony Rolfe Johnson, ten; Graham Johnson, pf.

Hyperion CDA66801/2 4 Respighi, O. Fountains of Rome (1917).

Philharmonia O/Yan Pascal Tortelier.

Chandos CHAN 8989 17 14:30 ALL THE BIRDS Prepared by Heather Middleton Ford, A. Hear the bird of day, from Australian aphorisms (2013).

3

2

Berwald, F. Quartet in E flat (1819). Richard Hosford, cl; Robin O’Neill, bn; Jonathan Williams, hn; Susan Tomes, pf.

Hyperion CDA66834 23 Donizetti, G. Concertino in C minor for flute and chamber orchestra (1819; orch. Hoffmann).

Camerata Budapest/Lászlo Kovács.

Marco Polo 8.223701 9 Paganini, N. Variations on Rossini’s Non più mesta accanto al fuoco, from Cinderella, op 12 (1819). Salvatore Accardo, vn; London PO/Charles Dutoit.

DG 423 717-2 12 10:30 MORNING CONCERT Prepared by Paul Hopwood Wagner, R. Overture to Die Meistersinger von Nürnberg (1866-67). Philharmonia O/ Otto Klemperer.

EMI CDC 7 47255 2 11 Haydn, J. Horn concerto no 1 in D, Hob. VIId:3 (1762). Hector McDonald, hn; Academy of Melbourne/Brett Kelly.

Tall Poppies TP042 18 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 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 EUROPEAN CAPITALS Prepared by Gael Golla Ireland, J. A London overture (1936). London SO/Richard Hickox.

Chandos CHAN 8879 14 Kreisler, F. Viennese rhapsodic fantasietta.

Oscar Shumsky, vn; Milton Kaye, pf.

ASV QS 6039 8

For a digital schedule turn to page 21 or find online: www.finemusicfm.com/digital.html

Sor, F. Memories of an evening in Berlin, op 56 (pub. c1834). Adam Holzman, gui.

Naxos 8.553450 11

Gudmundsen - Holmgreen. Bats’ ultrasound.

4

Song Company (2 above) Finzi, G. Nightingales, from Seven unaccompanied partsongs, op 17 (193437). Choir of St John’s College, Cambridge/ Christopher Robinson.

Naxos 8.555792 3 Monteverdi, C. O rossinguol ch’ in queste verde fronde, from Third book of madrigals (pub. 1592). Delitiae Musicae/Marco Longhini.

Naxos 8.555309 5 Edlund, L. Just as the bird. Academy Chamber Choir of Uppsala.

Chandos CHAN 9654

11

15:00 CONCERTOS FROM THE CLASSICAL ERA Prepared by Frank Morrison Cirri, G. Cello concerto in C (pub. 1780).

Markus Nyikos, vc; Carol Tainton, hpd; Berlin RSO/Hans Maile.

Schwann 11624 18 Hertel, J. Trumpet concerto in D. Håkan Hardenberger, tpt; Academy of St Martin in the Fields/Neville Marriner.

Philips 420 203-2 10 Krumpholtz, J-B. Harp concerto in B flat.

Klara Novakova, hp; Radio Bratislava SO/ Oliver Dohnanyi.

Brilliant Classics 99512 24 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

Tuesday 5 April

Lazar Berman

Bengt Forsberg

Clementi, M. Piano concerto in C (pub.

1790). Felicja Blumental, pf; Prague SO/ Alberto Zedda.

Brana Records BR 0008 23

0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Julie Simonds

Sibelius, J. Karelia suite, op 11 (1893).

Vienna PO/Lorin Mazel.

Decca 480 6568 14

9:00 DIVERSIONS IN FINE MUSIC Artist of choice: Julian Lloyd Webber Prepared by Francis Frank Delius, F. Two pieces for cello and chamber orchestra (1930). Academy of St Martin in the Fields/Neville Marriner.

Philips 442 8415 8 Lloyd Webber, W. Nocturne, from St Francis of Assisi (1948). Sheila Kanga, hp.

Chandos CHAN 9595 4 Holst, G. Invocation, op 19 no 2 (1911).

Academy of St Martin in the Fields/Neville Marriner.

Philips 442 8415 9 Whitacre, E. The river Cam (2011). London SO strings/Eric Whitacre.

Decca 2796323 12 Sullivan, A. Cello concerto in D (1866; reconstr. Mackerras, Mackie). London SO/ Charles Mackerras.

EMI CDM 7 64726 2 17 Grieg, E. Cello sonata in A minor, op 36 (1883). Bengt Forsberg, pf.

Philips 454 458-2

29

Julian Lloyd Webber, vc (all above) 10:30 MORNING CONCERT Prepared by Denis Patterson Tchaikovsky, P. Hamlet, fantasy overture after Shakespeare, op 67 (1888). Vienna PO/ Lorin Maazel.

Decca 480 6617 17

Vine, C. Symphony no 3 (1990). Sydney SO/Stuart Challender.

ABC 476 717-9 26 12:00 JAZZ RHYTHM with Jeannie McInnes An eclectic blending of agreeable rhythm and melody from the New Orleans jazz roots through to recent decades, including many Australian bands 13:00 EUROPEAN MUSICAL ROUNDABOUT Warsaw Prepared by Francis Frank Moniuszko, S. Overture to Flis, The raftsman (1858). Warsaw PO/Antoni Wit. Naxos 8.572716 10 Rossini, G. I vostri cenci vi mando ...

Squallida veste, e bruna ... Caro padre, madre amata, from Il turco in Italia (1814).

Aleksandra Kurzak, sop; Artur Rucinski, bass-bar; Warsaw Chamber Choir; Sinfonia Varsovia/Pier Giorgio Morandi.

Decca 478 3553 10 Karlowicz, M. Bianca da Molena, op 6, The white dove (1899). Warsaw PO/Antoni Wit. Naxos 8.572487 15 Bacewicz, G. String quartet no 7 (1965).

Grazyna Bacewicz Warsaw String Quartet.

Olympia OCD 310 17

14:00 FEATURING ERICH LEINSDORF Prepared by Stephen Wilson Mendelssohn, F. Incidental music to A midsummer night’s dream, op 21 (1826); op 61 (1842). Arlene Saunders, sop; Helen Vanni, mezz; Inga Swenson, narr; James Stagliano, hn; Boston Symphony Ch & O. RCA Victrola VD87816 48 Strauss, R. Suite from Die Frau ohne Schatten (1919; arr. Leinsdorf 1946). Royal Concertgebouw O. Radio Nederland RCO 08005 21 Brahms, J. Piano concerto no 1 in D, op 15 (1854-58). Lazar Berman, pf; Chicago SO. CBS MYK 44714 44 Erich Leinsdorf, cond (all above) 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Andrew Dziedzic 19:00 THE JAZZ BEAT with Lloyd Capps Smooth small group jazz from the 50s on, and with a visit from Miles Davis each week 20:00 RECENT RELEASES with Michael Field 22:00 CHAMBER SOIRÉE Prepared by Phil Vendy Leclair, J-M. Sonata in D for violin and continuo, op 9 no 3 (pub.1743). Convivium.

Hyperion CDA67068 14 d’Indy, V. String quartet no 1 in D, op 35 (1890). Quatuor Joachim.

Calliope CAL 3891.2

39

Ravel, M. Sonata for violin and cello (1927).

Oleg Kagan, vn; Natalia Gutman, vc.

Live Classics LCL 121 20 Reicha, A. Octet for winds and strings, op 96 (1807). Ensemble Carl Stamitz Pierre Verany PV 789101 37 April 2016

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Wednesday 6 April Galop, from Paraphrases (1878-79). Marco Rapetti, pf; Daniela de Santis, pf.

1 Brilliant Classics 94410 (2 above) 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Tom Forrester-Paton 19:00 JAZZ STARS AND STRIPES with Peter Mitchell The stars of American jazz from bebop on, mainly small group low temperature jazz 20:00 AT THE OPERA Prepared by Colleen Chesterman

Sophie Karthäuser 0:00 CONTEMPORARY COLLECTIVE 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 Rex Burgess Handel, G. Music for the royal fireworks, HWV351 (1749). English Concert/Trevor Pinnock.

Archiv 453 451-2 18 Bach, C.P.E. Flute concerto in B flat, Wq167 (1751). Konrad Hünteler, fl; Amsterdam Baroque O/Ton Koopman.

Erato ECD 75536 22 Hasse, J. Qual di voi ... Piange quel fonte, from Nuna Pompilio (1741). Vivica Genaux, mezz; Capella Gabetta/Andrés Gabetta.

Sony 88691944592 14 Bach, J.S. Four duets: no 1 in E minor, BWV802; no 2 in F, BWV803; no 3 in G, BWV804; no 4 in A minor, BWV805 (1739).

Rosalyn Tureck, pf.

Philips 456 979-2 14 Boccherini, L. Cello concerto no 6 in D (pub. 1770). Anner Bijlsma, vc; Concerto Amsterdam/Jaap Schröder. apex 0927 49805 2 15 10:30 MORNING CONCERT Prepared by Elaine Siversen Schubert, F. Overture in B flat, D470 (1816).

Prague Sinfonia/Christian Benda.

Naxos 8.570328 6 Pleyel, I. Sinfonia concertante for winds (1800s). Hansjürgen Möhring, fl; Günther Passin, ob; Jürgen Gode, bn; Walter Lexutt, hn; Cologne CO/Helmut Müller-Brühl.

LP Schwann LC 1083 21 28

Dvorák, A. Symphony no 2 in B flat, op 4 (1865). Czech PO/Libor Pesek.

Virgin 5 45127 2 55 12:00 JAZZ SKETCHES with Robert Vale Jazz of many colours, some old, some new and all designed to inform and stimulate the senses 13:00 YOUNG VIRTUOSI 14:00 IN CONVERSATION with Michael Morton-Evans Each week we meet one of the world’s great musicians, singers, composers or conductors, along with up-and-comers and some of the men and women who influence the arts landscape. The program goes live to air so you never quite know what’s going to happen.

15:00 BORODIN EXPLORED Part 1 Prepared by Michael Morton-Evans Borodin, A. Polka Hélène in D minor for four hands (1843). Daniella de Santis, pf.

2 Adagio patetico in A flat (1849).

4

Marco Rapetti, pf (2 above) Brilliant Classics 94410 String quintet in F minor, mvt 1 (1853-54).

Ottó Kertész Jr, vc; New Budapest String Quartet.

Marco Polo 8.223172 10 Symphony no 1 in E flat, mvts 1 and 2 (1862-67). Bolshoi Theatre Symphonic O/ Mark Ermler.

Brilliant Classics 94410 19 Listen to my song, little friends; Beauty loves me no longer (1855). Piotr Glouboky, bass; Yuri Loievski, vc; Ilya Scheps, pf.

Le Chant du Monde LDC 288 037 7 Sextet in D minor (1860-61). Alexander Detisov, vn; Alexander Polonsky, vn; Igor Suliga, va; Alexander Bobrovsky, va; Alexander Osokin, vc; Alexander Gotthelf, vc.

8

For a digital schedule turn to page 21 or find online: www.finemusicfm.com/digital.html

Mozart, W. La finta giardiniera, K196.

Opera in three acts. Libretto attr. Calzabigi or Giuseppe Petrosellini. First performed Munich, 1775.

SANDRINA, VIOLANTE: Sophie Karthäuser, sop CONTINO BELFIORE: Jeremy Ovenden, ten ARMINDA: Alex Penda, sop CAVALIERE RAMIRO: Marie-Claude Chappuis, mezz MAYOR: Nicolas Rivenq, bar Freiburg Baroque O/René Jacobs.

Harmonia Mundi HMC 902126.28 3:04 Sandrina, calling herself Violante, is disguised as a gardener, while she searches for her lover Belfiore, who had fled believing he had killed her in a fit of jealousy. She is working for the mayor. But Arminda, the mayor’s niece, spurns her lover Ramiro, in favour of Belfiore who has rejected Violante for her. This confusion is resolved when Violante reveals her true identity in order to save Belfiore from arrest. Then she refutes this confession, causing even more confusion. Eventually everyone is reunited with their own true love, all except the mayor, who plans to wait for someone like Sandrina.

Mozart, W. String quartet no 2 in D, K155 (1772). Australian String Quartet.

ABC 426 805-2 9 23:30 FAUNS Prepared by Stephen Wilson Pierné, G. Entrance of the little fauns.

Queensland SO/Patrick Thomas.

Phonart PT 1001/3

2

Steinmetz, H. Liebesruf eines Faun. Albrecht Mayer, cora; Markus Becker, pf.

Decca 478 3564 6 Dukas, P. La plainte, au loin, du faune (1920). Chantal Stigliani, pf.

Naxos 8.557053

5

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

LSO Live SACD LSO0692 12

Thursday 7 April 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Simon Moore 9:00 DIVERSIONS IN FINE MUSIC Composer focus Prepared by Michael Morton-Evans Lully, J-B. Ballet de la nuit, ouverture. Musica Antiqua Cologne/Reinhard Goebel.

DG 463 446-2 2 Ballet des plaisirs (1655). Aradia Baroque Ensemble/Kevin Mallon.

Naxos 8.554003 13 Excerpts from L’Amour médecin, comédieballet (1665). Isabelle Poulenard, sop; Agnès Mellon, sop; Bernard Delétré, bass; Les Musiciens du Louvre/Marc Minkowski.

Erato 245 286-2 11

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

19:00 A JAZZ HOUR with Barry O’Sullivan 20:00 LIVE AND LOCAL Part 1: Sydney University Graduate Choir Recorded by Greg Ghavalas for Sydney University Graduate Choir

13:00 TILL DEATH US DO PART Prepared by Randolph Magri-Overend Grieg, E. Death of Ase; Anitra’s dance, from Peer Gynt, op 46 (1875). Royal Swedish CO/ Mats Liljefors.

Polar POLCD 404 8 Mahler, G. Adagietto, from Symphony no 5 in C sharp minor (1901-02). Royal PO/Daniele Gatti.

Sony 88697290382 10 Berlioz, H. La mort de Cléopatre (1829).

Véronique Gens, sop; Lyon Opera O/Louis Langrée.

Virgin 5 45422 2 20

Cavalli, F. Ombra mai fu, from Serse (1654).

Concerto Vocale/René Jacobs.

Harmonia Mundi HMX 290605.07 4

Strauss, R. Death and transfiguration, op 24 (1888-89). Cleveland O/Lorin Maazel.

CBS 35826 23

La cérémonie des Turcs, from Le bourgeois gentilhomme (1670). Gilles Ragon, ten; Michel Laplénie, ten; Michel Verschaeve, bar; Bernard Delétré, bass; Philippe Cantor, bass; Les Musiciens du Louvre/Marc Minkowski.

Erato 245 286-2 13

Sibelius, J. Death, op 44, 62 (1903). New Zealand SO/Pietari Inkinen.

Naxos 8.570763 20

Cambert, R. Que voyez-vous, mes yeux? from Pomone. Musica Antiqua Cologne/ Reinhard Goebel.

DG 463 446-2 2 Airs de trompettes, timbales et hautbois. Paul Kuentz CO/Paul Kuentz.

Archiv 453 169-2 6 Te Deum (1677). Le Concert Spirituel/Hervé Niquet.

Naxos 8.554397 29 10:30 MORNING CONCERT Prepared by Michael Morton-Evans Shostakovich, D. Jazz suite no 2 (1938).

Russian State SO/Dmitri Yablonsky.

Naxos 8.555949 20

Mahler, G. Kindertotenlieder (1901-04).

Thomas Hampson, bar; Vienna PO/Leonard Bernstein.

DG 477 8825 28 15:00 EUROPEAN MUSICAL ROUNDABOUT Copenhagen Prepared by Francis Frank Scheibe, J. Sinfonia in B flat à 4 (c1740).

Concerto Copenhagen/Andrew Manze.

Chandos CHAN 0550 8 Hartmann, E. Old memories, op 6a (pub.

1876). Copenhagen PO/Bo Holten.

Dacapo 8.226041 5 Palschau, J. Harpsichord concerto no 1 in C (1771). Lars Ulrik Mortensen, hpd; Concerto Copenhagen.

Dacapo 8.226040 15

Haydn, J. Cello concerto no 2 in D, Hob. VIIb:2 (1783). Heinrich Schiff, vc; Academy of St Martin in the Fields/Neville Marriner.

Philips 420 923-2 24

Agrell, J. Flute concerto in D (c1750). Maria Bania, fl.

Chandos CHAN 0535 15

Villa-Lobos, H. Chôros no 8 (1925). Hong Kong PO/Kenneth Schermerhorn.

Naxos 8.555241 18

8

Mozart, W. Serenade no 13 in G, K525, Eine kleine Nachtmusik (1787). Members of Tasmanian SO/Geoffrey Lancaster.

ABC 434 899-2 20

Scheibe, J. Sinfonia in D à 4.

Chandos CHAN 0550 Andrew Manze, cond (2 above) Concerto Copenhagen (3 above) 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Debbie Scholem

Mendelssohn, Fanny. Cantata: Job (1831).

11

Brahms, J. Hyperion’s song of destiny. 15 Song of the Fates, op 89.

11

Nänie, op 82 (1880-81).

14

Sydney University Graduate Choir/ Christopher Bowen (all above) Part 2: From Ensemble 24 Beethoven, L. Trio in G, op 9 no 1 (1796).

John Harding, vn; Esther van Stralen, va; Peter Morrison, vc.

24 21:30 THREE COMPOSERS; THREE COUNTRIES Prepared by Frank Morrison Tchaikovsky, P. Marche slave, op 31 (1876).

Concertgebouw O/Bernard Haitink.

Decca 478 5867 10 Martucci, G. Notturno, op 70 no 1 (1891). La Scala PO/Riccardo Muti.

Sony SK 53 280 7 Ziehrer, C. Wiener Bürger, op 419. Vienna SO/Robert Stolz.

Eurodisc 258 666 8 22:00 DIFFERING PATHS OF THE 20TH CENTURY Prepared by Di Cox Casella, A. Scarlattiana, op 44 (1926).

Marisa Tanzini, pf; Berlin RSO/Gerd Albrecht.

Schwann 11611 28 Hindemith, P. Little chamber music for five wind instruments, op 24 no 2 (1922).

Quintetto Scarlatti.

Nuova Era 7075 13 Ginastera, A. Harp concerto, op 25 (1956).

Alice Giles, hp; Adelaide SO/David Porcelijn.

ABC 454 506-2 23 Honegger, A. Pastorale d’été, symphonic poem (1920). Bavarian RSO/Charles Dutoit.

Erato 2292-45242-2 8 Berg, A. Lyric suite (1926). Ludwig Quartet.

Timpani 1C1005 28 Edwards, R. Prelude and dragonfly dance (1991). Synergy.

Tall Poppies TP030 8 April 2016

fineMusic 102.5

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Friday 8 April 0:00 CONTEMPORARY COLLECTIVE

Vierne, L. Carillon de Westminster (1927). 7

3:00 CLASSICAL TILL DAWN

Davies, H. Walford A solemn melody (1908).

4

Fletcher, P. Festival toccata (1915).

7

6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Janine Burrus

Boëllmann, L. Toccata, from Suite gothique, op 25 (1895).

3

9:00 DIVERSIONS IN FINE MUSIC Only strings Prepared by Emyr Evans

David Scott Whiteley, org (all above) Priory PRCD 5003

Martin, F. Etudes for string orchestra (195556). I Musici.

Philips 426 669-2 19 Kats-Chernin, E. Wild rice (1996). David Pereira, vc.

Tall Poppies TP096

8

Glanville-Hicks, P. Sonata for harp (1952).

Marshall McGuire, hp.

Tall Poppies TP071 10 Bach, J.S. Chaconne, from Partita no 2 in D minor, BWV1004 (1720). Andrés Segovia, gui.

Cedar TH 121185 12 Dvorák, A. Serenade for strings, op 22 (1875). London PO/Christopher Hogwood.

Decca 448 981-2 31 10:30 MORNING CONCERT Prepared by Rex Burgess Mozart, W. Overture to Lucio Silla, K135 (1772). London SO/Peter Maag.

Decca 466 500-2

9

d’Albert, E. Piano concerto in B minor, op 2 (1884). Piers Lane, pf; BBC Scottish SO/ Alun Francis.

Hyperion CDA66747 44 12:00 NOONTIME JAZZ with Peter Mitchell

Widor, C-M. Toccata, from Symphony no 5 (1879).

6 Elgar, E. Nimrod, from Enigma variations, op 36 (1898-99).

4 3

Bach, J.S. Chorale prelude: Liebster Jesu, wir sind hier, BWV706 (c1708-14).

4 Toccata and fugue in D minor, BWV565. 9

30

Mahler, G. In diesem Wetter, from Kindertotenlieder (1901-04). Bernardette Greevy, mezz; National SO of Ireland/ János Fürst.

Naxos 8.554156 7 Chopin, F. Prelude in D flat, op 28 no 15, Raindrop (1836-39). Marilyn Meier, pf.

