Fine Music Magazine - June 2016

JUNE 2016

MAGAZINE

Choir of Trinity College, Cambridge Performing for Musica Viva

Robertissimo hits Australia The tenor speaks to Fine Music

Pinchgut Opera unearths gem Rachelle Durkin to play Armida

Fine Music’s live broadcast event Live from the Joan in July

COMING UP Enjoy great music in the Sydney Opera House.

WINTER NIGHT escapes

Take a break from winter with your Sydney Symphony Orchestra.

WINTER NIGHT ESCAPES

HOLLYWOOD RHAPSODY Citizen Kane, Robin Hood, Ben Hur & more

Experience the opulence and grandeur of the Golden Age of Hollywood with renowned movie maestro and BBC Proms favourite John Wilson with your SSO!

THU 16 JUN | 6.30PM FRI 17 JUN | 8PM SAT 18 JUN | 8PM

CHANNEL CROSSINGS

ROMANTIC FANTASIES

Vaughan Williams’ most popular symphony is the highlight in this channel-hopping program of French and English classics from the 20th century.

Enter the world of the Romantic imagination with Tchaikovsky’s Violin Concerto and the spectacular Symphonie fantastique by Berlioz.

Ravel & Vaughan Williams

THU 23 JUN | 1.30PM EMIRATES METRO SERIES

FRI 24 JUN | 8PM SAT 25 JUN | 2PM

Music highlights from: RAKSIN Laura HERRMANN Psycho, Citizen Kane KORNGOLD The Adventures of Robin Hood STEINER Gone with the Wind RÓZSA Ben Hur

BAX Tintagel RAVEL Piano Concerto in G VAUGHAN WILLIAMS A London Symphony (Symphony No.2) John Wilson conductor Jonathan Biss piano (PICTURED)

John Wilson conductor

Tchaikovsky’s Violin Concerto

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SHOSTAKOVICH Festive Overture TCHAIKOVSKY Violin Concerto BERLIOZ Symphonie fantastique Shiyeon Sung conductor Vadim Gluzman violin (PICTURED)

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Lorina Gore soprano

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MON-SAT 9AM-8.30PM SUN 10AM-6PM

CONTENTS

EDITOR’S DESK

VOL 43 No 6

2 COVER STORY

Choir of Trinity College, Cambridge

4 From the Chair… with Janine Burrus 5 Roberto Alagna’s Australian debut 7 Pinchgut Opera’s production: Armida 9 Kruger Scholarship recipient: Rebecca Gill 11 Fine Music Live from the Joan: July 13 New work by composer David Hush 14 What’s On – Sydney and surrounds 16 CD Reviews 18 Jazz CD Reviews 19 Swinging on the Vine 20 Young Virtuosi 22 June Program Highlights 48 Crossword and Trivia Quiz

Digital Channel Fine Mus - page 21

The idea of attending a college specifically to be part of its choir is not one that would occur to many Australians. Within the hallowed halls of Oxford and Cambridge, however, it’s very much the norm, writes Nicky Gluch in her piece based on an interview with the choral director of the Choir of Trinity College, Cambridge, Stephen Layton.

The ‘bright young things’ that make up the Choir will tour Australia in July as part of Musica Viva’s International Concert Season. Named one of Gramophone magazine’s ‘20 Greatest Choirs’, the Choir for this tour will perform one of the 20th-century’s most beautiful choral works: the 1922 Mass for Unaccompanied Double Choir

by Frank Martin. The performance will also include a comprehensive collection of smaller works, including one by the Australian Joe Twist, commissioned especially for this tour.

Read the full story on the next page, which provides a fascinating insight into the unique world of choristers in the United Kingdom of which Stephen Layton is a prime example.

Another European phenomenon that is quickly becoming a global icon is ‘Robertissimo’: the musicianship and artistry of renowned tenor Roberto Alagna.

His fans will be thrilled to see his Australian debut this month with a program that promises to be “full and dense” according to the man himself. Pick up the conversation with Fine Music’s Annabelle Drumm on page 5.

And we also catch up with Australian soprano Rachelle Durkin, currently in New York performing with the Met, but due back on home soil this month for Pinchgut Opera’s production of Armida.

On the local scene, there are a number of outstanding performances coming up.

One of these is from violinist Rebecca Gill. With the assistance of Fine Music’s Kruger Scholarship, Gill has collaborated with composer and friend Chris Williams to produce a new work that will have its debut at Live from the Joan next month.