EMI 7017962 6 Rodrigo, J. Sounds of the weathercock (1963). Catherine Michel, hp; Monte Carlo National Opera O/Antonio de Almeida.

LP Philips 6500 812 8

Berlioz, H. Royal hunt and storm, from The Trojans (1856-58). City of Birmingham O/ Louis Frémaux.

EMI CDM 1 66434-2 9 Britten, B. Canticle 3: Still falls the rain, op 55 (1954). Anthony Rolfe Johnson, ten; Michael Thompson, hn; Roger Vignoles, pf.

Hyperion CDA66498 12 Korngold, E. The Snowman, excerpts (1908; orch. Zemlinsky 1910). Peter Manning, vn; BBC PO/Matthias Bamert.

Chandos CHAN 9631 23 Koehne, G. Rainforest (1982). Sydney SO/ Louis Frémaux.

LP ABC AC 1076 13

13:00 PATRICK THOMAS PRESENTS Pipe dreams from York Minster

Kinder, R. In springtime.

Tchaikovsky, P. Overture to The storm, op 76 (1864). London SO/Gennady Rozhdestvensky.

IMP PCD 878 14

Rimsky-Korsakov, N. Suite from The snow maiden (1898). Czecho-Slovak RSO/ Donald Johanos.

Naxos 8.553247 13

Chausson, E. Poème de l’amour et de la mer, op 19 (1882-90). Françoise Pollet, sop; Monte Carlo PO/Armin Jordan.

FNAC 592275 29

Clarke, J. Trumpet tune.

14:00 WEATHER REPORT Prepared by Randolph Magri-Overend

4

16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Lloyd Capps 19:00 FRIDAY JAZZ SESSION with Sally Cameron 20:00 THE ROMANTIC CENTURY Prepared by Judy Ekstein Clementi, M. Sonata in G minor, op 50 no 3, Didone abbandonata (pub. 1821). Mario Patuzzi, pf.

Nuova Era 7210 24

For a digital schedule turn to page 21 or find online: www.finemusicfm.com/digital.html

Beethoven, L. Trio, op 87 (1794). Marilyn Zupnik, ob; Kathryn Greenbank, ob; Elizabeth Starr, cora.

ASV QS 6192 22 Berwald, F. Piano concerto in D (1855).

Marian Migdal, pf; Royal PO/Ulf Björlin.

EMI CDM 5 65073 2 21 Berlioz, H. Harold in Italy, op 16 (1834).

Nobuko Imai, va; London SO/Colin Davis.

Philips 442 290-2 42 22:00 BAROQUE AND BEFORE All in the family Prepared by Andrew Dziedzic Couperin, L. Duo; Fantasy. Joseph Payne, org.

Naxos 8.553215

5

Couperin, F. Troisième leçon de ténèbres (pub. 1717). Anna Fraser, sop; Jane Sheldon, sop; Salut! Baroque.

Salut Baroque SAL009 13 Couperin, M. Marche des drapeaux de Mr de la Pierre le vieux; Menuet en rondeau; Petit branle de Mr Paul de la Pierre; Entrée de mariniers de Couperin (pub. c1695). Davitt Moroney, virginals.

Hyperion CDA67164 3 Couperin, F. Le rossingol en amour, from Pieces for harpsichord, bk 3 (1722). Frans Brüggen, rec; Gustav Leonhardt, hpd.

LP Telefunken SMA 25073 8 Couperin, L. Chaconne. Michael Dudman, org.

Walsingham 3 WAL 8023 2 2 Couperin, F. The French, from The nations (1726). Musica Antiqua Cologne/ Reinhard Goebel.

DLP G 410 901-1 20 Couperin, L. Suite in A minor, from Pièces de clavecin. Richard Eggar, hpd.

Harmonia Mundi HMU 907511.14 12 Couperin, F. Quatrième concert, from Les goûts-réunis ou Nouveaux concerts (1724).

Musica Ad Rhenum.

Brilliant Classics 94489 10 Couperin, A-L. La Françoise, from Les quatres nations (c1750). William Christie, hpd.

Harmonia Mundi HMA 1901051 6 Couperin, F. Suite no 2, from Pièces de violes (1728). Jordi Savall, va da gamba; Ariane Maurette, va da gamba; Ton Koopman, hpd.

Alia Vox AVSA9893 20 Douzième concert, from Les GoûtsRéunis ou Nouveaux Concerts (1724).

Musica Ad Rhenum.

Brilliant Classics 94489 6

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

14:00 BOHEMIAN CHAMBER WORKS Prepared by Frank Morrison Dvorák, A. Slavonic fantasie in B minor (1878-86; arr. Kreisler). Mischa Elman, vn; Joseph Seiger, pf.

Vanguard OVC 8028 6

9:30 MINING THE MAJORS Prepared by Raj Gopalakrishnan

Myslivecek, J. Octet no 3 in B flat. Sabine Meyer Wind Ensemble.

EMI 5 55512 2 9

Bartók, B. Romanian folk dances (1917).

Hungarian State SO/Adám Fischer.

Nimbus NI 5309 7

Martinu, B. Variations on a Slovak theme (1959). David Pereira, vc; David Bollard, pf.

Tall Poppies TP010 11

Alfvén, H. The prodigal son, ballet suite (1957). National SO of Ireland/Niklas Willén.

Naxos 8.555072 19

14:30 LES FêTES D’HÉBÉ Prepared by Di Cox

Nyman, M. Piano concerto (1993). Kathryn Stott, pf; Royal Liverpool PO/Michael Nyman.

Argo 443 382-2 32 Brumby, C. Festival overture on Australian themes. West Australian SO/Richard Mills.

ABC 442 374-2 9 Popper, D. Mazurka, op 11 no 3 (1874). Mark Kosower, vc; Jee-Won Oh, pf.

Naxos 8.570570 4 Tchaikovsky, P. Symphony no 2 in C minor, op 17, Little Russian (1872). Concertgebouw O/Bernard Haitink.

Decca 478 5867 35

Rameau, J-P. Les fêtes d’ Hébé (ou les talens liriques), opera-ballet (1739). Les Arts Florissants/William Christie.

Erato 21064-2 2:28 Couperin, F. Suite no 1, from Pièces de violes (1728). Jordi Savall, va da gamba; Ariane Maurette, va da gamba; Ton Koopman, hpd.

Alia Vox AVSA9893 24 17:30 ARTS IN FOCUS

Anon. Greensleeves (arr. Richard Purvis).

RJE Productions RJE1173 4

Ellington, D. Satin Doll (arr. Nestico). Tyler Kuebler, sax; Jess Martin, tb.

5

Saint-Saëns, C. Bacchanale, from Samson and Delilah (1877).

RJE Productions RJE9 8

Moten - Buster - Benny. Moten swing (arr.

Wilkins). Rich Sigler, tpt.

5

Excerpts from The carnival of the animals, op 43 (1886).

RJE Productions 1393 13

Steve Erickson, pf (3 above) Altissimo ALT61652

Tchaikovsky, P. Excerpts from Swan lake.

RJE Productions GBC1788 14

Wilby, P. Dawn flight. Larry H. Lang, cond.

Naxos 8.573405 8

Ponchielli, A. Dance of the hours, from La Gioconda (1876).

RJE Productions ALA1783 9

Keller, D. Tribute to the trombones. Lowell E. Graham, cond.

Altissimo ALT60162 3 United States Air Force Band (all above) 12:00 JAZZ SATURDAY @ STUDIO A with Leita Hutchings 13:00 IN A SENTIMENTAL MOOD with Maureen Meers Nostalgic music and artists from the 30s, 40s and 50s and occasionally beyond, in a trip down many memory lanes

Jelani Eddington, org (all above) 19:00 THE MAGIC OF STAGE AND SCREEN Prepared by Maureen Meers Porter, C. Excerpts from Kiss me Kate (1953). Howard Keel, Kathryn Grayson, Ann Miller, voices; MGM Studio O/André Previn.

Original Sound Tracks 221848-207 18 Suite from Can Can (1953). O/Richard Hayman.

Naxos 8.990042

20:00 INFLUENCES AND CONNECTIONS Benjamin Britten Prepared by Rex Burgess Bridge, F. The sea (1910-11). English CO/ Benjamin Britten.

BBC BBCB 8007-2 21 Britten, B. Phantasy, op 2 (1932). François Leleux, ob; Guillaume Sutre, vn; Miguel da Silva, va; Marc Coppey, vc.

Harmonia Mundi HMN 911556 13 Benjamin, A. Cotillon (1938). Sydney SO/ Patrick Thomas.

ABC 442 374-2 11 Copland, A. Suite: Billy the Kid (1938). New Zealand SO/James Judd.

Naxos 8.559106 21 Britten, B. Our hunting fathers, op 8 (1936).

Felicity Lott, sop; Phyllis Bryn-Julson, sop; English CO/Steuart Bedford.

Naxos 8.557206 28 Four sea interludes, from Peter Grimes, op 33 (1945). Royal Opera House O, Covent Garden/Benjamin Britten.

ABC 480 7301 16

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

11:30 ON PARADE United States Air Force Band Prepared by Robert Small

Foster, F. Shiny stockings. Tim Leahey, tpt. 5

Excerpts from Anything goes (1934). Patti LuPone, Howard McGillin, Bill McCutcheon, voices; Cole Porter O. RCA Victor 7769-2 19

11

22:00 SATURDAY NIGHT AT HOME Prepared by Elaine Siversen Holst, G. Assemble, all ye maidens, from Seven partsongs, op 44 (1925-26). Isobel Collyer, sop; Holst Singers; Holst O/Hilary Davan Wetton.

Hyperion CDA66329 11 Parry, H. Lady Radnor’s suite (1894). London SO/Adrian Boult.

Lyrita SRCD 220 13 Schubert, F. String quartet no 14 in D minor, D810, Death and the maiden (1824).

Quartetto Italiano.

Philips 475 439-2 39 Carr, E. Ballet: The snow maiden (1963).

Queensland SO/Edwin Carr.

LP ABC/Kiwi-Pacific SLD 55 22 Trad. The singing maiden from afar; The fairy maiden scatters flowers. Shu-Cheen Yu, sop; Sinfonia Australis/Antony Walker.

ABC 472 223-2 8 Weill, K. Symphonic nocturne: Lady in the dark (1940; arr. Robert Russell Bennett).

Bournemouth SO/Marin Alsop.

Naxos 8.557481 18 April 2016

fineMusic 102.5

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Sunday 10 April 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SUNDAY MORNING MUSIC with Robert Small 9:00 MUSICA SACRA Prepared by Chris Blower Pachelbel, J. Magnificat in C. King’s Singers; Charivari Agréable/Kah-Ming Ng. Signum SIGCD198 20 Bruch, M. Kol nidrei, op 47 (1881). János Starker, vc; London SO/Antal Dorati.

Mercury 432 001-2 10 Ippolitov-Ivanov, M. Vespers, op 43 (1893).

Lege Artis Chamber Choir/Boris Abalyan.

Sony SMK 64091 24 10:00 THE CLASSICAL ERA Prepared by Richard Verco Reichardt, J. Violin concerto in E flat. RIAS Sinfonietta/Ernö Sebestyen, vn & dir.

LP Schwann VMS 2004 F 13 Bach, C.P.E. Flute quartet no 3 in G, Wq95 (1788). Les Adieux.

DHM GD 77052 18 Crusell, B. Clarinet concerto no 1 in E flat, op 1 (1803). Karl Leister, cl; Lahti SO/ Osmo Vänskä.

BIS CD-345 21 Cannabich, C. Symphony no 47 in G, op 10 (pub. 1772). Nicolaus Esterhazy Sinfonia/ Uwe Grodd.

Naxos 8.554340 11

String quartet no 2, Play on the water (1973).

Sydney Quartet.

ABC 462 007-2 26 Market gardens and musicians (2010).

Antonietta Loffredo, pf.

Wirripang Wirr 047

6

Red sun, chill wind (1980). Geoffrey Collins, fl; Nicholas Routley, pf.

Fine Music Tape Archive 7 Uluru mourns; Uluru dances (1996). David Pereira, vc.

Tall Poppies TP096 8 15:00 SUNDAY SPECIAL Wiliam Sterndale Bennett 1816-1875 Prepared by Elaine Siversen WILLIAM STERNDALE

BENNETT 200 Year Anniversary

Crotch, W. Overture in G (1815).

Unicorn-Kanchana DKP(CD) 9126

8

23

Mozart, W. Symphony no 29 in A, K201 (1774). Australian CO/Richard Tognetti.

Sony SK 53356

Potter, C. Symphony no 8 in E flat, mvt 1 (1828) Unicorn-Kanchana DKPCD 9091 14

26

Milton Keynes CO/Hilary Davan Wetton (2 above)

13:00 WORLD MUSIC: Whirled Wide 14:00 ANNE BOYD, CELEBRATING 70 YEARS Prepared by Elaine Siversen Boyd, A. Goldfish through summer rain (1978). Geoffrey Collins, fl; David Miller, pf.

Tall Poppies TP127 5

Bennett, W. Sterndale Piano concerto no 1 in D minor, op 1 (1832; ed. Byers). Malcolm Binns, pf; London PO/Nicholas Braithwaite.

Lyrita SRCD 204 24 Overture: The Naiades, op 15 (1836).

Philharmonia O/Nicholas Braithwaite.

Lyrita SRCD 206

13

Schumann, R. Theme; Variations one and two; Finale, from Symphonic studies, op 13 (1834-37). Shura Cherkassky, pf.

Philips 456 745-2 12 Mendelssohn, F. Symphony no 3 in A minor, op 56, Scottish (1842). London SO/Claudio Abbado.

Decca 478 5365 37

For a digital schedule turn to page 21 or find online: www.finemusicfm.com/digital.html

17:00 HOSANNA Prepared by Heather Sykes Handel, G. I know that my Redeemer liveth, from Messiah, HWV56 (1742).

Mozart, W. Laudate Dominum, from Vesperae solennes de confessores, K339 (1780).

10 Aled Jones, ten; BBC Welsh Ch (2 above) Virgin 787 8232 Walton, W. Set me as a seal upon thine heart.

Bouzignac, G. Surge, amica mea.

6

Laudibus/Mike Brewer (2 above) Delphian DCD 34042

Salieri, A. Ballet: Les Danaïdes (1784).

Mannheim Mozart O/Thomas Fey. Hänssler 98.506

12:00 SYDNEY JAZZ CLUB PRESENTS 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

32

Claudio Abbado

Various. I will lift up mine eyes; Greater love hath no man; Thou wilt keep him. Choir of Guildford Cathedral; Peter Wright, org; Andrew Millington, cond.

Priory PRCD 257 16 Hymns: Now the green blade riseth; Most glorious Lord of life; Life’s glittering morn. Christ Church St Laurence Choir & O/Neil McEwan.

CCSL 13 Various. Hosanna to the son of David; Carol: A brighter dawn is breaking; This joyful Easter tide; Jesus lives. Choir of Goulburn Cathedral/Paul Paviour.

Loves Redeeming Work GCV 210 12 18:00 GUITAR IN CONCERT Paganini, N. Guitar quartet no 1 in A minor, op 4 (1806-16). Anthea Gifford, gui; Mozart String Trio.

Denon CO 77069 22 Schubert, F. Fifteen original dances from D365 (arr. Schubert). Gil Shaham, vn; Göran Söllscher, gui.

DG 479 2565 12 Tórroba, F. Moreno Concierto ibérico. Pepe Romero, gui; Los Romeros.

Decca 478 5669 21

Sunday 10 April

Monday 11 April 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Robert Small 9:00 DIVERSIONS IN FINE MUSIC A year in retrospect: 1760 Prepared by Francis Frank Rameau, J-P. Overture to Les paladins (1760). New Philharmonia O/Raymond Leppard.

Philips 446 569-2

6

19:00 SUNDAY NIGHT CONCERT Prepared by Judy Ekstein

Garth, J. Cello concerto no 2 in B flat, op 1 (pub. 1760). Alexander Baillie, vc; European Union CO/Dmitri Demetriades.

Helios CDH55035 11

Beethoven, L. Overture to Egmont, op 84 (1809-10). Bavarian RSO/Colin Davis.

CBS MDK 44790 9

Boyce, W. Symphony no 7 in B flat (pub.

1760). English Concert/Trevor Pinnock.

Archiv 419 631-2

Boismortier, J. de Première sérénade ou première simphonie françoise, op 39. Le Concert Spirituel/Hervé Niquet.

Naxos 8.554295 33

Richter, F. Trumpet concerto in D (1760s).

Maurice André, tpt; Munich CO/Hans Stadlmair.

Decca 478 4664 15

Berlioz, H. Overture and entr’acte, from Beatrice and Benedict (1860-62). New York PO/Pierre Boulez.

Sony SM3K 64 103 9

Herschel, W. Symphony no 2 in D (1760).

London Mozart Players/Matthias Bamert.

Chandos CHAN 10048 10

Hervé Niquet

Bériot, C-A. de Violin concerto no 2 in B minor, op 32 (1835). Philippe Quint, vn; Slovak RSO/Kirk Trevor.

Naxos 8.570360 28 20:30 NEW HORIZONS Prepared by James Nightingale Greenbaum, S. Book of departures (2008).

NZ Trio.

ABC 481 0504 11 Adès, T. Violin concerto, Concentric paths (2005). Anthony Marwood, vn; CO of Europe/ Thomas Adès.

EMI 0 88560 2 20 Tulve, H. Lijnen (2003). Arianna Savall, voice; NYYD Ensemble/Olari Elts.

ECM New Series 1955 476 6389 Rigney, S. The garden of forking paths (2001). Slava Grigoryan, gui; Flinders Quartet.

ABC 476 227-1

10

14

Hsieh, A. Quartet: Towards the beginning.

Syzygy Ensemble.

Szygy Ensemble 7 Kay, D. Sonata 5 for piano: full circle (2008).

Vanessa Sharman, pf.

Tall Poppies TP210 16 22:00 AFTER HOURS JAZZ with Kevin Jones

9

Haydn, M. Horn concertino in D (1760-62).

Johannes Hinterholzer, hn; Salzburger Hofmusik/Wolfgang Brunner. cpo 777 538-2 15 Raupach, H. Either the sea gently skims the shore, from Siroe, King of Persia (1760).

Cecilia Bartoli, mezz; I Barocchisti/Diego Fasolis.

Decca 478 6767 6 Traetta, T. Overture to Armida (1760).

Concerto Köln/Pablo Heras-Casado.

Archiv 479 2050

5

10:30 MORNING CONCERT Prepared by Derek Parker Hérold, F. Overture to Zampa (1831). Royal Scottish NO/Lance Friedel.

Naxos 8.573418 8 Granados, E. Piano concerto in C minor, Patetico (1910). Melani Mestre, pf; BBC Scottish SO/Martyn Brabbins.

Hyperion CDA67918 36 Dvorák, A. Symphony no 7 in D minor, op 70 (1885). Czech PO/Jirí Belohlávek.

Decca 478 6757 38 12:00 SWING SESSIONS with John Buchanan 13:00 AT THE WEDDING Prepared by Anne Irish

Jirí Belohlávek Wagner, R. Bridal march, from Lohengrin (1848). Graham Jackson, org.

Sony 88697532502 3 Hartmann, E. Wedding music, op 2 (pub.

1876). Copenhagen PO/Bo Holten.

Dacapo 8.226041 7 Grieg, E. Wedding day at Troldhaugen, op 65 no 6 (1897). Eva Knardahl, pf.

BIS CD-106 7 Goldmark, K. Bridal song: Intermezzo, from Rustic wedding, op 26 (1877). Sydney SO/ John Lanchbery.

ABC 476 4621 3 Saint-Saëns, C. Wedding cake, valse-caprice in A flat, op 76 (1885). Stephen Hough, pf; City of Birmingham SO/Sakari Oramo.

Hyperion CDA 67331/2 6 Fröst, G. Brudvals för Karin och Martin.

Hermann Stefánsson, cl; Martin Fröst, cl; Sölve Kingstedt, cl; Åsa Hallerback Thedéen, vn; Christian Svarfar, vn; Göran Fröst, va; Torleif Thedéen, vc; Svante Henryson, db.

BIS BIS-SACD-1823 3 Mendelssohn, F. Wedding march, from incidental music to A midsummer night’s dream, op 61 (1842). Peter Hurford, org.

Decca 425 013-2

4

Gade, J. Wedding at Himmelpind, Rustic suite (1937). Odense SO/Matthias Aeschbacher.

Dacapo 6.220509 12 Brudevalsen, from the ballet Et folkesagn (1854). Danish National RSO/Michael Schønwandt.

Dacapo 8.224141 3 14:00 OPERA IN CONCERT Prepared by Giovanna Grech Wagner, R. Invocation of Alberich; Entrance of the gods into Valhalla, from Das Reingold (1853-54). Philadelphia O/Eugene Ormandy.