Live from the Joan, is the follow up to Fine Music’s new and ambitious live broadcast which took place at Sydney’s Town Hall last year. A free concert, Live from the Joan, invites all Sydneysiders to attend the Joan Sutherland Performing Arts Centre on Sunday 31 July for an afternoon of fine music. For more details see page 11. Everyone is welcome!

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

Cover image: Stephen Layton (foreground) and the Choir of Trinity College, Cambridge. Image – Keith Saunders

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TOURING AUSTRALIA FOR MUSICA VIVA

Choir of trinity college, cambridge

Stephen Layton. Image – Keith Saunders The idea of attending a college specifically to be part of its choir is not one that would occur to many Australians. Within the hallowed halls of Oxford and Cambridge, however, it’s very much the norm. There, chosen students reading anything from mathematics to philosophy to ancient languages put aside their books, don their church garb or concert blacks, and unite in song. The ‘bright young things’ that make up the Choir of Trinity College, Cambridge will tour Australia in July as part of Musica Viva’s International Concert Season. Leading them will be the renowned choral director, himself a former ‘bright young thing’, Stephen Layton.

Named one of Gramophone magazine’s ‘20 Greatest Choirs’, the Choir of Trinity College, Cambridge for this tour will perform one of the 20th-century’s most beautiful choral works: the 1922 Mass for Unaccompanied Double Choir by Frank Martin. The composer regarded it as an intensely personal spiritual expression – it took 40 years for him to allow it to be heard – and it has never left the spotlight since.

Surrounding Martin’s masterpiece is a rich cache of smaller pieces. Of special note are two new works: one by the choir’s Organ Scholar, Owain Park; and another 2

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by the Australian Joe Twist, commissioned especially for this tour.

do with cathedrals and to do with university college chapels”.

As choral director, Layton is required to be not just conductor but also a nurturer of these young students. As he explains to Fine Music magazine, “the most significant thing is that these young singers, musicians, students, call them what you will, are intellectually very able. Indeed, it’s their intellectual qualities which are at the heart of the music making that we do.

In fact, there are more than 30 cathedrals in the United Kingdom where children get the experience of singing in choirs every day.

“Their understanding and their ability to do things fast and intuitively and respond to each other, these are the things that I try to nurture, if you like, almost more than the young voices.”

Devoted work

It’s a role that Layton understands from every angle. As a boy he was a chorister at the Winchester Cathedral. As a student he was an organ scholar with the Choir of King’s College, Cambridge. And at 19 he founded the mixed-voice choir Polyphony and has been directing choirs ever since. He is insistent, however, that his relationship with choral music is not unique.

“I would say”, he counters, “that it’s something that many have enjoyed in the same way as me because we all come from the same route and this route… is actually to

“This is a unique tradition unsurpassed in any country in the world… and so these great cathedrals, which cover the whole of the United Kingdom, are the bastions of preserving the choral music of Tallis and Byrd,” said Layton.

The 12 pieces that the Choir of Trinity College, Cambridge will perform in Sydney can all be classified as ‘sacred’ but Layton disagrees with the strict definition of the term. “For me everything is sacred”, he says, “everything I do is sacred whether it be ‘secular’ music or ‘sacred’ music”.

He continues: “I think all music is to the glory of God and I think it’s performed to the same glory whether it is in a church or in a concert hall… The presentation is the same; if the music’s sombre it will be sombre in the concert hall and sombre in the church. If it’s ecstatic, it will be ecstatic in both places”.

There is no doubting his sincerity. Layton answers every question with consideration

“Perhaps it tries to evoke the ancient in Australia and the ancient in England,” he adds.

2016 will see Layton’s choir, Polyphony, turn 30 and himself turn 50. So what does this milestone year mean to him?

“Well, I’m proud”, he says, “to be part of a great choral tradition, to be part of something that seems to be timeless, something that’s rooted in history and something that I can add my part to in trying to shape and help and nurture young people”.

and conviction. As such, when asked how he feels about performing Steven Stucky’s O sacrum convivium (in memoriam Thomas Tallis) in light of the composer’s recent death (in February this year), his answer feels almost eulogic: “It’s a favourite piece of mine… and I think it’s a really brilliant little choral concerto, so different in the way he sets the text, say, compared to Tallis.