RCA VD87819 10 April 2016

fineMusic 102.5

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Tuesday 12 April

Monday 11 April Verdi, G. Sì, pel ciel marmoreo giuro! from Otello (1887). Jussi Björling, ten; Robert Merrill, bar; RCA Victor SO/Renato Cellini.

RCA GD 87799 4 Cherubini, L. Nemici senza cor, from Medea (1797). Gwyneth Jones, sop; Bruno Prevedi, ten; St Cecilia Academy O/Lamberto Gardelli.

Decca 440 844-2 5 Borodin, A. Polovtsian dances, from Prince Igor (1890). London Symphony Ch & O/ Georg Solti.

Decca 455 632-2 14 Prokofiev, S. Kakoe pravo oni imieiut, from War and peace, op 91 (1944). Gabriela Benacková, sop; Czech PO/Vaclav Neumann.

Supraphon 11 2239-2 4 Handel, G. Verdi prati, from Alcina, HWV34 (1735). Andreas Scholl, ct; Akademie Für Alte Musik.

Harmonia Mundi HMC901685 4 Mascagni, P. Suzel, buon dì … Tutto tace, from L’amico Fritz (1891). Angela Gheorghiu, sop; Roberto Alagna, ten; Royal Opera House O/Richard Armstrong.

EMI 5 56117 2 9 15:00 EUROPEAN MUSICAL ROUNDABOUT Cologne Prepared by Francis Frank Marais, M. La sonnerie de Sainte Geneviève du Mont de Paris (pub. 1723).

Archiv 415298-2 8 Gluck, C. Ballet: Alessandro (1764).

Archiv 445 824-2

24

Musica Antiqua Cologne/Reinhard Goebel (2 above) Telemann, G. Suite no 3 in B minor (pub.

1734). Camerata Cologne. cpo 999 690-2 12

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

Tchaikovsky, P. Capriccio italien, op 45 (1880). Bournemouth SO/Andrew Litton.

Virgin VC 7 90761-2 16

9:00 DIVERSIONS IN FINE MUSIC Artist of choice: Dinu Lipatti Prepared by Anne Irish Bach, J.S. Jesu, joy of man’s desiring, BWV147 (1723; arr. Hess).

Philips 456 892-2

Debussy, C. Prélude à l’après-midi d’un faune (1894). London SO/Andre Previn.

EMI CDM 1 66432 2 10 3

Mozart, W. Piano sonata no 8 in A minor, K310 (1778).

EMI CDH 5 65166 2 14 Schubert, F. Impromptus, D899: no 3 in G flat; no 2 in E flat (1827).

EMI CDH 5 65166 2 9 Grieg, E. Piano concerto in A minor, op 16 (1868). Philharmonia O/Alceo Galliera.

Philips 456 892-2 29 Enescu, G. Piano sonata in D, op 24 no 3 (1933-35).

LP WRC 731 13 Brahms, J. Waltzes, op 39 (1865. arr.). Nadia Boulanger, pf.

Philips 456 892-2 8 Ravel, M. Alborada del gracioso, from Miroirs (1905).

Philips 456 892-2 6 Dinu Lipatti, pf (all above) 10:30 MORNING CONCERT Cui, C. Scherzo in C minor, op 82 no 3 (pub.

1910). Russian State SO/Valery Polyansky.

Chandos CHAN 10201 6 Hummel, J. Trumpet concerto in E (1803).

Geoffrey Payne, tpt; Melbourne SO/Michael Halász.

ABC 982 697-6 17

Heinichen, J. Concerto in F. Musica Antiqua, Cologne/Reinhard Goebel.

Archiv 437 549-2 8

Rachmaninov, S. Symphony no 2 in E minor, op 27 (1906-07). Sydney SO/Vladimir Ashkenazy.

Exton EXCL-00018 1:00

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

12:00 JAZZ RHYTHM with Jeannie McInnes

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

34

Shostakovich, D. Romance, from The gadfly (1955). Royal Liverpool PO/Libor Pesek.

Sony 88697290382 6

0:00 CONTEMPORARY COLLECTIVE

13:00 SONG AND DANCE with Randolph Magri-Overend 14:00 CLASSICAL JUKEBOX Part 4 Prepared by Randolph Magri-Overend Mendelssohn, F. Overture: The Hebrides, op 26, Fingal’s Cave (1830). Berlin PO/Herbert von Karajan.

EMI CDM 166433 2 10

For a digital schedule turn to page 21 or find online: www.finemusicfm.com/digital.html

Rimsky-Korsakov, N. Capriccio espagnol, op 34 (1887). Gothenburg SO/Neeme Järvi.

DG 423 606-2 16 Handel, G. Music for the royal fireworks, HWV351 (1749). Tasmanian SO/Graham Abbott.

ABC 476 4300 16 Beethoven, L. Symphony no 7 in A, op 92 (1811-12). Berlin PO/Herbert von Karajan.

DG 429 040-2 34 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Derek Parker 18:00 SYDNEY SYMPHONY 2016 Produced by Andrew Bukenya What’s on in concerts during the next month 19:00 THE JAZZ BEAT with Lloyd Capps 20:00 RECENT RELEASES with David Ogilvie 22:00 CHAMBER SOIRÉE Prepared by Frank Morrison Bach, J. Christian Sextet in C for oboe, two horns, violin, cello and keyboard. English Concert.

Archiv 423 385-2 17 Glinka, M. Trio pathétique in D minor (1832).

Oistrakh Trio.

Brilliant Classics 9272 16 Beethoven, L. String quartet in D, op 18 no 3 (1798-1800). New Budapest String Quartet.

Hyperion CDA66402 24 Villa-Lobos, H. Bachianas brasileiras no 4 (1930-41). Pro Arte Guitar Trio.

ASV WHL 2079 16 Janácek, L. String quartet no 1, Kreutzer sonata (1923). Doric String Quartet.

Chandos CHAN 10848 19 Debussy, C. Sonata for flute, viola and harp (1915). Members of Nash Ensemble.

Virgin VC 7 91148-2 17

Wednesday 13 April

Hildegard Behrens 0:00 CONTEMPORARY COLLECTIVE 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 Frank Morrison Bach, J.S. Cantata, BWV211: Schweigt stille, plaudert nicht, Coffee (c1734-35).

Julia Varady, sop; Aldo Baldin, ten; Dietrich Fischer-Dieskau, bass; Academy of St Martin in the Fields/Neville Marriner.

Philips 476 2758 27 Gluck, C. Suite du divertissement, from Iphigenia in Aulis (1774). Rhenish CO/Jan Corazolla.

Christophorus CHE 0064-2 10 Bach, C.P.E. Symphony in F, Wq183 no 3 (1780). English Concert/Andrew Manze.

Harmonia Mundi HMU 907403 10 Fasch, C. Triple concerto in E. John Anderson, ob; John Wallace, tpt; Peter Thomas, vn; Philharmonia O/Christopher Warren-Green.

Nimbus NI 7016 15 Handel, G. Music for the Royal Fireworks, HWV351 (1749). English Concert/Trevor Pinnock.

Archiv 453 451-2 18 10:30 MORNING CONCERT Prepared by Paul Hopwood Arensky, A. Suite no 2: Silhouettes, op 23 (1892). Danish National RSO/Neeme Järvi.

Chandos CHAN 8898 19 Boccherini, L. Cello concerto no 9 in B flat.

Jacqueline du Pré, vc; English CO/Daniel Barenboim.

EMI CMS 7 63283 2 23

Otto Klemperer Beethoven, L. Symphony no 5 in C minor, op 67 (1807-08). Philharmonia O/Otto Klemperer.

EMI CDC 7 47187 2 40 12:00 JAZZ SKETCHES with Robert Vale

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

5

Symphony no 2 in B minor, mvts 1 and 2 (1869-76). Vienna PO/Rafael Kubelik.

EMI CZS 5 68223 2 12 String quartet no 1 in A, mvts 3 and 4 (187479). Borodin Quartet.

Le Chant du Monde LDC 278 793 17 In the Steppes of Central Asia (1880).

Ukraine National RSO/Theodore Kuchar.

Naxos 8.557456

8

Nocturne, from String quartet no 2 in D (1885). Adelaide SO/David Stanhope.

ABC 481 0773

9

Polka (arr. Liszt). Leslie Howard, Philip Moore, pf.

Hyperion CDA66984

1

16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with James Hunter 19:00 JAZZ STARS AND STRIPES with Peter Mitchell

Strauss, R. Die Frau ohne Schatten.

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

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

Decca 478 3704 3:15

13:00 YOUNG VIRTUOSI

Borodin, A. Tarantella in D (1862). Joan Yarbrough, Robert Cowan, pf.

Pantheon D 07183

20:00 AT THE OPERA Prepared by Colleen Chesterman

As the Empress is the daughter of the Spirit-King she is barren and does not cast a shadow. She is ordered to return to her father while the Emperor is turned to stone.

She offers the dyer Barak’s wife wealth and a young lover in exchange for her shadow.

When the wife tells Barak she has renounced motherhood he attacks her. The Empress pities his distress and returns the shadow. All are transported to the Spirit-Kingdom. Though the Emperor is turned to stone, the Empress still refuses Barak’s wife’s shadow. Having shown humanity, she is given a shadow and all ends happily.

23:30 30 MINUTES OF ITALIAN CHAMBER Prepared by Phil Vendy Tartini, G. Concerto in D, D53 (arr. Wallace, Wright). Alison Balsom, tpt; Scottish Ensemble/Jonathan Morton.

Warner 4 56094 2 10 Malipiero, G. String quartet no 2, Stornelli e ballate (1923). Orpheus String Quartet.

ASV DCD 457 15

April 2016

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Thursday 14 April 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Simon Moore 9:00 DIVERSIONS IN FINE MUSIC Composer focus Prepared by Rex Burgess Rameau, J-P. Orchestral suite, from Les indes galantes (c1736). La Chapelle Royale O/Philippe Herreweghe.

Harmonia Mundi HMP 390808 15 Fifth concert, from Pièces de clavecin en concerts, op 2 no 2 (pub. 1741). Rachel Brown, fl; Mark Caudle, bass viol; James Johnstone, hpd.

Chandos CHAN 0544 13 Motet: Quam dilecta tabernacula tua (pub.

1722). Suzanne Gari, sop; Henri Ledroit, ct; Stephen Varcoe, bar; La Chapelle Royale Choir & O/Philippe Herreweghe.

Harmonia Mundi HM 901078 22 Scene 5, from Anacréon (1754). Agnès Mellon, sop; Jill Feldman, sop; René Schirrer, bar; Les Arts Florissants/William Christie.

Harmonia Mundi HMP 390808 14 Suite from Pygmalion (1748). European Union Baroque O/Roy Goodman.

Naxos 8.557490

20

10:30 MORNING CONCERT Prepared by Denis Patterson Williams, J. Main title, from Star wars. Los Angeles PO/Zubin Mehta.

ABC 534 3879 5 Mendelssohn, F. Concerto in D minor for violin, piano and strings (1823). Polina Leschenko, pf; Australian CO/Richard Tognetti.

BIS SACD-1984 35 Rachmaninov, S. Symphony no 1 in D minor, op 13 (1895). Sydney SO/Vladimir Ashkenazy.

Exton EXCL-00018 43 12:00 JAZZ, PURE AND SIMPLE with Maureen Meers 13:00 WILLIAM STERNDALE BENNETT 1816-1875 Prepared by Elaine Siversen WILLIAM STERNDALE

BENNETT 200 Year Anniversary

Bennett, W. Sterndale Three musical sketches, op 10 (1835-36); Geneviève (1839) Ilona Prunyi, pf.

Marco Polo 8.223512 11 36

Overture: Parisina, op 3 (1835). London PO/ Nicholas Braithwaite.

Lyrita SRCD 206 8

20:00 LIVE AND LOCAL Brahms sonatas for piano and violin Recorded by Kerry Joyner for FINE MUSIC

Piano concerto no 3 in C minor, op 9 (1834; ed. Byers). Malcolm Binns, pf; London PO/ Nicholas Braithwaite.

Lyrita SRCD 204 28

Brahms, J. Sonata in G, op 78 (1878). 25

Overture: The wood nymph, op 20 (1838).

London PO/Nicholas Braithwaite.

Lyrita SRCD 206 14 Mendelssohn, F. Andante and variations in B flat, op 83a (1840). Darryl Coote, Max Cooke, pf.

Move MD 3158 11 Bennett, W. Sterndale PIano concerto no 4 in F minor, op 19 (1838). BBC Scottish SO/ Howard Shelley, pf & dir.

Hyperion CDA 67595 28 Overture: The May queen (1844). London PO/Nicholas Braithwaite.

Lyrita SRCD 206 6 15:00 INTERMEZZI Prepared by Gael Golla Rimsky-Korsakov, N. Overture; Intermezzo, from The Tsar’s bride (1899). Moscow SO/ Igor Golovschin.

Naxos 8.553789 9 Brahms, J. Intermezzo in A, op 118 no 2 (1892). Roger Woodward, pf.

Artworks AW 001

7

Mussorgsky, M. Intermezzo in B minor.

USSR SO/Yevgeny Svetlanov.

Melodiya SUCD 10-00178

8

Dvorák, A. Intermezzo in B, op 40 (1874-83).

Duncan McTier, db; Chilingirian Quartet.

Chandos CHAN 9046 4 Puccini, G. Intermezzo, from Act II of Madame Butterfly (1904). Kiri Te Kanawa, sop; Lyon National Opera O/Kent Nagano.

Apex 2564 67391-4 8 Granados, E. Intermezzo des Goeyscas (c1909-12; transcr. Cassado). André Navarra, vc; Erika Kilcher, pf.

Calliope CAL 5673 5 Strauss, R. Travel fever and waltz scene, symphonic interlude, from Intermezzo, op 72 (1923). Sydney SO/Stuart Challender.

ABC 426 480-2 9 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Marilyn Schock 19:00 A JAZZ HOUR with Barry O’Sullivan

For a digital schedule turn to page 21 or find online: www.finemusicfm.com/digital.html

Sonata in A, op 100 (1886).

19

Sonata in D minor, op 108 (1888).

20

Ronald Thomas, vn; Jennifer Wakeling, pf (all above) 21:30 ART SONG Prepared by Jan Brown Wolf, H. Lied der Mignon. Elisabeth Schwarzkopf, sop; Gerald Moore, pf.

EMI 5 66084 2

7

Spohr, L. Schlaflied, op 72 no 6 (1826).

Marjorie Patterson, sop; Daniel Sarge, pf.

Marco Polo 8.223869 4 Schubert, F. An die Musik, D547 (1817); Die Taubenpost, D957, from Schwanengesang (1828). Teddy Tahu Rhodes, bass-bar; Kristian Chong, pf.

ABC 4764363 6 Schumann, R. Meine Rose, op 90 no 2 (1850).

Matthias Goerne, bar; Eric Schneider, pf.

Decca 475 6012 5 Brahms, J. Ach, Englische Schäferin, from 49 German folksongs (pub. 1894). Edith Mathis, sop; Peter Schreier, ten; Karl Engel, pf.

DG 439 441-2 3 22:00 DIFFERING PATHS OF THE 20TH CENTURY Prepared by Phil Vendy Varèse, E. Arcana (1925-27). Chicago SO/ Pierre Boulez.

DG 471 137-2 20 Dukas, P. La péri (1912). Suisse Romande O/Armin Jordan.

Erato 2292-45221-2 21 Koechlin, C. Le buisson ardent, op 203, 171 (1938/1945).

Marco Polo 8.223704 38 Roussel, A. Symphony no 1, op 7, Le poème de la forêt (1904-06).

Cybelia CY 801 32 Rhineland Palatinate State PO/Leif Segerstam (2 above)

Friday 15 April 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 Only strings Prepared by Di Cox Nielsen, C. Little suite for strings, op 1 (1888/89). Musica Vitae/Wojciech Rajski.

BIS CD-461

Brahms, J. Serenade no 2 in A, op 16 (185760). London SO/István Kertész.

Decca 448 197-2 30

Respighi, O. Nocturne, from La boutique fantasque, op 40 (1919). Scottish NO/Alexander Gibson.

Chandos CHAN 6503 5

22:00 BAROQUE AND BEFORE Prepared by Elaine Siversen Part 1: The rise of the stile galante in Germany

Poulenc, F. Les biches (1923). Ulster O/Yan Pascal Tortelier.

Chandos CHAN 9023 20 15

Paganini, N. Trio in D for strings and guitar (1833). Jean-Jacques Kantorow, vn; Mari Fujiwara, vc; Anthea Gifford, gui.

Denon CO 77069 21 Debussy, C. Danse sacrée; Danse profane for harp, two violins, viola and double bass (1904).

Dominique Desjardins, db; Isabelle Moretti, hp; members of Quatuor Parisii. naive V 5129 10 Brahms, J. Andante, from String sextet no 1 in B flat, op 18 (1858-60; arr. Matthews). London PO/Carl Davis.

Virgin VC 7 90716-2 9 Elgar, E. Introduction and allegro for strings, op 47 (1904-05). BBC SO/Andrew Davis.

Teldec 9031-73279-2 15 Hebden, J. Concerto no 4 in E flat for strings (c1748). Cantilena/Adrian Shepherd.

Chandos CHAN 8339 10 10:30 MORNING CONCERT Prepared by Paul Cooke Liszt, F. Symphonic poem: Les préludes (1848).

Vienna PO/Giuseppe Sinopoli.

DG 478 4234 16 Bach, C.P.E. Flute concerto in G, Wq169 (c1755). Patrick Gallois, fl; Karl-Phillip Emanuel Bach CO/Peter Schreier.

DG 439 895-2 25 Raff, J. Symphony no 8 in A, op 205 Frühlingsklänge (1876). Czecho-Slovak State PO/Urs Schneider.

Marco Polo 8.223362 42 12:00 NOONTIME JAZZ with Peter Mitchell 13:00 PATRICK THOMAS PRESENTS Horace Keats: The poet’s composer Keats, H. Movement (c1936). Marina Marsden, vn; Elizabeth Neville, vc.

4 Echo (1936). Phillipa Candy, pf.

Debussy, C. Jeux (1912). Ulster O/Yan Pascal Tortelier.

Chandos CHAN 8903 18

4

Janet Webb, fl (2 above) Plucking the rushes.

3

The point of noon (1936); The fishing pools (1934).

6

Ravel, M. Daphnis and Chloë suite no 2 (1905).

London SO/Charles Mackerras.

Centaur CRC 2090 16 Stravinsky, I. Suite no 1 from The firebird (1911). New York PO/Leonard Bernstein.

CBS MYK 42540

21

15:00 TENORS PAST AND PRESENT Prepared by Randolph Magri-Overend Mahler, G. Drinking song of the earth’s sorrows, from The song of the earth (1909). Jon Vickers, ten; London SO/Colin Davis.

ABC 480 3616 8 Donizetti, G. Tombe degli ai miei, from Lucia di Lammermoor (1835). Plácido Domingo, ten; Metropolitan Opera O/James Levine.

DG 429 374-2 8 Verdi, G. Invano, Alvaro … Le minaccie, i fieri accenti, from La forza del destino (1962). Enrico Caruso, ten; Pasquale Amato, bar.

RCA GD 60495 8 Donizetti, G. Venti scudi from L’elisir d’amore (1832). Jerry Hadley, ten; Thomas Hampson, bar; Welsh National Opera O/Carlo Rizzi.

Teldec 9031-73283-2 9 Verdi, G. Già nella notte densa, from Otello (1887). Teresa Zylis-Gara, sop; Franco Corelli, ten; Metropolitan Opera O/Karl Böhm.

Decca 467 918-2 11 Mozart, W. Dies Bildnis ist bezaubernd schön, from The magic flute, K620 (1791). Fritz Wunderlich, ten; Munich RSO. Orfeo C 445 961 B 4 Puccini, G. O soave fanciulla, from La bohème (1896). Nuccia Focile, sop; Luciano Pavarotti, ten; Royal PO/Maurizio Benini.

Decca 443 260-2 4 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Brendan Walsh

20:00 THE ROMANTIC CENTURY Prepared by Frank Morrison 23

Linden String Quartet (3 above)

Albéniz, I. Suite española (1886; orch.

Frühbeck de Burgos). New Philharmonia O/ Rafael Frühbeck de Burgos.

Decca 433 905-2 38

13:30 DIAGHILEV AND THE BALLETS RUSSES Prepared by Gael Golla

Mendelssohn, Fanny. String quartet in E flat (1834). Erato Quartet Basel. cpo 999 679-2 20

Louise Page, sop (3 above) Sea-wraith (1939).

3

Caldara, A. Cantata: Sella ria (c1709-16).

Wren Baroque Soloists/Martin Elliott.

Unicorn-Kanchana DKP(CD)9130

5

Hasse, J. Fugue and grave in G minor (c1735). Musica Antiqua Cologne/Reinhard Goebel.