“Where Tallis sets it fairly slow and sedate, Stucky gives us a very fast and slightly American-minimalist kind of thing, I mean there’s a bit of (Steve) Reich in terms of the choral repetitions, or a bit of (Philip) Glass. But I think it’s a really ambitious piece and hugely successful to listen to,” says Layton, adding that it shows Stucky wasn’t just an “American composer who wrote some nice choral pieces”.

Layton believes that Stucky was a real mainstream American symphonic composer, a great orchestrator, who just happened to love a particular period in English music.

”

“I find myself feeling I have a kindred spirit with this composer because I feel he loves

Composers these days confuse us…

”

this great music from the Renaissance period in England and wants to celebrate it as an American,” said Layton.

Musical call and answer The idea of a ‘kindred spirit’ raises the notion that much of a composer’s or a conductor’s work is done alone. They are part of the music making but not of the troupe and as such ask questions that often only they can answer. This goes against what Layton describes as “our primordial feelings from the start of time to do with call and answer, the hunting call, the answering call, those sounds that human beings first made”. He believes that it is these feelings that make the antiphonal effects of Frank Martin’s Mass for Double Choir (the feature of the Sydney concert) so alluring.

“It’s something deep in our consciousness”, he says, “from time immemorial when we were hunter-gatherers and we needed to call each other and communicate, you know a little shepherd boy making a sound to another shepherd boy looking after some sheep in another pasture. You hear one sound and you respond with another”.

The Frank Martin mass in its antiphonal effect of two groupings is “all about that”, says Layton.

“There are also other influences on the antiphonal aspects of the Martin because there are also the chants of the church. There is always a lot of Gregorian chant-like music and that’s always made up of question and answer, call and response if you like,” he said.

The perpetuity of time and the way humans relate to that is a notion that resonates with Layton’s interspersed programming of Renaissance and Contemporary works. “Well, I always like to blur these things together, the ancient and the modern”, he explains, “because I feel that particularly in this ‘sacred’ music, they’re all striving after one ultimate goal, if you like, and that’s celebrating a spirituality”.

Layton finds it fascinating how we can be confused by composers and imagine that a piece was written very recently or long ago and can often be wrong on both counts.

“Composers these days confuse us by writing neo-type music sometimes. But, also, when you hear the same text being set by different composers through the ages, of course that’s a unifier which bring the music together,” he says.

This is no more obvious than in the newest piece in the program, the as yet unnamed work by Australian Joe Twist, commissioned especially for this Musica Viva tour. Layton is cautious when asked about the work: “I have to think carefully about what I can tell you… what I think I can say is that it’s interesting because it uses ancient text, Caedmon’s Hymn but… it then seems to use the sounds and the feelings perhaps of things in Australia”.

Layton wants to pass on the great choral tradition in which he was brought up and says: “I shall continue to do that until I die, just making sure that I am celebrating the music and sharing it with as many people as possible”.

When asked about his dreams for the next decade, he says: “I guess I would like to keep doing my air miles that I do, visiting as many places as possible, meeting new people and new cultures where I learn from their music and also share my music with them”.

- Nicky Gluch

EVENT Choir of Trinity College, Cambridge Touring Australia for Musica Viva: 17 July-4 August In Sydney: 25 July, 7pm Sydney program: PÄRT Bogoróditse Djévo BYRD O Lord, Make Thy Servant TALLIS Salvator Mundi PURCELL Remember Not, Lord, Our Offences STUCKY O Sacrum Convivium EŠENVALDS The Heavens’ Flock WHITACRE i thank You God for most this amazing day RAUTAVAARA Evening Hymn, Ekteniya LUKASZEWSKI Nunc Dimittis TWIST New Work (World Premiere) Commissioned for Musica Viva by Mary and Paul Pollard MARTIN Mass for Unaccompanied Double Choir PARK The Wings Of The Wind For more information visit: www. musicaviva.com.au/whatson/internationalconcert-season-2016/musicians/ June 2016

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FROM THE CHAIR...

There is much excitement and anticipation at Fine Music 102.5 as projects we have dreamed of start to become a reality. For many years we have run a highly successful Work Experience Program. This gives about 14 students in Year 10, two at a time, the opportunity to spend a week at Fine Music learning how to present, program and be involved in the myriad of activities essential to keeping the radio station on air.

For some time we have wanted to extend a day version of this to a broader range of students. Three significant donations last year enabled us to buy the unit adjacent to our new studios. This provides the space we need to accommodate school children.

Future Fanfares How many times have you heard the cue bells chiming at the Sydney Opera as you hastily finish your champagne and head back into the concert hall after interval? One probably doesn’t give much thought to the musical content of this bell.