Archiv 453 435-2 10 Fux, J. Plaudite, sonat tuba (1736). Kurt Equiluz, ten; Stephen Keavy, tpt; Capella Caldara/Uwe Christian Harrer.

Philips 422 997-2

18

Wagenseil, G. Symphony in B flat (c1755).

L’Orfeo Baroque O/Michi Gaig. cpo 999 450-2 15 Schütz, H. Deutsche Magnificat (1671).

Heinrich Schütz Choir; Charles Spink, org; Symphonie Sacrae Chamber Ensemble/Roger Norrington.

Decca 430 632-2 8 Part 2: The glory of Venice: Giovanni Gabrieli Gabrieli, G. Toccata secondo tono; Intonazione primo tono; Intonazione quinto tono alla quarta bassa (pub. 1593). Jan Waterfield, org (1); William Whitehead, org (2 & 3).

Signum SIGCD287 3 Angelus ad pastores; O magnum mysterium (pub. 1587). Gabrieli Festival Choir & O/ Edmond Appia.

Vanguard 08 2007 71 6 Sonata VI octavi toni a 8, Pian e forte, from Symphoniæ sacrae, bk 1 (pub. 1597). Wallace Collection/Simon Wright.

Nimbus NI 5236 4 Buccinate in neomenia tuba à 19; In ecclesiis, from Symphoniae sacrae, bk 2 (pub. 1615) Gabrieli Consort and Players/Paul McCreesh.

Archiv 449 180-2 11 Sonata for three violins (pub. 1615). John Holloway, vn; Stanley Ritchie, vn; Andrew Manze, vn; Mary Springfels, va da gamba; Nigel North, theorbo; John Toll, hpd.

Harmonia Mundi HMU 907091

19:00 FRIDAY JAZZ SESSION with Sally Cameron

Arriaga, J. String quartet no 1 in D minor (1824). Camerata Boccherini.

Naxos 8.557628

Muffat, G. Toccata no 11 in C minor (1690).

René Saorgin, org.

Harmonia Mundi HMX 2908250.79 6

4

Jubilate Deo (pub. 1615). Charles Brett, ct; William Kendall, ten; Peter Hall, ten; Ian Caddy, bass; Choir of King’s College, Cambridge; Richard Farnes, Stephen Layton, org; Philip Jones Brass Ensemble/Stephen Cleobury.

Decca 448 993-2 5 Canzon in echo duodecimi toni à 10; Canzon primi toni à 10, from Symphoniae sacrae, bk 1 (pub. 1597). London SO brass/Eric Crees.

Naxos 8.554129 6 April 2016

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Saturday 16 April 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SATURDAY MORNING MUSIC with Stephen Wilson

14:00 EBONY AND IVORY Prepared by Randolph Magri-Overend

9:00 WHAT’S ON IN MUSIC Our weekly guide to musical events in and around Sydney 9:30 MINING THE MAJORS Prepared by Brian Drummond

Handel, G. Harpsichord concerto in A, op 6 no 11 (1739). English Concert; Trevor Pinnock, hpd & dir.

Archiv 410 899-2 17

Handel, G. Sonata in D (1750). Cynthia O’Brien, vn; John O’Donnell, hpd.

Move MD 3126

Chopin, F. Prelude in B minor, op 28 no 6 (1836-39). Marilyn Meier, pf.

EMI 7017962 2

11

Mozart, L. Sinfonia in D. Toronto CO/Kevin Mallon.

Naxos 8.570499 14 Haydn, J. Symphony in C, Hob.I:7, Midday (1761). English Concert/Trevor Pinnock.

Archiv 423098-2 22 Mozart, W. Sonata in B flat, K8 (1763-64).

Pinchas Zukerman, vn; Marc Neikrug, pf.

RCA RD 60447 10 Boccherini, L. String quintet in E, op 13 no 5 (1771). Alexander Schneider, vn; Felix Galimir, vn; Michael Tree, va; David Soyer, vc; Lynn Harrell, vc.

Vanguard OVC 8006 24 Mozart, W. Violin concerto no 5 in A, K219 (1775). Australian CO/Richard Tognetti, vn & dir.

BIS SACD 1754 28

Saint-Saëns, C. Symphony no 3 in C minor, op 78, Organ (1886). Marie-Claire Alain, org; French National RO/Jean Martinon. apex 8573 89244 2 35 15:00 TIME AND TRUTH Handel, G. The triumph of time and truth, HWV71 (1757). Gillian Fisher, sop; Emma Kirkby, sop; Charles Brett, ct; Ian Partridge, ten; Stephen Varcoe, bass; London Handel Ch & O/Denys Darlow.

Hyperion CDA66071/72 2:04 Mozart, W. Oboe quartet in F, K370 (1781).

Max Artved, ob; Elise Båtnes, vn; Tue Lautrup, va; Lars Holm Johansen, vc.

Naxos 8.557361 18 17:30 THE VOICES, THE ROLES with Angela Cockburn

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

18:00 SOCIETY SPOT Classical Guitar Society Prepared by Sue McCreadie

Anderson, L. Belle of the Ball. Allentown Band/Ronald Demkee.

AMP 2E 119

York, A. Quiccan. Los Angeles Guitar Quartet.

Delos DE3163

3

Webb, J. MacArthur Park. Buy-As-You-View Band/Robert Childs.

Doyen DOY 195 9 Green, G.H. Charleston capers. James Mayer, xylophone; Randy Edelman, perc; Allentown Band/Ronald Demkee.

AMP 28173 A 3 Trad. Zurich march. Buy-As-You-View Band/ Robert Childs.

Doyen DOY 215 2 Saint-Saëns, C. Softly awakes my heart, from Samson and Delilah (1877). Phillip McCann, cornet; Sellers Engineering Band/ Roy Newsome.

Chandos CHAN 4521 6 12:00 JAZZ SATURDAY @ STUDIO A with Leita Hutchings 38

Bellinati, P. A furioso. Aquarelle Guitar Quartet.

Chandos CHAN 10512

13:00 G&S HOUR with Randolph Magri-Overend

6

Brouwer, L. Acerca del cielo, el ayre y la sonrisa (1985). Guitar Symphionetta/Leo Brouwer.

Giulia GS20100 10 O’Donoghue, R. Gypsy journey. Fraternity. www.classicalguitarsydney.org 7 Houghton, P. Nocturne; Wave radiance.

Guitar Trek.

Tall Poppies TP221 10

For a digital schedule turn to page 21 or find online: www.finemusicfm.com/digital.html

York, A. Bantu. Los Angeles Guitar Quartet.

Delos DE3163 2 19:00 THE MAGIC OF STAGE AND SCREEN Prepared by Sue Jowell Bob Fosse and all that jazz 20:00 INFLUENCES AND CONNECTIONS Eugene Ysaÿe Prepared by Maddy Tropmann and Rebecca Zhong Ysaÿe, E. Paganini variations for string quartet (arr. Jacques Ysaÿe). Kryptos Quartet.

Klara KTC 4034

10

Chausson, E. Poème, op 25 (1896).

Christian Ferras, vn; Pierre Barbizet, pf; Belgian NO/Georges Sébastian.

DG 480 6655

19

Ysaÿe, E. Sonata for solo cello, op 28 (1923).

Ole-Eirik Ree, vc.

Naxos 8.570977 12 Saint-Saëns, C. Caprice, op 52 (1877; arr. Ysaÿe). Kyung Wha Chung, vn; Phillip Moll, pf.

Decca 417 289-2 8 Debussy, C. String quartet in G minor, op 10 (1893). Australian String Quartet.

ABC 476 690-4 27

Sculthorpe, P. Little suite for strings (1983).

Concordia Mandolin and Guitar Ensemble/ Basil Hawkins.

Move MD 3378 8

Svoboda, P. Aurora; Wongaling. Aurora Guitar Ensemble/Pal Svoboda. paulsvoboda.com

4

6

Beethoven, L. Faithful Johnie, op 108 no 20 (1818). Janet Baker, mezz; Yehudi Menuhin, vn; Ross Pople, vc; George Malcolm, pf.

Testament SBT 1241 4 Franck, C. Violin sonata in A (1886).

Christian Ferras, vn; Pierre Barbizet, pf.

DG 480 6655

27

22:00 SATURDAY NIGHT AT HOME Brixi, F. Missa a Bono Pastore in F (1756).

Ludmilla Vernerova-Novakova, sop; Yvonna Skvarova, cont; Richard Sporka, ten; Jiri Kalendovsky, bass; Josef Ksica, org; Prague Chamber Choir/Robert Stankovsky.

Cantus Classics CACD 8.00136 41 Myslivecek, J. Wind octet no 1 in E flat.

Oldrich Vlcek, cond.

Cantus Classics CACD 8.00128 D 16 Virtuosi di Praga (2 above) Mahler, G. Symphony no 1 in D, Titan (1888).

Ljubljana SO/Anton Nanut.

Stradivari SCD 6011 54

Sunday 17 April Bennett, W. Sterndale Sonata duo in A, op 32 (1852). György Kertész, vc; Kálmán Dráfi, pf.

Marco Polo 8.223304 24 Meyerbeer, G. En vain j’espère ... Idole de ma vie, from Robert le Diable (1831). Joan Sutherland, sop; Suisse Romande O/Richard Bonynge.

Decca 475 6302 9

Péter Kubina 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SUNDAY MORNING MUSIC with Paul Roper 9:00 MUSICA SACRA Prepared by Rex Burgess Biber, H. Sonata XI, The resurrection, from Mystery sonatas (c1676). Suzanne Laudenbacher, vn; Johannes Koch, va da gamba; Rudolf Zwerhart, org.

Jagel 25407-82 10 Bach, J.S. Cantata BWV31: Der Himmel lacht, die Erde jubilieret (1715). Bach Collegium Japan/Masaaki Suzuki.

BIS CD-9024/26 20 Messiaen, O. Et exspecto resurrectionem mortuorum (1964). Cleveland O/Pierre Boulez.

DG 445 827-2 25 10:00 THE CLASSICAL ERA Prepared by Sheila Catzel Haydn, J. Symphony in D, Hob.I:1 (c1759).

Philharmonia Hungarica/Antal Dorati.

Decca 425 900-2 13 Bach, C.P.E. Flute quartet no 3 in G, Wq95 (1788). Nicholas McGegan, fl; Catherine Mackintosh, va; Anthony Pleeth, vc; Christopher Hogwood, fp.

L’Oiseau-Lyre 433189-2 17 Ries, F. Introduction and polonaise, op 174 (1833). Christopher Hinterhuber, pf; Gävle SO/Uwe Grodd.

Naxos 8.557844 15 Rode, P. Violin concerto no 9 in C, op 17 (1808). Friedemann Eichhorn, vn; Jena PO/ Nicolás Pasquet.

Naxos 8.572755 21 Solère, E. Symphony concertante in F (pub.

1790). Thea King, cl; Georgina Dobrée, cl; English CO/Andrew Litton.

Hyperion CDD 22017 18

Schumann, C. Romance in B flat minor, op 11 no 1 (1839); Variations on a theme of Robert Schumann, op 20 (1853). Hélène Boschi, pf.

Calliope CAL 9211 13 Valery Polyansky Hummel, J. Bassoon concerto in F (1805).

Valery Popov, bn; Russian State SO/Valery Polyansky.

Chandos CHAN 9656 25 12:00 SYDNEY JAZZ CLUB PRESENTS Speak easy, swing hard with Richard Hughes

Ilona Prunyi, pf (2 above)

14:00 WALTZES, PROMENADES AND GALOPPS Prepared by Frank Morrison

17:00 HOSANNA Prepared by Richard Munge

Strauss, J. II Emperor waltz, op 437 (1889).

Philharmonia PO/Henry Krips.

EMI CDM 1 66422 2 9

2

Martinu, B. Promenades (1939). Members of Feinstein Ensemble.

Naxos 8.553459 8 Chopin, F. Waltz in A minor, op 34 no 2.

Daniel Barenboim, pf.

DG 477 9519

6

Lanner, J. Tarantell-Galopp, op 125. Vienna PO/Riccardo Muti.

DG 474 900-2 2 Prokofiev, S. Schubert waltzes suite (1923).

Aglika Genova, pf, Liuben Dimitrov, pf. cpo 999 599-2 9 Elgar, E. Six promenades (1878). Athena Ensemble.

Chandos CHAN 241-33 14 15:00 SUNDAY SPECIAL William Sterndale Bennett 1816-1875 Prepared by Elaine Siversen WILLIAM STERNDALE

BENNETT 200 Year Anniversary

Bennett, W. Sterndale Rondo piacevole in E, op 25 (1842); Scherzo in E minor, op 27 (1847).

Marco Polo 8.223512 9 Piano sextet in F sharp minor, op 8 (1835).

András Kiss, vn; Ferenc Balogh, vn; Lászlo Bársony, va; Kárily Botvay, vc; Péter Kubina, db.

Marco Polo 8.223304 38

13:00 WORLD MUSIC: Whirled Wide

Lumbye, H. Champagner-Galopp, op 14 (1845). Vienna PO/Zubin Mehta.

Sony 88875035492

Joachim, J. Romanze, op 2 no 1 (c1850); Notturno, op 12 (c1860). Daniel Hope, vn; Sebastian Knauer, pf.

DG 477 9301 15

Hymns: O worship the King; All things bright and beautiful; When morning gilds the skies.

Choir of St Paul’s Cathedral; John Scott, org; Barry Rose, cond.

Guild GMCD 7106 10 Psalm no 24: The earth is the Lord’s.

Jonathan Bielby, org.

3

Psalm no 96: O sing unto the Lord a new song. John Scott, org.

4

Choir of St John’s College, Cambridge/ George Guest (2 above) Decca 452941-2 Dyson, G. Evening service in D. Choir of St Paul’s Cathedral; Christopher Dearnley, org; John Scott, cond.

Helios CDH 55402 8 Handel, G. Zadok the priest, HWV258 (1727).

6

Parry, H. I was glad.

7

Choir of Newcastle Cathedral; Sydney Voices; Newcastle Tudor Singers; Newcastle Cathedral Festival Ch & O/Christopher Dearnley (2 above) Chartreuse CRCD 1292 Attwood, T. Come, Holy Ghost, our souls inspire.

5 Wood, C. O thou, the central orb, from Oxford church anthems.

April 2016

fineMusic 102.5

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Sunday 17 April

Monday 18 April 12:00 SWING SESSIONS with John Buchanan

Simon Ellis, treb; Choir of Ely Cathedral; Stephen le Prevost, org; Arthur Wills, cond (2 above) Helios CDH 88006

13:00 RELAXING ROMANTICS Prepared by Angela Bell

Hymns: The day thou gavest Lord is ended; Praise, my soul, the King of heaven. Choir of St Paul’s Cathedral; John Scott, org; Barry Rose, cond.

Guild GMCD 7106 6

Stenhammar, W. Serenade in F, op 31 (1911-13). Gothenburg SO/Neeme Järvi.

DG 445 857-2 33 Tchaikovsky, P. Excerpts from Album for the young, op 39 (1878). Borodin Quartet. apex 0927 49815 2 6

Lynnwood - Farnam. Toccata on O filii et filiæ. June Nixon, org.

Walsingham WAL 8002-2 3 18:00 SMALL FORCES Prepared by Barrie Brockwell

Yehudi Menuhin

Haydn, J. Flute trio in C, Hob.IV:1, London (1794). Jean-Pierre Rampal, fl; Isaac Stern, vn; Mstislav Rostropovich, vc.

CBS 37786 8 Bach, J.S. Contrapunctus 9 a 4 alla duodecima, from The art of fugue, BWV1080 (1742-49). Fretwork.

Harmonia Mundi HMX 2907296 2 Brahms, J. Piano quartet no 1 in G minor, op 25 (1861). Marc-André Hamelin, pf; Leopold String Trio.

Hyperion CDA67471/2 40

6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with James Hunter

Spohr, L. Piano quintet in D, op 130 (1845).

Jacqueline Hartley, vn; Thelma Handy, vn; Martin Outram, va; Lionel Handy, vc; Caroline Clemmow, pf.

Naxos 8.553206 32

9:00 DIVERSIONS IN FINE MUSIC A year in retrospect: 1844 Prepared by Di Cox Suppé, F. Overture to Morning, noon and night in Vienna. Montreal SO/Charles Dutoit.

Decca 414 408-2 8

19:00 SUNDAY NIGHT CONCERT Prepared by Barrie Brockwell

Chopin, F. Piano sonata no 3 in B minor, op 58 (1844). Martha Argerich, pf.

DG 477 7557 27

Heinichen, J. Concerto in F. Musica Antiqua Köln/Reinhard Goebel.

Archiv 479 1110 9

Strauss, J. II Serailtänze, op 5 (1844). CSSR State PO/Richard Edlinger.

Marco Polo 8.223204 9

Bax, A. Summer music (1917-20). Ulster O/ Bryden Thomson.

Chandos CHAN 8307 10

Kalliwoda, J. Oboe concertino in F, op 110 (1844). Diana Doherty, ob; Queensland SO/ Werner Andreas Albert.

ABC 456 681-2 16

Busoni, F. Indianische fantasie, op 44 (191314). Nelson Goerner, pf; BBC PO/Neeme Järvi.

Chandos CHAN 10302 23 Dvorák, A. Symphony no 9 in E minor, op 95, From the New World (1893). Chicago SO/ Rafael Kubelik.

Mercury 478 5092 38 20:30 NEW HORIZONS Prepared by Nev Dorrington Vollenweider, A. Suite: Behind the gardens (1980).

CBS 4676292 19 Book of roses (1991).

Columbia 4688272

46

Andreas Vollenweider, hp (2 above) Micus, S. For Nobuko (1985). Stephan Micus, gui.

ECM JAPO 60041 22:00 AFTER HOURS JAZZ with Kevin Jones 40

0:00 CLASSIC-ALL THROUGH THE NIGHT

22

Bottesini, G. Passioni amorose (1870).

Thomas Martin, db; Franco Petracchi, db; London SO/Matthew Gibson.

Naxos 8.570398 11

Mendelssohn, F. Hear my Prayer ... O for the wings of a dove (1844). Kirsten Flagstad, sop; London PO/Adrian Boult.

Decca 448 902-2 12 Meyerbeer, G. Torch dance no 1 in B flat, from Dances for Prussian royal weddings (1844). Hanover RPO/Michail Jurowski. cpo 999 168-2 9

14:30 THE ART OF THE BASSOON Prepared by Sheila Catzel Hertel, J. Bassoon concerto in A minor.

Daniel Smith, bn; English CO/Philip Ledger.

ASV CDQS 6177 17 Pleyel, I. Trio concertant in E flat for two clarinets and bassoon. Members of Consortium Classicum/Dieter Klöcker. cpo 999 743-2

Danzi, F. Bassoon quartet in B flat, op 40 no 3 (pub. c1814). Robert Thompson, bn; Roger Coull, vn; David Curtis, va; John Todd, vc.

CRD 3503 19 Rossini, G. Bassoon concerto. Karen Geoghegan, bn; BBC PO/Gianandrea Noseda.

Chandos CHAN 10613

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

Brumby, C. Paean (1975). Sydney SO/ Patrick Thomas.

ABC 476 4570

19:00 JAZZ NICE ‘N EASY with Ken Weatherley

Saint-Saëns, C. Piano concerto no 2 in G minor, op 22 (1868). Pascal Rogé, pf; Royal PO/Charles Dutoit.

Decca 478 3156-67 24 Elgar, E. Symphony no 2 in E flat, op 63 (1911). Royal PO/Yehudi Menuhin.

Virgin VC7 91182-2 53

For a digital schedule turn to page 21 or find online: www.finemusicfm.com/digital.html

18

Mozart, W. Bassoon concerto in B flat, K191 (1774). Danny Bond, bn; Academy of Ancient Music/Christopher Hogwood.

L’Oiseau-Lyre 417 622-2 16

10:30 MORNING CONCERT Prepared by Anne Irish

6

12

20:00 STORMY MONDAY with Austin Harrison and Garth Sundberg 22:00 THE AUSTRALIAN JAZZ SCENE with Susan Gai Dowling and Peter Nelson

Tuesday 19 April Bernstein, L. Prelude, fugue and riffs (1949).

Harmen de Boer, cl; Netherlands Wind Ensemble/Richard Dufallo.

Chandos CHAN 9210 8 Martinu, B. Jazz suite (1928). Zdenek Jílek, pf; members of Prague SO/Zbynek Vostrák.

Supraphon SU 3058-2 011 12 Bolling, C. Sentimentale, from Suite for flute and jazz piano (1975).

ABC 481 0307 6

Riccardo Muti 12:00 JAZZ RHYTHM with Jeannie McInnes

0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN

Falla, M. de Suite populaire espagnole (1914-15). David Bollard, pf.

Tall Poppies TP 078

BENNETT 200 Year Anniversary

13

Sculthorpe, P. Tailitnama song (1974; arr.

1989).

Tall Poppies TP 136 6 Zemlinsky, A. Trio for piano, clarinet and cello, op 3 (1896). Murray Khouri, cl.

LP Philips 416 000-1 23 Brahms, J. Six songs (1896).

Tall Poppies TP 078

15

David Bollard, pf (2 above) Bach, J.S. Cello suite no 3 in C, BWV1009 (c 1720).

Tall Poppies TP144 23 David Pereira, vc (all above) 10:30 MORNING CONCERT Prepared by Frank Morrison Kodály, Z. Suite from Háry János, op 15 (1927). Chicago SO/Neeme Järvi.

Chandos CHAN 8877 25 Danzi, F. Bassoon concerto in C. Albrecht Holder, bn; New Brandenberg PO/Nicolás Pasquet.

Naxos 8.554273 16 Tchaikovsky, P. Symphony no 1 in G minor, op 13, Winter Dreams (1866/74). New Philharmonia O/Riccardo Muti.

EMI CZS 7 67318 2 43

Irish melody.

ABC 481 0307

3

Shostakovich, D. Jazz suite no 1 (1934).

Royal Concertgebouw O/Riccardo Chailly.

Decca 433 702-2 8

WILLIAM STERNDALE

9:00 DIVERSIONS IN FINE MUSIC Artist of choice: David Pereira Prepared by Elaine Siversen

4

Jane Rutter, fl; David Mibus, pf (3 above)

13:00 WILLIAM STERNDALE BENNETT 1816-1875 Prepared by Elaine Siversen

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

Veloce.

ABC 476 4837

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

Lyrita SRCD 205 33 Bach, J.S. Erbarme dich mein Gott, from St Matthew Passion, BWV244 (c1727). Marilyn Horne, mezz; Alfred Starr, vn; Vienna Cantata O/Henry Lewis.

Decca 448 902-2 7 Gebt mir meinen Jesum wieder! from St Matthew Passion. Teddy Tahu Rhodes, bassbar; O of the Antipodes/Antony Walker.

ABC 476 3871 3

Stravinsky, I. Scherzo à la russe for jazz band (1944). Birmingham SO/Simon Rattle.

EMI 7 49178 2 4 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 CHAMBER SOIRÉE Prepared by Sheila Catzel

Sullivan, A. Overture in C, In memoriam (1866). RTE Concert O/Andrew Penny.

Marco Polo 8.223461 12

Telemann, G. Tuesday, from Scherzi melodichi (pub. 1734). Ensemble Symposium.

Brilliant Classics 94330 10

Parry, H. Three songs, op 12 (1872).

Stephen Varcoe, bar; Clifford Benson, pf.

Hyperion CDA67044

Mahler, G. Piano quartet in A minor. Sascha Maisky, vn; Lyda Chen, va; Mischa Maisky, vc; Lily Maisky, pf.

EMI 7 21119 2 13

7

Bennett, W. Sterndale Piano sonata in A flat, op 46, The Maid of Orleans (1873). Ilona Prunyi, pf.

Marco Polo 8.223512 21 Symphony in G minor, op 43 (1864). London PO/Nicholas Braithwaite.

Lyrita SRCD 206 24 15:00 A TASTE OF JAZZ Prepared by Emyr Evans Gross, E. Sydney Harbour blues and Little jazzeroo (1989). Ray Reznik, pf.

Jade JADCD 1035 3

Farrenc, L. Trio, op 45 (c1861). Emanuel Ensemble.

Champs Hill Records CHRCD023 25 Enescu, G. Quintet in A minor, op 29 (1940).

Alexandra Wood, vn; Douglas Paterson, va; Schubert Ensemble.

Chandos CHAN 10790 34 Onslow, G. Piano trio, op 27 (1824). Trio Cascades. cpo 777 230-2 29 April 2016

fineMusic 102.5

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Wednesday 20 April 0:00 CONTEMPORARY COLLECTIVE 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 Jennifer Foong Pokorny, F. Horn concerto in D. Hermann Baumann, hn; Academy of St Martin in the Fields/Iona Brown.

Philips 422 346-2 16 Myslivecek, J. Octet no 2 in E flat. Sabine Meyer Wind Ensemble.

EMI 5 55512 2 10 Kozeluch, L. Piano sonata in D minor, op 20 no 3 (1786). Christine Faron, fp.

Schwann 3-1059-2 16 Dussek, J. Sonata in C minor, op 35 no 3 (pub. 1797). Gabriella dall’Olio, hp.

Claves 50 9301 7 Zelenka, J. Sonata no 2 in G minor, from Six sonatas for two oboes, bassoon and continuo (c1715). Jürg Schaeftlein, ob; Paul Hailperin, ob; Milan Turkovic, bn; Nikolaus Harnoncourt, vc; Herbert Tachezi, hpd.

Teldec 8.42415 18 Vanhal, J. Sinfonia in F. Umea Sinfonietta/ Jukka-Pekka Saraste.

BIS CD-288 14 10:30 MORNING CONCERT Prepared by Michael Field Bizet, G. Suite no 1 from L’arlésienne (1872).

Philharmonia O/Herbert von Karajan.

EMI CDM 1 66424 2 17 Somervell, A. Normandy, symphonic variations (1912). Martin Roscoe, pf; BBC Scottish SO/Martyn Brabbins.

Hyperion CDA 67837 21 Ravel, M. Piano concerto for the left hand (1931). Jean-Efflam Bavouzet, pf; BBC SO/ Yan Pascal Tortelier.

Chandos CHSA 5084 18 Lalo, E. Symphony in G minor (1885-86).

French National RO/Thomas Beecham.

EMI 5 62948 2 27 12:00 JAZZ SKETCHES with Robert Vale 13:00 YOUNG VIRTUOSI 14:00 IN CONVERSATION with Michael Morton-Evans 42

Edward Downes

John Eliot Gardiner

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

from Circé, the sorceress. Circé falls in love with Glaucus and puts him under a spell.

But when a friend tells him Scylla is asking for him the spell is broken. Circé swears revenge. The lovers reunite but Circé plots to poison Scylla. The people of Sicily gather at a fountain for a celebration of their liberation from the Cyclops. Scylla looks into the fountain which Circe has poisoned. She turns into a rock in the shape of a woman. Circé rejoices in Glaucus’s misery.

Borodin, A. Piano quintet in C minor, mvt 3 (1862). Ilona Prunyi, pf; New Budapest String Quartet.

Marco Polo 8.223172 12 Overture; Galitzky’s aria; Konchak’s aria; Polovtsian dances, from Prince Igor (arr.

Rimsky-Korsakov, Glazunov 1890). Nicolai Ghiaurov, bass; London Symphony Ch & O/ Edward Downes.

Decca 455 632-2 36 Scherzo in A flat (1885). Marco Rapetti, pf.

Brilliant Classics 94410 3 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Tom Forrester-Paton 19:00 JAZZ STARS AND STRIPES with Peter Mitchell 20:00 AT THE OPERA Prepared by Colleen Chesterman Leclair, J-M. Scylla et Glaucus. Lyric tragedy in a prologue and five acts. Libretto by d’Albaret, based on Ovid’s Metamorphosen.

First performed Paris, 1746.

SCYLLA: Donna Brown, sop GLAUCUS: Howard Crook, ten CIRCÉ: Rachel Yakar, sop Monteverdi Choir; English Baroque Soloists/ John Eliot Gardiner.

Erato ECD 75339 2:50 The nymph Scylla is equally cold to all of her lovers, including Glaucus, a young sea-god in Neptune’s court. Led to despair by the hardness of her heart, he seeks help

For a digital schedule turn to page 21 or find online: www.finemusicfm.com/digital.html

23:00 NO WITHERING ON THIS VINE Prepared by Emyr Evans Vine, C. Five bagatelles. Ian Munro, pf.

Tall Poppies TP080

10

Café concertino (1984). Geoffrey Collins, fl; Nigel Westlake, cl; Dene Olding, vn; Irena Morozova, va; Julian Smiles, vc; David Bollard, pf.

Tall Poppies TP013 11 Celebrare Celeberrime (1993). Sydney SO/ Edo de Waart.

ABC 476 717-9 5 Love me sweet (1994; arr. O’Leary).

Gondwana Voices/Mark O’Leary.

Gondwana Voices CDGV001

4

Love me sweet, from incidental music to The Battlers. Diana Doherty, ob; Alexandre Oguey, cora; Sinfonia Australis/Mark Summerbell.

ABC 481 0116 4 String quartet no 4 (2004). Takács Quartet.

Tall Poppies TP176 17

Thursday 21 April Chabrier, E. Rhapsody: España (1883).

Montreal SO/Charles Dutoit.

Decca 421 527-2

6

Liszt, F. Hungarian rhapsody no 2 in C sharp minor (1846-85). Shura Cherkassky, pf.

Nimbus NI 7701 10 Popper, D. Hungarian rhapsody, op 68 (pub.

1894). Maria Kliegel, vc; Nicolaus Esterházy Sinfonia/Gerhard Markson.

Naxos 8.554657 8 Dvorák, A. Slavonic rhapsody in G minor, op 45 no 2 (1878). Czech PO/Václav Neumann.

Teldec 8.44072 12

Pyotr Ilyich Tchaikovsky

Brahms, J. Alto rhapsody, op 53 (1869).

Kathleen Ferrier, cont; London Philharmonic Ch & O/Clemens Krauss.

Decca 421 299-2 16

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

14:00 LATIN HORIZONS Prepared by David Ogilvie 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm With Sue Jowell

9:00 DIVERSIONS IN FINE MUSIC Composer focus Prepared by Madilina Tresca Alkan, C-V. Trio in G minor, op 30 (pub.

1841). Trio Alkan.

Marco Polo 8.223383 Piano concerto, op 39 (pub. 1857; orch. Klindworth). Dmitry Feofanov, pf; Razumovsky SO/Robert Stankovsky.

Naxos 8.553702 Fantasy in A flat for left hand, from Trois grandes études, op 76 (c1838). Ronald Smith, pf.

Arabesque Z 6604

19:00 A JAZZ HOUR with Barry O’Sullivan 21

25

20:00 LIVE AND LOCAL Remembrance Recorded by Greg Ghavalas for FINE MUSIC on 14 November 2015 in the Brigidine College Auditorium

Bax, A. This worldes joie (1923).

7

Williams, J. Hymn to the fallen, from Saving Private Ryan (1998). Choirs of Abbotsleigh, Barker and Brigidine Colleges.

7

10:30 MORNING CONCERT Prepared by Michael Morton-Evans

Giazotto, R. Adagio in G minor for strings and organ (attrib. Albinoni; pub. 1958). Louise Keller, org.

7

12:00 JAZZ, PURE AND SIMPLE with Maureen Meers 13:00 ROMANTIC RHAPSODIES Prepared by Gael Golla

22:00 DIFFERING PATHS OF THE 20TH CENTURY Prepared by Robert Small

Sculthorpe, P. Small town (1976),

Grand duo concertant, op 21 (c1840). Tedi Papavrami, vn; Huseyin Sermet, pf.

Auvidis V 4680 22

Tchaikovsky, P. Symphony no 3 in D, op 29, Polish (1875). Philharmonia O/Riccardo Muti.

EMI CZS 7 67318 2 43

Handel, G. Te Deum for the peace of Utrecht, 7 July 1713, HWV278. Julia Gooding, sop; Sophie Daneman, sop; Robin Blaze, ct; Rogers Covey-Crump, ten; Mark Le Brocq, ten; Andrew Dale Forbes, bass; Choir of St Paul’s Cathedral; Parley of Instruments/John Scott.

Hyperion CDA67009 18

Holst, G. Mars, the bringer of war, from The planets (1916).

8 Coates, E. March: The dambusters (1955). 5

Pixis, J. Piano concerto in C, op 100 (1829).

Tasmanian SO/Howard Shelley, pf & dir.

Hyperion CDA67915 26

21:40 THE PEACE OF 1713 Prepared by Elaine Siversen

Vaughan Williams, R. Flos campi: suite for viola, chorus and orchestra (1925). Roger Benedict, va; Cantillation; Sydney SO/Mark Wigglesworth.

Melba MR301131 20

11

Holst, G. A moorside suite. Grimethorpe Colliery RJB Band/Garry Cutt.

Chandos CHAN 4553 15

Vernon Handley

Sibelius, J. Finlandia, op 26 (1899-1900). 8 Tchaikovsky, P. Marche slave (1876).

11

Williams, J. Theme from Schindler’s list (1993). Anne Marie Braid, vn.

4

Collins, B. Odyssey: They came with songs into battle (2015). Elle Bortolotti, sop; Philip Heath, narr.

19 Holst, G. Venus, the bringer of peace, from The planets (1916).

10

7

Howells, H. In youth is pleasure (1915); Before me, careless lying (1918); The summer is coming (1965).

15 Bax, A. Five Greek folk songs (1944).

11

Finzi Singers/Paul Spicer (3 above) Chandos CHAN 9139 Vaughan Williams, R. Suite for viola and small orchestra (1933-34). Roger Chase, va; BBC Concert O/Stephen Bell.

Dutton Epoch CDLX 7295 24 Bax, A. Enchanted summer, from Prometheus unbound (1910). Anne WilliamsKing, sop; Lynore McWhirter, sop; Barry Griffiths, vn; Brighton Festival Ch; Royal PO/ Vernon Handley.

Chandos CHAN 8625 28

Choirs of Abbotsleigh, Barker and Brigidine Colleges (2 above) Ku-ring-gai PO/Steven Hillinger (all above)

April 2016

fineMusic 102.5

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Friday 22 April 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 Only strings Prepared by Sheila Catzel Beethoven, L. Duo in E flat, WoO32, Eyeglass (1796). Laurence Power, va; Paul Watkins, vc.

Hyperion CDA67745 14 Mozart, W. Allegro, fragment from String trio in G, K562e (1788). Henning Kraggerud, vn; Lars Anders Tomter, va; Christoph Richter, vc.

Naxos 8.572258 4 Sibelius, J Suite for violin and strings, op 117 (1929). Dong-Suk Kang, vn; Lahti SO/Osmo Vänskä.

BIS CD-575 7 Elgar, E. Introduction and allegro for strings, op 47 (1904-05). James Davis, vn; Pierre Joubert, vn; Helen Roberts, va; Sylvia Knussen, vc; English String O/William Boughton.

Nimbus NI 7015 13 Herzogenberg, H. String trio in F, op 27 no 2 (1879). Belcanto Strings. cpo 999 710-2 24 Janácek, L. Suite for strings (1877).

Janácek CO. Chandos CHAN 10678

19

Séjan, L-N. Duo concertante no 1, op 10 (pub. 1828). Marielle Nordmann, hp; Brigitte Haudebourg, pf.

Arion ARN 68285 13

Holzbauer, I. Sinfonia à 3 in G. Camerata Cologne. cpo 999 580-2 10

Berlioz, H. Tristia, op 18 (1831/48).

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

Philips 446 676-2

Pleyel, I. Sinfonia concertante no 5 in F (c1800). Hansjürgen Möhring, fl; Gunther Passin, ob; Jürgen Gode, bn; Walter Lexutt, hn; Cologne CO/Helmut Müller-Brühl.

Koch schwann 316 038 F1 21 14:00 YEHUDI MENUHIN Born 22 April 1916 Prepared by Sheila Catzel Schubert, F. Overture in D in the Italian style, D590 (1817). Menuhin FO/Yehudi Menuhin.

EMI 1 66445 2 8 Bach, J.S. Double concerto, BWV1043 (c1730). George Enescu, vn; Paris SO/Pierre Monteux.

Naxos 8.110965 16 Beethoven, L. Sonata in F, op 24, Spring (1805). Wilhelm Kempff, pf.

DG 459 433-2 26 Yehudi Menuhin, vn (2 above) Elgar, E. Coronation march, op 65 (1911).

Royal PO/Yehudi Menuhin.

Virgin VC 7 91175-2 11

10:30 MORNING CONCERT Prepared by Judy Ekstein

Brahms, J. Violin sonata no 3 in D minor, op 108 (1886-88). Hephzibah Menuhin, pf.

Naxos 8.110771 20

Beethoven, L. Overture to Leonore, op 72a no 3 (1806). Bavarian RSO/Colin Davis.

CBS MDK 44790 16

Paganini, N. Violin concerto no 2 in B minor, op 7 (1826). Royal PO/Alberto Erede.

EMI 5 72854 2 28

Haydn, J. Symphony in G, Hob.I:88 (c1787).

Friedrich Dolezal, vc; Austro-Hungarian Haydn O/Àdám Fischer.

Nimbus NI 5417/8 22

Yehudi Menuhin, vn (2 above)

Bottesini, G. Gran duetto no 2 (1880). Ernö Sebestyén, va; Wolfgang Güttler, db.

Schwann 311 042 H1 18 Borodin, A. Symphony no 2 in B minor (1869-76; rev. Rimsky-Korsakov, Glazunov).

London SO/Jean Martinon.

Decca 455 632-2 25 12:00 NOONTIME JAZZ with Peter Mitchell

44

Biber, H. Passacaglia in G minor, from Mystery sonatas (c1676). Reinhard Goebel, vn; Musica Antiqua Cologne.

Archiv 431 656-2 7

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 Jadin, H. Sonata in F, op 6 no 3 (pub. 1804).

Jean-Claude Pennetier, pf.

Harmonia Mundi HMC 901189 15

13:00 EUROPEAN ROUNDABOUT Cologne Prepared by Francis Frank

Duport, J-L. Cello concerto no 5 in D (c1806). Frédéric Lodéon, vc; Paris Orchestral Ensemble/Jean-Pierre Wallez.

LP Erato NUM 75185 20

Leclair, J-M. Overture in D, op 13 no 2 (pub.

1753). Musica Antiqua Cologne/Reinhard Goebel.

Archiv 415 298-2 13

Lhoyer, A. de Duo concertant in C, op 31 no 2 (1814). Matteo Mela, gui; Lorenzo Micheli, gui.

Naxos 8.570146 16

For a digital schedule turn to page 21 or find online: www.finemusicfm.com/digital.html

18

Godard, B. Piano concerto no 1 in A minor, op 31 (1875). Victor Sangiorgio, pf; Royal Scottish NO/Martin Yates.

RSNO CDLX 7274 29 22:00 BAROQUE AND BEFORE Prepared by Rex Burgess Gallo, D. Sonata no 7 in G minor. Parnassi musici. cpo 999 717-2 6 Jacquet de la Guerre, E-C. Le sommeil d’Ulisse (1715). Isabelle Desrochers, sop; Les Voix Humaines.

Alpha 06 23 Anon. Cantigas de Santa Maria: nos 353, 10, 2. Cantigas.

Move MD 3177 11 Cantigas de Santa Maria: nos 279, 250, 120.

Sinfonye/Stevie Wishart.

Alma Viva 05 0110 8 Muset, C. En mai, quant li rossignolez.

Paul Hillier, voice; Andrew Lawrence-King, portative org.

Harmonia Mundi HMU 907184 7 Sweelinck, J. Est-ce mars. Peter-Jan Belder, hpd.

Radio Netherlands 95091 5 Pavana lachrimae. Nicholas Parle, virginals.

MBS 26 5 Ouder de linde groen. Camerata Trajectina.

Globe GLO 6013 5 Da pacem, Domine, in diebus nostris. Gustav Leonhardt, org.

Harmonia Mundi GD 77148 9 Hildegard of Bingen. Columba aspexit per cancellos, from Symphonia armonie celestium revelationum. Emma Kirkby, sop; Emily van Evera, sop; Poppy Holden, sop; Judith Stell, sop; Doreen Muskett, hurdygurdy.

5 O ignis spiritus. Gothic Voices/Christopher Page.

5 O præsul vere civitatis (c1150). Margaret Philpot, cont.

O Jerusalem. Gothic Voices/Christopher Page.

Hyperion CDA66039 (4 above)

6 8

Saturday 23 April 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SATURDAY MORNING MUSIC with Peter Bell 9:00 WHAT’S ON IN MUSIC Our weekly guide to musical events in and around Sydney 9:30 MINING THE MAJORS Prepared by Di Cox Handel, G. Amaryllis suite (arr. Beecham).

Royal PO/Yehudi Menuhin.

ASV RPO 8002 19 Purcell, H. Come if you dare, from King Arthur (1691). Paul Elliott, ten; Deller Choir; The King’s Musick/Alfred Deller.

Harmonia Mundi HMX 290605.07 6 Parry, H. English suite (1921). London SO/ Adrian Boult.

Lyrita SRCD 220 21 Brahms, J. Two rhapsodies, op 79 (1879). Jenö Jandó, pf.

Naxos 8.570290 15 Elgar, E. Violin concerto, op 61 (1910). Tasmin Little, vn; Royal Scottish NO/Andrew Davis.

Chandos CHSA 5083 50 11:30 ON PARADE Prepared by Paul Hopwood Sedaka-Cody Solitaire.

5

Mozart, W. Overture to The magic flute, K620 (1791; arr. Kenyon).

7 Rolls Royce Coventry Brass Band (2 above) Soho SOHOCD051 Williams, J. Medley from Indiana Jones and the temple of doom.

5 Barry, J. Medley of themes from James Bond movies.

6 Alford, K. Colonel Bogey, from Bridge on the River Kwai.

3 Grimethorpe Colliery U.K. Coal Band (3 above) RCA 74321 88393 2 12:00 JAZZ SATURDAY @ STUDIO A with Leita Hutchings 13:00 IN A SENTIMENTAL MOOD with Maureen Meers Nostalgic music and artists from the 30s, 40s and 50s and occasionally beyond, in a trip down many memory lanes 14:00 ROMANTIC KEYBOARD Prepared by Di Cox Grieg, E. Lyric pieces, bk 5, op 54 (1891). Leif Ove Andsnes, pf.

Virgin VC 7 59300 2 23 Liszt, F. Piano sonata in B minor (1852-53).

Marc-André Hamelin, pf.

Hyperion CDA67760 31 15:00 SHAKESPEARE IN MUSIC on the 400th anniversary of his death Prepared by Stephen Wilson

Johnson, R. Where the bee sucks, from The tempest (1611). Robin Blaze, ct; Elizabeth Kenny, lute.

Hyperion CDA67126 1

Porter, C. Excerpts from Can Can (1953). Frank Sinatra, Maurice Chevalier, Louis Jourdan, Shirley MacLaine, voices.

Hallmark mcps 710142 17

Tchaikovsky, P. Symphonic fantasy: The tempest, op 18 (1873). SO of Russia/Veronika Dudarova.

Olympia OCD 512 A&B 24

Various. Excerpts from With a song in my heart (1952). Jane Froman, voice. drg 19054 12

Anon. Then they for sudden joy did weep, from King Lear. Deller Consort.

Harmonia Mundi HMA 190202 1

Rodgers, R. Excerpts from On your toes (1936). Vera Zorina, Bobby Van, Elaine Stritch, voices; O/Salvatore Dell’Isola.

Broadway Gold MCAD 11575 19

Balakirev, M. Overture to King Lear (1859).

BBC PO/Vassily Sinaisky.

Chandos CHAN 9667 11

20:00 INFLUENCES AND CONNECTIONS Nadia Boulanger Prepared by James Nightingale

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

Decca 414 450-2 9

Boulanger, N. Fantasy (1912). David Greilsammer, pf; French Radio PO/Steven Sloane. naïve V 5224 20

Liszt, F. Symphonic poem no 10: Hamlet, S104 (1858). London PO/Bernard Haitink.

Philips 438 754-2 14 Verdi, G. Ehi! paggio! ... L’onore! Ladri, from Falstaff (1893). Jonathan Lemalu, bass-bar; New Zealand SO/James Judd.

EMI 5 57605 2 5 Beethoven, L. 10 Variations on La stessa, la stessissimo from Salieri’s Falstaff, WoO73 (1799). Ronald Brautigam, fp.

BIS SACD-1673 9 Verdi, G. Già nella notte densa, from Otello (1887). Kiri Te Kanawa, sop; Plácido Domingo, ten; Chicago SO/Georg Solti.

Decca 478 4884 10 Ernst, H. Fantaisie brillante, op 11, after Rossini’s Otello (1839). Ilya Grubert, vn; Russian PO/Dmitry Yablonsky.

Naxos 8.557565 Anon. When that I was, from Twelfth Night.

Deller Consort.

Harmonia Mundi HMA 190202

15 2

MacKenzie, A. Concert overture: Twelfth night, op 40 (1888). BBC Scottish SO/Martyn Brabbins.

Hyperion CDA66764 19 Vaughan Williams, R. Serenade to music (1939). Pearl Berridge, sop; Elaine Blighton, sop; Janet Delpratt,sop; Marilyn Richardson, sop; Lauris Elms, mezz; Ruth Gurner, mezz; Helen McKinnon, mezz;Suzanne McLeod, mezz; Ronald Dowd, ten; Gerald English, ten; Raymond McDonald, ten; David Parker, ten; Lyall Bevan, bass; Robert Dawe, bass;Graham McIntosh, bass; Donald Shanks, bass; Sydney SO/Patrick Thomas.

ABC 476 4565 12 17:30 ARTS IN FOCUS 18:00 SOCIETY SPOT Sydney Schubert Society Prepared by Ross Hayes 19:00 THE MAGIC OF STAGE AND SCREEN Prepared by Maureen Meers

Copland, A. Two pieces (1923-28). Brodsky Quartet.

Chandos CHAN 10801 10 Piston, W. Symphony no 2, mvt 3 (1943).

Seattle SO/Gerard Schwarz.

Naxos 8.559161

4

Françaix, J. Concertino (1932). Jean-Yves Thibaudet, pf; Montreal SO/Charles Dutoit.

Decca 452 448-2

9

Glanville-Hicks, P. Gymnopédie no 1, from Three gymnopédies (1934). Sydney SO/Myer Fredman.

ABC 481 1210 4 Fauré, G. Excerpts from Requiem, op 48 (1893) Janet Price, sop; John Carol Case, bar; BBC Symphony Ch & O/Nadia Boulanger.

BBC BBCL 4026-2 10 Stravinsky, I. Concerto in E flat, Dumbarton Oaks (1937-38). Columbia SO/Igor Stravinsky.

Sony SM3K 46 291-302 14 Brahms, J. Waltzes, op 39: nos 1, 2, 5, 6, 10, 14 and 15 (1865). Dinu Lipatti, pf; Nadia Boulanger, pf.

Philips 456 892-2 8 Boulanger, L. Psalm 130: Out of the depths (1917). Ian Partridge, ten; Bernadette Greevy, cont; BBC SO/Nadia Boulanger.

BBC BBCL 4026-2 27 22:00 SATURDAY NIGHT AT HOME Prepared by Frank Morrison Delibes, L. Suite from Coppélia (1870) Philharmonia O/Robert Irving.

EMI 1 66446 2

22

Bax, A. Quintet for harp and strings (1919).

Mobius.

Naxos 8.554507 14 Mozart, W. Serenade in D, K250, Haffner (1776). O of the 18th Century/Frans Brüggen.

Philips 432 997-2 51 Massenet, J. Suite no 7: Scènes Alsaciennes (1881). Monte Carlo National Opera O/John Eliot Gardiner.

Erato 2292-45859-2 23 April 2016

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Sunday 24 April Sisask, U. Four songs from Gloria Patri.

Musica Intima of Vancouver.

ATMA ACD2 2284 14

0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SUNDAY MORNING MUSIC with David Garrett

Messiaen, O. Transports de joie d’une âme devant la gloire du Christ qui est la sienne, from L’Ascension. Andrew Millington, org.

Herald HAVPCD 281 5

9:00 MUSICA SACRA Prepared by Elaine Siversen Schubert, F. Psalm 23: Gott ist mein hirt, D706 (1820). Christine Brewer, sop; Holst Singers; Graham Johnson, pf; Stephen Layton, cond.

Hyperion CDJ33031 5 Mendelssohn, F. Warum toben die Heiden; Mein Gott, warum hast du mich verlassen, from Three psalms, op 78 (1848). Håkan Hagegård, bar; Oslo Cathedral Choir/Terje Kvam.

Nimbus NI 5171 16

13:00 WORLD MUSIC: Whirled Wide

Handel, G. Psalm 110: Dixit Dominis, HWV232 (1707). Westminster Abbey Choir & O/Simon Preston.

DG 478 5183 32

Suk, J. Serenade in E flat for string orchestra, op 6 (1892). Prague Philharmonia/ Jakub Hrusa.

Supraphon SU 3882-2 29

10:00 THE CLASSICAL ERA Prepared by Di Cox

Dvorák, A. Biblical songs, op 99 (1894).

Bernarda Fink, mezz; Christoph Berner, pf.

Harmonia Mundi HMC 902081 25

Weber, C.M. Overture to Oberon (1826).

Israel PO/Zubin Mehta.

Decca 475 7470 8 Krumpholtz, J-B. Harp concerto no 6 (c1777). Lily Laskine, hp; Jean-Francois Paillard CO/Jean-Francois Paillard.

Erato 0630-13705-2 21 Hummel, J. Piano trio no 1 in E flat, op 12 (c1803). Borodin Trio.

Chandos CHAN 9529 21 Gluck, C. O del mio dolce ardor, from Paride ed Elena (1770). Teresa Berganza, mezz; Royal Opera House O/Alexander Gibson.

Decca 440 844-2 4 Cimarosa, D. Oboe concerto (pub.1941; arr.

Benjamin). Geoffrey Payne, tpt; Melbourne SO/Michael Halász.

ABC 982 6976 11 Haydn, J. String quartet in C, Hob.III:77, Emperor (1797). Takács Quartet.

Decca 421 360-2 27 Bach, J. Christian Sinfonia in E for double orchestra, op 18 no 5 (c1781). Failoni O/ Hanspeter Gmür.

Naxos 8. 553367 15 12:00 SYDNEY JAZZ CLUB PRESENTS Classic jazz and ragtime With John Buchanan

46

18:00 CELLO IN CONCERT

Westminster Abbey Choir

14:00 STRINGS AND SONGS Prepared by Denis Patterson

15:00 SUNDAY SPECIAL Unknown symphonies from the Russian archives Prepared by Paolo Hooke Boiko, R. Symphony no 2 (1978). USSR SO/ Yevgeny Svetlanov.

Russian Disc RDCD 11045 21 Salmanov, V. Symphony no 2 in G (1959).

Leningrad PO/Yevgeny Mravinsky.

Russian Disc RDCD 11023 28 Popov, G. Symphony no 3 in G minor, op 45, Heroic (1946). St Petersburg State Academic SO/Alexander Titov.

Northern Flowers NF/PMA 9972 54 17:00 HOSANNA Prepared by Warwick Bartle Hymns: Eternal Father; O God our help; The Lord’s my shepherd; Abide with me. Choir of Westminster Abbey.

Sony Classics SBK61704 13 Psalms: no 121, I will lift up mine eyes; no 46, God is our hope and strength. Choir of King’s College, Cambridge; David Willcocks, org & dir.

EMi Classics 7243 5 66784 2 2 7 Liszt, F. Sanctus; Benedictus; Agnus Dei, from Missa Choralis. Choir of Worcester Cathedral/Donald Hunt.

Priory PRCD 5010 15

For a digital schedule turn to page 21 or find online: www.finemusicfm.com/digital.html

Offenbach, J. Cello duet in G minor, op 54 no 1 (1847). Giovanni Sollima, vc; Andrea Noferini, vc.

Brilliant Classics 94475 23 Tchaikovsky, P. Pezzo capriccioso, op 62 (1887). Alexander Ivashkin, vc; Ingrid Wahlberg, pf.

Manu MANU 1426

7

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

Naxos 8.553159 24 19:00 SUNDAY NIGHT CONCERT Prepared by Frank Morrison Haydn, J. Piano concerto no 11 in D, Hob. XVIII:11 (bef. 1784). Arturo Benedetti Michelangeli, pf; Zurich CO/Edmond de Stoutz.

EMI 5 62823 2 21 Mosonyi, M. Symphony no 1 in D (1844).

Slovak State RSO/Robert Stankovsky.

Marco Polo 8.223539 35 Debussy, C. La mer (1903-05). St Cecilia Academy O/Leonard Bernstein.

DG 429 728-2 26 20:30 NEW HORIZONS Prepared by Robert Small Botti, S. Terra Cruda (2011). Hartt School Wind Ensemble/Glen Adsit.

Naxos 8.573342 15 Getty, G. The little match girl, for chorus and orchestra (1998). Bavarian Radio Choir; Munich RO/Asher Fisch.

Pentatone PTC 5186 480 24 Langston Turner, J. Rumpelstilzchen (2010).

Hartt School Wind Ensemble/Glen Adsit.

Naxos 8.573392 17 Getty, G. Cantata: Joan and the bells (1998). Melody Moore, sop; Lester Lynch, bar; Bavarian Radio Choir; Munich RO/Ulf Schirmer.

Pentatone PTC 5186 480 20 22:00 AFTER HOURS JAZZ with Kevin Jones

Monday 25 April Elgar, E. Imperial march, op 32 (1897). BBC PO/Andrew Davis.

Chandos CHAN 10570(2) 4

0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Robert Small

Land of hope and glory (arr. Cohen).

Froncysyllte Male Voice Choir; Band of the Coldstream Guards.

Decca 2708449 6

9:00 DIVERSIONS IN FINE MUSIC A year in retrospect: 1913 Prepared by Derek Parker

Walton, W. Crown Imperial (1937; arr.

Palmer). Martin Baker, org; English CO/ Martin Neary.

Cantoris-Griffin CSACD3050

Elgar, E. Falstaff: symphonic study in C minor, op 68 (1913). London PO/Adrian Boult.

First Hand Records FHR06 34 Stanford, C. Villiers Irish rhapsody no 3, op 137 (1913). Gemma Rosefield, vc; BBC Scottish SO/Andrew Manze.

Hyperion CDA 67859 17 Holst, G. St Paul’s suite, op 29 (1913).

English Sinfonia/Howard Griffiths.

Naxos 8.570339

12

Butterworth, G. The banks of green willow, idyll (1913). London PO/Adrian Boult.

Belart 461 3542 5 Ireland, J. Sea fever from Three Masefield ballads (1913). Teddy Tahu Rhodes, bassbar; Sharolyn Kimmorley, pf.

ABC 476 717-5 2 Bridge, F. Dance poem (1913). BBC NO of Wales/Richard Hickox.

Chandos CHAN 10729(6) X 14 10:30 morning concert Prepared by Derek Parker Handel, G. Overture to Alessandro Severo, HWVA13 (c1726). Academy of Ancient Music/ Christopher Hogwood.

Loiseau-Lyre 478 7863 6 Mozart, W. Piano concerto no 25 in C, K503.

Martha Argerich, pf; Swiss-Italian RO/Jacek Kaspszyk.

EMI 7 21119 2 31 Tippett, M. Fantasia concertante on a theme of Corelli (1953). Australian CO/Nicholas Kraemer, hpd & dir.

Fine Music Tape Archive 17 Haydn, J. Symphony in G, Hob.I:92, Oxford (1789). Freiburg Baroque O/René Jacobs.

Harmonia Mundi HMX 2908601.30 30 12:00 SWING SESSIONS with John Buchanan 13:00 MUSIC AND MAJESTY Prepared by Michael Morton-Evans Anon. The Agincourt carol. Gothic Voices/ Christopher Page.

Hyperion CDS44252 4

Adrian Boult Trad. Greensleeves. Patricia Petibon, sop; La Cetra Vocal Ensemble; Baroque O Basel/ Andrea Marcon.

DG 479 0079 4 Tomkins, T. Be strong and of a good courage (pub. 1668). Tallis Scholars/Peter Phillips.

Gimell CDGIM 024 3 Gibbons, O. O clap your hands. Sarum Consort.

Naxos 8.572582

5

Tomkins, T. A sad pavan for these distracted times (1649). Laurence Cummings, org.

Naxos 8.553794 3 Blow, J. Death of Adonis, from Venus and Adonis (1681). Lynne Dawson, sop; Stephen Varcoe, bass; London Baroque/Charles Medlam.

Harmonia Mundi HMX 290605.07 5 Purcell, H. Sound the trumpet; Come ye sons of Art, from Ode for the birthday of Queen Mary (1694; arr Balsom). Iestyn Davies, ct; Alison Balsom, tpt; English Concert/Trevor Pinnock.

EMI 4 40329 2

2

Handel, G. Zadok the priest, HWV258 (1727). Tallis Chamber Choir; Royal Academy Consort/Jeremy Summerly.

Naxos 8.557003 6 Handel, G. Music for the royal fireworks, HWV351 (1749). Stuttgart CO/Karl Münchinger.

Decca 478 5623 16 Arne, T. Rule Britannia, from Alfred (1740).

Catherine Bott, sop; Joseph Cornwell, ten; Psalmody; Parley of Instruments/Peter Holman.

Hyperion CDA67115 4 Sullivan, A. The soldiers of our Queen, from Patience (1881). D’Oyly Carte Opera Ch; Royal PO/James Walker.

Decca 480 1285 1

6

Bax, A. Coronation march: London pageant (1937). BBC PO/Martyn Brabbins.

Chandos CHAN 9879 10 Tippett, M. Suite in D for the birthday of Prince Charles (1948). English Northern Philharmonia/Michael Tippett.

Nimbus NI 5217 18 15:00 KILLED IN ACTION Walter Leigh Prepared by Stephen Wilson Leigh, W. Overture: Agincourt (1937). New Philharmonia O. 12 Music for string orchestra (1931-32).

London PO.

6

Nicholas Braithwaite, cond (2 above) Lyrita SRCD 289 Recorder sonatina (1939). Alison Melville, rec; Alayne Hall, pf.

ATMA ACD 2 2206 8 Concertino for harpsichord and string orchestra (1934); A midsummer night’s dream (1936). Trevor Pinnock, hpd; London PO/ Nicholas Braithwaite.

Lyrita SRCD 289 24 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Stephen Wilson 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

April 2016

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Tuesday 26 April 15:00 REMEMBERING CULLODEN Culloden, 16 April 1746: A radio ballad Prepared and produced by Graham McDonald 48

0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Julie Simonds

Trad. Charlie is my darling (arr. McKellar).

Isobel Buchanan, sop; Walter Blair, pf.

Lismor LCOM 6038 2

9:30 DIVERSIONS IN FINE MUSIC Artist of choice: Geoffrey Collins Prepared by Paul Cooke Bach, J.S. Brandenburg concerto no 5 in D, BWV1050 (1720-21). Paul Dyer, hpd; Australian CO/Dimity Hall.

Fine Music Tape Archive 19

Myung-whun Chung

Chopin, F. Variation in E on a theme by Rossini (1824; pub.1955). Ian Munro, pf.

Fine Music Concert Recording CR.037

Grofé, F. Mississippi Suite (1925). Hollywood Bowl SO/Felix Slatkin.

EMI 5 74117 2 13

4

Saint-Saens, C. Romance, op 37 (1871).

Stephanie McCallum, pf.

Fine Music Tape Archive 6

Ornstein, L. Impressions of the Thames (1914). Janice Weber, pf.

Naxos 8.559104

Schoenberg, A. Chamber symphony no 1, op 9 (1906; arr. Webern). Nigel Westlake, cl; Dene Olding, vn; David Pereira, vc; David Bollard, pf.

Entr’acte ESCD 6507 20

Schenck, J. Sonata no 10 in G, from The nymphs of the Rhine, op 8, vol 2 (c1700).

Susie Napper, bass viol; Margaret Little, bass viol.

Naxos 8.554415 14

Goossens, E. Suite for flute, violin and harp, op 6 (1913). Richard Williamson, vn; Anthony Maydwell, hp.

ABC AC 1016 10

Arensky, A. Overture to the opera Dream on the Volga (1891). USSR SO/Yevgeny Svetlanov.

Melodiya SUCD 10-00149 8

Weber, C.M. Trio in G minor, op 63 (1819).

David Pereira, vc; David Bollard, pf.

Fine Music Concert Recording CR.062 19 Geoffrey Collins, fl (all above) 10:30 MORNING CONCERT Prepared by Michael Field Glazunov, A. Karelian legend, op 99 (1912).

Moscow SO/Igor Golovschin.

Naxos 8.553839 22 Rachmaninov, S. Piano concerto no 4 in G minor, op 40 (1926/41). Zoltán Kocsis, pf; San Francisco SO/Edo de Waart.

Philips 456 874-2 24 Dvorák, A. Symphony no 8 in G, op 88 (1889). Gothenburg SO/Myung-whun Chung.

BIS CD-452 37 12:00 JAZZ RHYTHM with Jeannie McInnes 13:00 RIVERS OF THE WORLD Prepared by Stephen Wilson Carr-Boyd, A. Murray River (1995). Sydney Guitar O/Christopher Keane.

Jade JADCD 1059 5 48

The Skye boat song (arr. Statham). Choir of New College, Oxford/Edward Higginbottom.

Apex 256467545-9 4

7

Xianghai, X. Yellow River concerto (1940).

Riccardo Caramella, pf; Beijing Broadcasting SO/Yuan Fang.

Nuova Era 6722 26 Delius, F. Summer night on the river, from Two pieces for small orchestra (1911-12) English CO/Daniel Barenboim.

DG 442 8333 6 14:30 BAROQUE TRUMPETS PLUS Prepared by Heather Sykes Scarlatti, A. Mio tesoro per te moro. Anna Sandstrom, sop; John Foster, tpt; David Drury, continuo; Anthea Cottee, continuo. 4

Anon. The flowers of the forest (arr.

Sharples). Kenneth McKellar, ten; Robert Sharples, cond.

ABC 480 7547

3

16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Derek Parker 19:00 THE JAZZ BEAT with Lloyd Capps 20:00 RECENT RELEASES with David Garrett 22:00 CHAMBER SOIRÉE Danzi, F. Quintet in E minor, op 67 no 2.

Michael Thompson Wind Quintet.

Naxos 8.553570 16 Tailleferre, G. Sonata (1957). Ieuan Jones, hp.

Brilliant Classics 6425/2

9

Geminiani, F. Cello sonata in C, op 5 no 3 (1726). Jaap ter Linden, vc; Judith-Maria Becker, vc continuo; Lars Ulrik Mortensen, hpd.

Brilliant Classics 93646 12 Schubert, F. Introduction and variations on a theme, from Die schöne Müllerin. Jean-Pierre Rampal, fl; Robert Veyron-Lacroix, pf.

BCI Music BCCD 296 19

5

Beethoven, L. Sonata no 1 in D, op 12 no 1 (1797-98). Henryk Szeryng, vn; Eugenio Bagnoli, pf.

Aura AUR 203-2 22

Speer, D. Sonata for four trombones and continuo. Scott Kinmont, sackbut; Brett Favell, sackbut; Warrick Tyrell, sackbut; Nigel Crocker, sackbut.

4

Crusell, B. Clarinet quartet no 2 in C minor, op 4 (1804). Henk de Graaf, cl; members of Schubert Consort.

Columns Classics 99168 19

Bach, J.S. John Foster, tpt; Martin Phillipson, tpt; Anthea Cottee, baroque vc.

Pugnani, G. Sonata op 1 no 3. Anna Holbling, vn; Quido Hölbling, vn; Daniela Ruso, hpd.

Naxos 8.550619 11

Biber, H. Sonata à 7 (1668). Australian Baroque Brass.

Buxtehude, D. Praeludium in G minor, BUX149.

David Drury, org (4 above) Tubicium Records TR 761901 (all above)

For a digital schedule turn to page 21 or find online: www.finemusicfm.com/digital.html

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Wednesday 27 April Haydn, J. Symphony in G, Hob.I:92 Oxford (1789). Austro-Hungarian Haydn O/Adám Fischer.

Nimbus NI 5417/8 27 12:00 JAZZ SKETCHES with Robert Vale 13:00 YOUNG VIRTUOSI 14:00 IN CONVERSATION with Michael Morton-Evans 15:00 BORODIN EXPLORED Part 4 Prepared by Michael Morton-Evans

Renato Bruson

3:00 CLASSICAL TILL DAWN

Borodin, A. Serenata alla spagnola (1886).

Borodin Quartet. apex 0927 49815 2 2

6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Peter Kurti

Cello sonata in B minor, mvt 1 (1860). Ottó Kertész Jr, vc; Ilona Prunyi, pf.

Marco Polo 8.223172 8

9:00 DIVERSIONS IN FINE MUSIC Music of the 18th century

Symphony no 3 in A minor, mvt 1 (188287). Royal Stockholm PO/Gennady Rozhdestvensky.

Chandos CHAN 9199

9

Piano trio in D, mvt 2. Moscow Trio.

Brilliant Classics 94410

8

0:00 CONTEMPORARY COLLECTIVE

Mozart, L. Trumpet concerto no 1 in D (1762). Håkan Hardenberger, tpt; London PO/Elgar Howarth.

Philips 426 311-2 9

Yo-Yo Ma Duke seduces Rigoletto’s beautiful daughter Gilda, the only true joy in his miserable life.

Vowing revenge, Rigoletto hires Sparafucile, an assassin, to kill the Duke. Tragically, however, his daughter is killed instead.

Verdi, G. Variations for oboe and orchestra (c1837). Alessandro Potenza, ob; Milan Giuseppe Verdi SO/ Riccardo Chailly.

Decca 473 767-2 12 22:30 AUSTRALIAN SUMMER Prepared by Gael Golla

Petite suite (1885). Vladimir Sofronitzky, pf.

Brilliant Classics 9241 18

Sculthorpe, P. Sun music III (1967). Adelaide SO/David Porcelijn.

ABC 465 270-2 12

Music from Kismet (arr. Kunzel). Cincinnati Pops O/Erich Kunzel.

Telarc 80703 9

Hutchens, F. The Australian sunrise. Imogen Children’s Chorale; Jill Atkinson, hp.

Walsingham WAL 8009 2 4

Boccherini, L. Guitar quintet no 7 in E minor (c1798). Narciso Yepes, gui; Melos Quartet.

DG 429 51202 20

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

Vivaldi, A. Credo in E minor, RV591. John Alldis Choir; English CO/Vittorio Negri.

Philips 446 907-2 11

Sabin, N. An Australian holiday (1997). Paul Dean, cl; Queensland SO/Richard Mills.

ABC 476 4465 4

19:00 JAZZ STARS AND STRIPES with Peter Mitchell 20:00 AT THE OPERA Prepared by Colleen Chesterman

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

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

Canberra School of Music CSM 13 20

Verdi, G. Rigoletto. Opera in three acts.

Libretto by Francesco Maria Piave. First performed Venice, 1851.

Edwards, R. Raft song at sunrise (1995).

Riley Lee, shakuhachi.

Tall Poppies TP126 8

DUKE OF MANTOVA: Roberto Alagna, ten RIGOLETTO: Renato Bruson, bar GILDA: Andrea Rost, sop SPARAFUCILE: Dimitri Kavrakos, bass La Scala Ch & O/Riccardo Muti.

Sony 88697448212 2:01

Kats-Chernin, E. Colours of the sea (2004).

Katie Zhukov, pf.

Wirripang Wirr 010 7

Salieri, A. Double concerto in C (1774).

Clementine Hoogendoorn, fl; Pietro Borgonovo, ob; I Solisti Veneti/Claudio Scimone.

Erato 2292-45245-2

19

Barsanti, E. Sonata in B flat, op 1 no 6 (1724). Barnaby Ralph, rec; Louise King, vc; Huguette Brassine, hpd.

Naxos 8.557944 11 Bach, J. Christian Piano concerto in F, op 7 no 2 (1770). Ingrid Haebler, fp; Vienna Capella Academica/Eduard Melkus.

Philips 438 712-2 11 10:30 MORNING CONCERT Prepared by Sheila Catzel Elgar, E. Overture: Froissart, op 19 (1890).

New Zealand SO/James Judd.

Naxos 8.557577 14 Finzi, G. Cello concerto, op 40 (1955). Yo-Yo Ma, vc; Royal PO/Vernon Handley.

Lyrita SRCD 236 41

The Duke of Mantua, a lecherous philanderer, seduces wives and daughters while his hunchbacked jester Rigoletto mocks their husbands and fathers. But the tables turn on the jester when a furious father, whose daughter has been dishonoured by the Duke, curses him. The curse is realised when the

Koehne, G. Suite from ballet, Once around the sun. Queensland PO/Stephen Barlow.

Tall Poppies TP115 24

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Thursday 28 April Martin, F. Polyptique (1973). Charmian Gadd, vn; Australian CO; Canberra School of Music CO/Carl Pini.

26 Fine Music Tape Archive (all above)

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

21:30 FROM THREE GREAT COMPOSERS Prepared by David Rossell

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 Paul Hopwood Respighi, O. Ancient airs and dances, suite no 1 (1917). Australian CO/Christopher Lyndon-Gee. Omega OCD 1007 17 Beethoven, L. Triple concerto in C, op 56 (1803-04). Beaux Arts Trio; Gewandhaus O/ Kurt Masur.

Decca 478 6962 34 Arriaga, J. Symphony in D minor (1824). Le Concert des Nations; La Capella Reial de Catalunya/Jordi Savall.

Astrée E 8532 29 12:00 JAZZ, PURE AND SIMPLE with Maureen Meers 13:00 FROM THE USA Prepared by Paul Hopwood Barber, S. Symphony no 2, op 19 (1942).

Detroit SO/Neeme Järvi.

Chandos CHAN 9169 29 Chadwick, G. String quartet no 5 in D minor (1898). Portland String Quartet.

Northeastern NR 234 33 Bernstein, L. Ballet: Fancy free (1944).

Paul Turner, drums; Paul Searle-Barnes, pf; Bournemouth SO/Andrew Litton.

Virgin VC 7 91433-2 27 Chadwick, G. Symphonic poem: Tam O’Shanter (1915). Czech State PO/José Serebrier.

Reference Recordings RR-64 19

Bach, J.S. Keyboard concerto no 5 in F minor, BWV1056. Angela Hewitt, pf; Australian CO/Richard Tognetti.

Hyperion CDA67308

Beethoven, L. Opferlied, op 121b (1822).

Bodil Arnesen, sop; Berlin Radio Choir & SO/ Karl Anton Rickenbacher.

Koch Schwann 3-1485-2 6

Kurt Masur 15:00 ROMANTIC ERA CHAMBER Prepared by Frank Morrison Kreutzer, C. Trio. Hans Rudolf Stalder, cl; Walter Stiftner, bn; Rolf Junghanns, fp.

Jecklin 587-2 22 Rossini, G. Andante with variations. Alberto Ambrosini, vn; Claudia Antonelli, hp.

Naxos 8.554252 5 Spohr, L. String sextet, op 140 (1848).

Academy of St Martin in the Fields Chamber Ensemble.

Chandos CHAN 9424 26 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Marilyn Schock

Brahms, J. Hungarian dances: no 4 in B minor; no 1 in G minor (1852-69; arr.

Joachim). Sarah Chang, vn; Johanthan Feldman, pf.

EMI CDC 7 54753 2

8

22:00 DIFFERING PATHS OF THE 20th CENTURY Prepared by Judy Ekstein Carter, E. Piano sonata (1945-46/82). Peter Lawson, pf.

Virgin VC 7 91163-2 24 Shostakovich, D. Suite from MoscowCheryomushki, op 105 (1959; arr. Cornall).

Philadelphia O/Riccardo Chailly.

London 452 597-2 20

19:00 A JAZZ HOUR with Barry O’Sullivan

Bartók, B. String quartet no 5 (1934).

Vermeer Quartet.

Naxos 8.557543-44

20:00 LIVE AND LOCAL Canberra School of Music orchestras Vivaldi, A. Concerto in D, RV549, from L’estro armonico (1711).

Haydn, J. Symphony in D, Hob.I:31, Hornsignal (c1765).

10

9 27

31

Stravinsky, I. The rite of Spring (1913/47).

Cleveland O/Riccardo Chailly.

Decca 473 731-2 33

Canberra School of Music CO/John Painter (2 above) Schumann, R. Concert piece for four horns and full orchestra, op 86 (1849). Canberra School of Music SO/Michael Mulcahy.

17

• Concerts and Arts eVents News • Delivered FREE every Friday Sign up @ www.finemusicfm.com 50

For a digital schedule turn to page 21 or find online: www.finemusicfm.com/digital.html

Friday 29 April 0:00 CONTEMPORARY COLLECTIVE

13:00 SON AND STRANGER Prepared by Derek Parker

3:00 CLASSICAL TILL DAWN

9:00 DIVERSIONS IN FINE MUSIC Only strings Prepared by Jennifer Foong

Mendelssohn, F. Excerpts from The son and stranger, op 89 (1829). Helen Donath, sop; Hanna Schwarz, mezz; Peter Schreier, ten; Dietrich Fischer-diskau, bar; Benno Kursche, bar; Bavarian State Opera Ch & O/Heinz Wallberg.

EMI 4 64329 2 50

Pleyel, I. Trio in D for violin, viola and cello, op 10 no 2. Members of Consortium Classicum/Dieter Klöcker. cpo 999 743-2 11

Grave and fuga, from String symphony no 12 in G minor (1823). Yale Collegium Players/ Simon Carrington.

Naxos 8.572161 5

Walton, W. Passacaglia for solo cello (1981).

Raphael Wallfisch, vc.

Chandos CHAN 8959 5

14:00 ITALIAN CHAMBER Prepared by Phil Vendy

6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Janine Burrus

Boismortier, J. de Suite in D minor, op 50 no 4 (1734). Suzanne Wijsman, vc; Noeleen Wright, vc.

ABC 476 6996 13 Dittersdorf, C. Divertimento in D. Ondrej Kukal, vn; Petr Pribyl, va; David Rejchrt, vc.

Campion RRCD 1342 10

Fuga, S. Cello sonata no 1 (1936). Massimo Macrì, vc; Giacomo Fuga, pf.

Naxos 8.573141 26 Gragnani, F. Quartet. Dieter Klöcker, cl; Heidrun Ganz, va; Sonja Prunnbauer, gui; Ihsan Turnagoel, gui.

Koch 3 1612 2 20

Britten, B. Ciaccona from Cello suite no 2, op 80 (1967). Pieter Wispelwey, vc.

Onyx ONYX4042 7

Wolf-Ferrari, E. Piano trio no 1 in D, op 5 (1896). Ilona Then-Bergh, vn; Gerhard Zank, vc; Michael Schäfer, pf.

MD+G L 3310/11 32

Offenbach, J. Cello duet in C, op 49 no 1 (c1847). Andrea Noferini, vc; Giovanni Sollima, vc.

Brilliant Classics 94475

Boccherini, L. Sextet in F for flute and strings, op 16 no 2 (1773). Piccolo Concerto, Vienna/Roberto Sensi.

Accent ACC 24245 31

7

Wagenseil, G. Concerto for harp, two violins, cello and orchestra in G. Jana Bouskova, hp; South West German CO, Pforzheim/Vladislav Czarnecki.

Brilliant Classics 99512 14 Ysaÿe, E. Andante in B minor for two violins, two violas and cello (1893). Vlad Bogdanas, va; Kryptos Quartet.

Klara KTC 4034 13 10:30 MORNING CONCERT Gounod, C. Ballet music and waltz, from Faust (1859). Berlin RSO/Ferenc Fricsay.

DG 474 045-2 22 Bottesini, G. Gran concerto in F sharp minor (c1878). Thomas Martin, db; English CO/ Andrew Litton.

Naxos 8.570397 23 Dvorák, A. Symphony no 7 in D minor, op 70 (1885). Berlin Philharmonic/Rafael Kubelik.

DG 423 120-2 38 12:00 NOONTIME JAZZ with Peter Mitchell

16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Brendan Walsh 19:00 FRIDAY JAZZ SESSION with Sally Cameron 20:00 THE ROMANTIC CENTURY Prepared by Chris Blower

Schubert, F. An old Scottish ballad, Edward, D923 (1827). Caroline Melzer, sop; Konstantin Wolff, bass-bar; Ulrich Eisenlohr, pf.

Naxos 8.572036 6 Mendelssohn, F. Symphony no 3 in A minor, op 56, Scottish (1842). Tasmanian SO/ Sebastian Lang-Lessing.

ABC 476 3623 39 22:00 BAROQUE AND BEFORE Prepared by Paul Roper Coprario, J. Cuperaree, or Graysin.

Sebastien Marq, rec; Vincent Charbonnier, db; Elisabeth Joyé, hpd.

Astrée E 8504 2 Sett no 5. Monica Huggett, vn; Polly Waterfield, vn; Trevor Jones, bass viol; Alan Wilson, org.

L’Oiseau-Lyre-Decca 480 2299 7 Funeral teares (1606). Emily van Evera, sop; Caroline Trevor, cont; Daniel Norman, ten; Michael Dore, bass; Susanna Pell, bass viol; Christopher Morrongiello, lute.

Avie AV 0045 23 Dowland, J. In darkness let me dwell (1610).

Monika Mauch, sop; Nigel North, lute.

ECM 476 6397 4 Brade, W. Des Rothschenken Tanz (1617).

Hesperion XX/Jordi Savall.

Harmonia Mundi GD 77168 3 Maynard, J. The XII wonders of the world (1611). Emma Kirkby, sop; Paul Elliott, ten; Martyn Hill, ten; David Thomas, bass; Trevor Jones, bass viol; Anthony Rooley, lute.

L’Oiseau-Lyre-Decca 480 2145 28 Farnaby, J. A maske. Pierre Hantaï, hpd.

Accord 476 057-2 2

Debussy, C. Scottish march (1894-96). Royal Concertgebouw O/Bernard Haitink.

Philips 438 742-2 7

Campion, T. Never weather-beaten saile more quickly bent to shore (1613). Stile Antico.

Harmonia Mundi HMU 807554

Bruch, M. Scottish fantasy, op 46 (1880).

Nicola Benedetti, vn; BBC Scottish SO/Rory Macdonald.

Decca 478 6690 31

Lawes, W. Sett à 3, no 4 in C. Ingrid Seifert, vn; Charles Medlam, vc; Richard Egarr, org.

Harmonia Mundi HMC 901493 8

Sor, F. Fantasy for guitar on a favourite Scottish tune, Ye Banks and Braes, op 40 (c1829-30). Marc Teicholz, gui.

Naxos 8.553722 8

Coprario, J. Songs of mourning (1613).

Martyn Hill, ten; Trevor Jones, bass viol; Anthony Rooley, lute.

L’Oiseau-Lyre-Decca 480 2298 24

MacKenzie, A. Second Scottish rhapsody: Burns, op 24. BBC Scottish SO/Martyn Brabbins.

Hyperion CDA66764 16

April 2016

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Saturday 30 April Dvorák, A. Songs my mother taught me, op 55 no 4 (1880); Lasst mich allein, op 82 no 1.

Christian Poltéra, vc; Kathryn Stott, pf.

BIS 1947 SACD 7

3

Ries, F. Romance in G, op 86 no 2 (pub.

1819). Guido Larisch, vc; Robert Hill, fp. cpo 999 666-2

2

Schumann, R. Three fantasy pieces, op 73 (1849). Mischa Maisky, vc; Martha Argerich, pf.

DG 469 524-2 10

Adrian Leaper

6:00 SATURDAY MORNING MUSIC with Arek Sinanian

Rimsky-Korsakov, N. Serenade, op 37 (1903). Vyautas Sondeckis, vc; Lithuanian CO/David Geringas.

Naxos 8.554381 4

9:00 WHAT’S ON IN MUSIC Our weekly guide to musical events in and around Sydney

Grieg, E. Intermezzo (c1867). Julian Lloyd Webber, vc; Bengt Forsberg, pf.

Philips 454 458-2 4

9:30 MINING THE MAJORS Prepared by Derek Parker

Sibelius, J. Malinconia, op 20 (1900). Torleif Thedéen, vc; Folke Gräsbeck, pf.

BIS CD817 12

0:00 CLASSIC-ALL THROUGH THE NIGHT

Tchaikovsky, P. Violin concerto in D, op 35 (1878). Maxim Vengerov, vn; Berlin PO/ Claudio Abbado.

Teldec 4509-90881-2 35 Liszt, F. Piano sonata in B minor (1852-53).

Nikolai Demidenko, pf.

Hyperion CDA66616 33 Shostakovich, D. Symphony no 5 in D minor, op 47 (1937). National SO/Mstislav Rostropovich.

DG 439 481-2 46 11:30 ON PARADE Norwegians play Sousa Prepared by Robert Small Sousa, J.P. Ballet suite: People who live in glass houses (1909).

12 Humoresque on Kern’s look for the silver lining (1922).

6

Jazz America (1925).

8

Royal Norwegian Navy Band/Keith Brion (all above) Naxos 8.559397

Popper, D. Papillon, op 3 no 4 (pub. 1880).

Maria Kliegel, vc; Nicolaus Esterházy Sinfonia/Gerhard Markson.

Naxos 8.554657 3 Heise, P. Two fantasy pieces for cello: Agitato ed appasionato; Allegretto con espressione.

Morten Zeuthen, vc; Amalie Malling, pf.

Dacapo DCCD 9113 6 Fauré, G. Élégie in C minor, op 24 (1880).

Jacqueline du Pré, vc; Gerald Moore, pf.

EMI CZS 5 68132 2 7 Rachmaninov, S. Vocalise, op 34 no 14 (1915). Trish O’Brien, vc; Renate Turrini, pf.

MBS 41 6 Saint-Saëns, C. Allegro appassionato, op 43 (1875). Paul Tortelier, vc; City of Birmingham SO/Louis Frémaux.

EMI 1664482 4 19:00 THE MAGIC OF STAGE AND SCREEN Prepared by Maureen Meers

17:30 CELLO GEMS Prepared by Anne Irish

Novello, I. Excerpts from King’s rhapsody (1949). Vanessa Lee, Olive Gilbert, Denis Martin, Phyllis Dare, Larry Mandon, Ivor Novello, voices.

Naxos 8.120781 19

Tchaikovsky, P. Pezzo capriccioso, op 62 (1887). Raphael Wallfisch, vc; English CO/ Geoffrey Simon.

Chandos CHAN 6552 7

Excerpts from Glamorous nights (1935). Mary Ellis, Trefor Jones, voices; Drury Lane TO/ Charles Prentice.

Naxos 8.120600 13

12:00 FINE MUSIC LIVE

52

Casals, P. Song of the birds (1972). Ofra Harnoy, vc; Orford String Quartet.

Pro Arte CDD 418

For a digital schedule turn to page 21 or find online: www.finemusicfm.com/digital.html

Excerpts from The dancing years (1939).

Mary Ellis, Ivor Novello, Dunstan Hart, Olive Gilbert, Roma Beaumont, voices; O/Charles Prentice.

Naxos 8.120781 17 20:00 INFLUENCES AND CONNECTIONS Brahms Prepared by Frank Morrison Schumann, R. Overture, scherzo and finale, op 52 (1841). O Révolutionnaire et Romantique/John Eliot Gardiner.

Archiv 457 591-2 17 Schumann, C. Three romances, op 11 (1839). Yoshiko Iwai, pf.

Naxos 8.553501

14

Brüll, I. Andante and allegro, op 88 (1902).

Martin Roscoe, pf; BBC Scottish SO/Martyn Brabbins.

Hyperion CDA67069 16 Dvorák, A. Scherzo capriccioso, op 66 (1883). London SO/István Kertész.

Decca 452 946-2

12

Joachim, J. Notturno. Daniel Hope, vn; Royal Stockholm PO/Sakari Oramo.

DG 477 9301

9

Brahms, J. String quintet no 1 in F, op 88 (1882). Norbert Brainin, vn; Siegmund Nissel, vn; Peter Schidlof, va; Cecil Aronowitz, va; Martin Lovett, vc.

DG 419 875-2 25 Parry, H. Elegy in D minor for Brahms (1897).

London PO/Matthias Bamert.

Chandos CHAN 8955 13 22:00 SATURDAY NIGHT AT HOME Prepared by Heather Sykes Bantock, G. Hebridean symphony (1915).

Czecho-Slovak State PO/Adrian Leaper.

Naxos 8.555473 33 Bacarisse, S. Guitar concertino in A minor, op 72 (1929). Narciso Yepes, gui; Spanish RTV SO/Odón Alonso.

DG 439 526-2 22 Offenbach, J. Ballet: Gaîté parisienne (arr.

Rosenthal 1938). Royal Opera House O/ Georg Solti.

Decca 476 2724 39 Mozart, W. Serenade no 13 in G, K525, Eine kleine Nachtmusik (1787). I Musici de Montréal/Yuli Turovsky.

Chandos CHAN 9045 19

The following composers have works of at least five minutes on the April dates listed Adès, T. b1971 10 Agrell, J. 1701-1765 7 Albéniz, I. 1860-1909 1,15 Alfvén, H. 1872-1960 9 Alkan, C-V. 1813-1888 21 Arensky, A. 1861-1906 13,26 Arriaga, J. 1806-1826 15,28 Bacarisse, S. 1898-1963 30 Bacewicz, G. 1909-1969 5 Bach, C.P.E. 1714-1788 3,6,10,13,15,17 Bach, J. Christian 17351782 12,24,27 Bach, J.S. 1685-1750 3,6,8,13,17,19,22,26,28 Balakirev, M. 1837-1910 23 Bantock, G. 1868-1946 30 Barber, S. 1910-1981 28 Barry, J. b1933 23 Barsanti, E. 1690-1772 27 Bartók, B. 1881-1945 1,9,28 Bax, A. 1883-1953 17,21,23,25 Beauvais, W. b1956 3 Beethoven, L. 1770-1827 1,3,7,8,10,12,13,22,23,26,28 Bellini, V. 1801-1835 3 Benjamin, A. 1893-1960 9 Bennett, W. Sterndale 18161875 10,14,17,19 Berg, A. 1885-1935 7 Bériot, C-A. de 1802-1870 2,10 Berlioz, H. 1803-1869 1,7,8,10,22 Bernstein, L. 1918-1990 19,28 Berwald, F. 1796-1868 4,8 Biber, H. 1644-1704 3,17,22,26 Bizet, G. 1838-1875 20 Bloch, E. 1880-1959 2 Boccherini, L. 1743-1805 3,6,13,16,27,29 Boiko, R. b1931 24 Boismortier, J. de 16891755 10,29 Bolling, C. b1930 19 Borodin, A. 1833-1887 11,20,22 Bottesini, G. 1821-1889 18,22,29 Botti, S. b1962 24 Boulanger, L. 1893-1918 23 Boulanger, N. 1887-1979 23 Bouzignac, G. fl c16101632 10 Boyce, W. 1711-1779 11 Boyd, A. b1946 10 Brahms, J. 1833-1897 2, 5,7,12,14,15,17,19,21,22,2 3,28,30 Bridge, F. 1879-1941 9,25 Britten, B. 1913-1976 2,8,9,29 Brixi, F. 1732-1771 16 Brouwer, L. b1939 16 Bruch, M. 1838-1920 1,10,29 Brüll, I. 1846-1907 30

Brumby, C. b1933 9,18 Fuga, S. 1906-1994 29 Busoni, F. 1866-1924 1,3,17 Fux, J. 1660-1741 15 Butterworth, G. 1885-1916 25 Buxtehude, D. 1637-1707 26 Gade, J. 1879-1963 11 Gallo, D. 1730-? 22 Caldara, A. c1670-1736 15 Garth, J. 1722-1816 11 Cannabich, C. 1731-1798 10 Geminiani, F. 1687-1762 26 Capponi, R. c1608-1688 1 Getty, G. b1934 24 Carr-Boyd, A. b1938 26 Giannini, V. 1903-1966 2 Carr, E. 1926-2003 9 Giazotto, R. b1910 21 Carter, E. b1908 28 Gibbons, O. 1583-1625 25 Casella, A. 1883-1959 7 Ginastera, A. 1916-1983 7 Castelnuovo-Tedesco, M. Glanville-Hicks, P. 19121895-1968 2 1990 8 Chabrier, E. 1841-1894 3,21 Glazunov, A. 1865-1936 Chadwick, G. 1854-1931 28 2,26 Chausson, E. 1855-1899 8,16 Glinka, M. 1804-1857 12 Cherubini, L. 1760-1842 Gluck, C. 1714-1787 11,13 2,3,11 Godard, B. 1849-1895 22 Chopin, F. 1810-1849 Goossens, E. 1893-1962 26 2,8,17,18,24 Gounod, C. 1818-1893 29 Cimarosa, D. 1749-1801 24 Gragnani, F. 1767-c1812 29 Cirri, G. 1724-1806 4 Granados, E. 1867-1916 11 Clementi, M. 1752-1832 5,8 Greenbaum, S. b1966 10 Coleridge-Taylor, S. 1875Grieg, E. 1843-1907 1912 2 5,7,11,12,23 Collins, B. 20th c 21 Grofé, F. 1892-1972 26 Copland, A. 1900-1990 9,23 Gross, E. b1926 1 Coprario, J. c1575-1626 29 Cordero, E. b1946 3 Hagvil, S. 20th c 3 Couperin, A-L. 1727-1789 8 Handel, G. 1685-1759 Couperin, F. 1668-1733 8,9 1,6,12,13,16,17,21,23,24,25 Couperin, L. c1626-1661 8 Hartmann, E. 1836-1898 Crotch, W. 1775-1847 10 7,11 Crusell, B. 1775-1838 10,26 Hasse, J. 1699-1783 6,15 Cui, C. 1835-1918 2,12 Haydn, J. 1732-1809 3,4,7,16,17,22,24,25,27,28 d’Albert, E. 20th c 8 Haydn, M. 1737-1806 3,11 d’Indy, V. 1851-1931 1,5 Hebden, J. 1712-1765 15 Danzi, F. 1763-1826 Heinichen, J. 1683-1729 18,19,26 3,11,17 Debussy, C. 1862-1918 Heise, P. 1830-1879 30 2,6,12,15,16,24,29 Hérold, F. 1791-1833 11 Delibes, L. 1836-1891 23 Herschel, W. 1738-1822 11 Delius, F. 1862-1934 5,26 Hertel, J. 1727-1789 4,18 Dittersdorf, C. 1739-1799 29 Herzogenberg, H. 1843Donizetti, G. 1797-1848 1900 22 3,4,15 Hildegard of Bingen. 1098Dukas, P. 1865-1935 6,14 1179 22 Duport, J-L. 1749-1819 22 Hindemith, P. 1895-1963 7 Dussek, J. 1760-1812 20 Holst, G. 1874-1934 Dvorák, A. 1841-1904 5,9,21,25 4,6,8,9,11,17,21,24,26,29,30 Holzbauer, I. 1711-1783 22 Dyson, G. 1883-1964 17 Honegger, A. 1892-1955 7 Houghton, P. b1954 16 Edlund, L. b1922 4 Howells, H. 1892-1983 21 Edwards, R. b1943 7,27 Hsieh, A. b1984 10 Elgar, E. 1857-1934 Hummel, J. 1778-1837 2,15,17,18,22,23,25,27 12,17,24 Ellington, D. 1899-1974 9 Ellis, D. b1933 1 Ippolitov-Ivanov, M. 1859Enescu, G. 1881-1955 12,19 1935 10 Ernst, H. 1814-1865 23 Ireland, J. 1879-1962 4 Falla, M. de 1876-1946 19 Farrenc, L. 1804-1875 19 Fasch, C. 1736-1800 13 Fauré, G. 1845-1924 23,30 Finzi, G. 1901-1956 27 Fletcher, P. 1879-1932 8 Foster, F. 1928-2011 9 Françaix, J. 1912-1997 23 Franck, C. 1822-1890 2,16

Jacquet de la Guerre, E-C. c1666-1729 22 Jadin, H. 1769-1802 22 Janácek, L. 1854-1928 12,22 Joachim, J. 1831-1907 17,30 Kalliwoda, J. 1801-1866 18 Karlowicz, M. 1876-1909 5

Kats-Chernin, E. b1957 8,27 Kay, D. b1933 10 Kodály, Z. 1882-1967 19 Koechlin, C. 1867-1950 14 Koehne, G. b1956 8,27 Korngold, E. 1897-1957 8 Kozeluch, L. 1747-1818 20 Kreisler, F. 1875-1962 4 Kreutzer, C. 1780-1849 28 Krumpholtz, J-B. 1742-1790 4,24 Lalo, E. 1823-1892 20 Langston Turner, J. b1983 24 Lawes, W. 1602-1645 29 Leclair, J-M. 1697-1764 5,22 Leigh, W. 1905-1942 25 Lhoyer, A. de 1768-1852 22 Liszt, F. 1811-1886 1,2,15,21,23,24,30

9,17,19,23,30 Pixis, J. 1788-1874 21 Pleyel, I. 1757-1831 6,18,22,29 Pokorny, F. 1729-1794 20 Ponchielli, A. 1834-1886 9 Popov, G. 1904-1972 24 Popper, D. 1843-1913 21 Porter, C. 1891-1964 9,23 Potter, C. 1792-1871 10 Poulenc, F. 1899-1963 15 Prokofiev, S. 1891-1953 17 Puccini, G. 1858-1924 3,14 Pugnani, G. 1731-1798 26 Purcell, H. 1659-1695 23

Rachmaninov, S. 18731943 12,14,26,30 Raff, J. 1822-1882 15 Rameau, J-P. 1683-1764 9,11,14 Raupach, H. 1728-1778 11 Ravel, M. 1875-1937 MacKenzie, A. 1847-1935 3,5,12,15,20 23,29 Reicha, A. 1770-1836 5 Mahler, G. 1860-1911 Reichardt, J. 1752-1814 10 1,7,8,15,16,19 Respighi, O. 1879-1936 Malipiero, G. 1882-1973 13 4,15,28 Marais, M. 1656-1728 11 Richter, F. 1709-1789 11 Martin, F. 1890-1974 8,28 Ries, F. 1784-1838 17 Martinu, B. 1890-1959 Rigney, S. b1960 3,10 9,17,19 Rimsky-Korsakov, N. 1844Martucci, G. 1856-1909 7 1908 2,8,12,14 Mascagni, P. 1863-1945 11 Rode, P. 1728-1778 17 Massenet, J. 1842-1912 23 Rodgers, R. 1902-1979 23 Maynard, J. 1577-1614+ 29 Rodrigo, J. 1901-1999 3,8 Mendelssohn, F. 1809-1847 Rossini, G. 1792-1868 1,2,3,5,10,12,14,18,24,29 1,4,5,18 Mendelssohn, Fanny. 1805- Roussel, A. 1869-1937 14 1847 7,15 Messiaen, O. 1908-1992 17 Saint-Saens, C. 1835-1921 Meyerbeer, G. 1791-1864 9,11,16,18,26 17,18 Saint-Saëns, C. 1835-1921 Micus, S. 20th c 17 1,9,11,16,18,26 Moniuszko, S. 1819-1872 5 Salieri, A. 1750-1825 10,27 Moscheles, I. 1794-1870 Salmanov, V. 1912-1978 24 3,4 Scheibe, J. 1708-1776 7 Mosonyi, M. 1815-1870 24 Schenck, J. 1660-1712 26 Mozart, L. 1719-1787 16,27 Schoenberg, A. 1874-1951 26 Mozart, W. 1756-1791 3,4,6 Schubert, F. 1797-1828 ,7,8,10,12,16,18,23,25,30 6,9,10,12,14,22,24,26,29 Muffat, G. 1653-1704 15 Schumann, C. 1819-1896 Müller, I. 1786-1854 4 17,30 Muset, C. fl c1200-1250 22 Schumann, R. 1810-1856 Mussorgsky, M. 1839-1881 14 10,28,30 Myslivecek, J. 1737-1781 Schütz, H. 1585-1672 15 9,16,20 Sculthorpe, P. b1929 16,19,21,27 Nielsen, C. 1865-1931 15 Séjan, L. 1786-1849 22 Novello, I. 1893-1951 30 Shostakovich, D. 1906-1975 Nyman, M. b1948 9 7,12,19,28,30 Sibelius, J. 1865-1957 O’Donoghue, R. b1949 16 5,7,21,22,30 Offenbach, J. 1819-1880 Sisask, U. b1940 24 24,29,30 Sitsky, L. b1934 27 Onslow, G. 1784-1853 19 Solère, E. 1753-1817 17 Ornstein, L. c1895-2002 26 Somervell, A. 1863-1937 20 Sor, F. 1778-1839 4,29 Pachelbel, J. 1653-1706 10 Sousa, J.P. 1854-1932 30 Paganini, N. 1782-1840 Spohr, L. 1784-1859 18,28 4,10,15,22 Stanford, C. Villiers 1852Palschau, J. 1741-1815 7 1924 25 Parry, H. 1848-1918 Steinmetz, H. 1901-1975 6

Stenhammar, W. 18711927 18 Strauss, J. II 1825-1899 17,18 Strauss, R. 1864-1949 1,5,7,14 Stravinsky, I. 1882-1971 2,15,23,28 Suk, J. 1874-1935 24 Sullivan, A. 1842-1900 5,19 Suppé, F. 1819-1895 18 Svoboda, P. 20th c 16 Tailleferre, G. 1892-1983 26 Tartini, G. 1692-1770 13 Tchaikovsky, P. 1840-1893 5,7,8,9,12,18,19,21,23,24,30 Telemann, G. 1681-1767 11,19 Thalberg, S. 1812-1871 2 Thomas, A. 1811-1896 23 Tippett, M. 1905-1998 25 Tórroba, F. Moreno 18911982 10 Traetta, T. 1727-1779 11 Tulve, H. b1992 10 Vanhal, J. 1739-1813 20 Varèse, E. 1883-1965 14 Vaughan Williams, R. 18721958 21,23 Verdi, G. 1813-1901 15,23,27 Vierne, L. 1870-1937 8 Vieuxtemps, H. 18201881 2 Villa-Lobos, H. 1887-1959 7,12 Vine, C. b1954 5,20 Viotti, G. 1755-1824 2 Vivaldi, A. 1678-1741 27,28 Vollenweider, A. b1953 17 Wagenseil, G. 1715-1777 15,29 Wagner, R. 1813-1883 4,11 Wallace, W. 1860-1940 1 Walton, W. 1902-1983 25,29 Webb, J. b1946 16 Weber, C.M. 1786-1826 24,26 Weill, K. 1900-1950 9 Westlake, N. b1958 3 Whitacre, E. b1970 5 Widor, C-M. 1844-1937 3,8 Wilby, P. b1949 9 Williams, J. b1932 14,21,23 Wolf-Ferrari, E. 1876-1948 29 Wolf, H. 1860-1903 14 Xianghai, X. 1905-1945 26 York, A. 20th c 16 Ysaÿe, E. 1858-1931 2,16,29 Zelenka, J. 1679-1745 20 Zemlinsky, A. 1871-1942 19 Ziehrer, C. 1843-1922 7

Key

Music duration is shown after the record and citation SO: Symphony

Orchestra 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 Orchestra Prom O: Promenade Orchestra Ch & O: Chorus & Orchestra NSO: National Symphony Orchestra alto: male alto

ban: bandoneon bar: baritone bshn: basset horn bass: bass bn: bassoon bass-bar: bass-baritone cl: clarinet clvd: clavichord cont: contralto cora: cor anglais

ct: counter-tenor db: double bass dbn: double bassoon 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 April 2016

sax: saxophone 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

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1 6 0 2 d r a Aw

April 2016

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Fine Music 102.5 and Willoughby Symphony Orchestra invite composers up to the age of 30 years to enter

Compose A CLARINET CONCERTO Prizes include • • • •

$5000 World premiere performance of your composition by the Willoughby Symphony Orchestra Recording for broadcast by Fine Music 102.5 Runner-up wins $500 APRA Encouragement Award

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Crossword and Trivia ACROSS

DOWN

1 Fugues given direction for 1812 (7) 5. Mephistopheles sees model in a rage (7) 9. Protein diet for old French composer (7) 10. Flies in the face of fashionable cults (7) 11. Threesomes with orchestra (6,9) 12. French musicians minus nine (3,3) 14. Sleep aid concoction for the stars (8) 17. I spin too awkwardly for a ballet stance (8) 18. Makes changes at noon (6) 21. Station in tune with leading music Compiled by Gwynn Roberts reviewer providing the scoring (15) 24. Codetta finish (4,3) Name:_______________________________________________ 25. Bass accompaniment with a tribal note (7) Address: _____________________________________________ 26. Great at messing about in boats (7) Tel: _________________________________________________ 27. Angst on troubled Sunday in Vienna (7) Email: _______________________________________________

To go in the draw to win a copy of Pleasure Garden featuring Genevieve Lacey, from ABC, email your crossword answers to: competitions@finemusicfm. com by 23 April 2016 The Crossword 72-76 Chandos Street St Leonards NSW 2065

1 Sydney theatre sounds as if it should be in Canberra (7) 2. Ethelbert Nevin flower (9) 3. The soap-boiler of Nuremberg (5) 4. Sound science involves tossing coin amidships (6) 5. Geometrical instrument (8) 6. Assumed power of Despina’s magnet (9) 7. Quiet at end of playtime (5) 8. Opposes manoeuvreing sisters (7) 13. Meet to bury a religious group (9) 15. Arnold’s Beckus (9) 16. Pagliacci described thus at finish (8) 17. Occupation of Hindemith’s operatic hero (7) 19. Spring rustler (7) 20. Embedded materials for popular songs (6) 22. Music for pendulums (5) 23. Banal composition of Berg (5)

Crossword Solution - March 2016 Across 1 DA PONTE, 5 ANDANTE, 9 POSTING, 10 RINALDO, 11 NICE, 12 STRINGENDO, 13 SCRIBE, 15 PEDAGOGY, 18 ABSENTEE, 19 HELENE, 22 METASTASIO, 24 STOP, 26 NITRATE, 27 DIVERSE, 28 OVERDUE, 29 VALISES

Down 1 DAPHNIS, 2 POSTCARDS, 3 NUIT, 4 EIGHTH, 5 AIRLINER, 6 DENIGRATE, 7 NYLON, 8 ECONOMY, 14 BANDSTAND, 16 OVERTURES, 17 NEPALESE, 18 ARMINIO, 20 EMPRESS, 21 LIADOV, 23 TITLE, 25 OVAL

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. Who wrote the eponymous symphonic poem based on Oscar Wilde’s The Ballad of Reading Jail?

2. In which year and in which city were the first plainsong books with music printed? Was it 1376, 1476 or 1576? In Rome, Florence or Naples?

3. By which nickname is Haydn’s String Quartet in D, op 64 No 5 known?

4. Which name is missing from this list of the French composers known as Les Six? Darius Milhaud, Louis Durey, Georges Auric, Arthur Honegger and Germaine Tailleferre.

5. Who wrote the 1857 Dante Symphony dedicated to Richard Wagner?

6. Which famous conductor began his career as a cellist and got his first conducting job with the Rio de Janiero Opera in 1886?

7. Who wrote in 1928 a symphonic movement called Rugby depicting a game of rugby football?

8. Duke Ellington was a famous jazz pianist, but Duke was a nickname. By what two names was he christened?

TRIVIA ANSWERS

Duke Ellington

1. Jacques Ibert 2. 1476 in Rome 3. The Lark Quartet 4. Francis Poulenc 5. Franz Liszt 6. Arturo Toscanini 7. Arthur Honegger 8. Edward Kennedy

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April 2016

fineMusic 102.5

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