The Artology Fanfare Competition looks to change this, giving young Australian composers aged between 12 and 21 the chance to write new 30-second fanfares to assist the existing cue bells.

The 2015 and 2016 competition winners were recently announced, and their works are already

We only need now to finish and equip what will be the Fine Music Learning Centre.

We are confident that you share our desire to give the next generation a love and appreciation of classical and jazz music.

We are hoping that you may be in a position to give financial support to make this project possible. Even small donations will help us achieve our goal.

Should you like to become a partner in this initiative please be in touch with me directly on 0425 417 811.

Janine Burrus Chair, Fine Music

being heard in the Sydney Opera House foyers. Each winner was given the opportunity to workshop their composition with leading Australian composer Nicholas Vines, and a recording session with the Australian Youth Orchestra and leading conductor.

All of the eight finished fanfares from 2015 that will be heard at the Sydney Opera House this year will be heard in a two-part series to be aired on Fine Music in June. Interviews with some of the young composers and Nicholas Vines will give an insight into the process of writing the fanfares and the inspiration behind the works.

The series is written and presented by Jason Noble, clarinettist and music educator.

Noble presented the first instalment of New Australian Music for the HSC that aired on Fine Music Digital in February and which can still be accessed on demand from finemusicfm.com.

ON AIR Future Fanfares with Jason Noble 11 & 25 June, 5.30pm

The Song Company presents Into Something...2016 Season Something Strange

A Strange Eventful History In this part-theatre, part-concert celebration of the 400th anniversary of Shakespeare’s death, hear voices old and new from Banister, Byrd, Johnson, Landsman, L’Estrange, Morley, and Williams.

Independent Theatre North Sydney Sunday 19 June, 3pm Booking information www.songcompany.com.au phone (02) 8272 9500

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Eugene Goossens Hall ABC Ultimo Centre Tuesday 21 June, 7.30pm

The Song Company Pty Ltd is assisted by the Australian Government through the Australia Council, its arts funding and advisory body, and the NSW Government through Arts NSW.

ROBERTO ALAGNA’S AUSTRALIAN DEBUT

One of the world’s best on our doorstep “It was very difficult when I was in America (far from home in France) because I was all the time thinking about my (daughter) Ornella. It was impossible for me to see the beauty around me and I was all the time suffering from the separation… I was alone, I was far away doing pleasure for people but not my daughter.”

Now with a new wife and another young daughter, life feels very happy for Alagna.

“With the first daughter, I became a little bit older because of the responsibility and with the second one I became younger… something strange like I am reborn, like I open my eyes again,” he says.

Roberto Alagna as Cavaradossi in a scene from Act I of Puccini’s Tosca. Image - Marty Sohl/Metropolitan Opera July marks the first time Australian audiences will get to enjoy one of the most sought after voices in the opera world. Roberto Alagna has been welcomed into the top opera houses including La Scala, The Royal Opera House in London, The National Opera in Paris, The Met in New York. He’s the guy you call when Jonas Kaufmann calls in sick and the Met did just that in January. Alagna had just completed their season in the leading role of Pagliacci the day before. The Met rang in a panic asking him to take on the lead of Manon Lescaut. Alagna is one of the few you can rely upon to rise to the challenge and not just make it through but become one of the major redeeming features reviewers loved the most about the production.

“I had five days to memorise the role. After that I had to start directly with the orchestra and the cast on stage. I had Monday to Friday and then it was General Rehearsal,” Alagna tells Fine Music magazine.

After more than 60 roles in opera through his career, including two operas that were written specifically for him, you would think the thrill would wear thin but Alagna still feels blessed to be in such a special career.

“We have the opportunity to deliver a message to people … An artist is there to enrich as many people as they can. You can bring the message of love and fraternity. Like a prayer, I see it like a communion between the audience and the artist.”

Alagna was already familiar with that communion by the time he began his opera career. Before he hit the big time he was a largely self-taught singer busking on the streets, singing cabaret and pop music in clubs around Paris where he was raised in a Sicilian immigrant family. This career path broadened his appreciation of music, gave him precious stage skills you wouldn’t normally learn in a singing school and he’s well-known for his great generosity with fellow performers, totally devoid of ego. However, he still feels life experience is what really counts in adding depth to the performance.

“Everything is useful in opera, you have a lot of things to do. You must play like an actor, you must have the discipline of a sportif. You have to be very comfortable with your body, you have to be able to fight or to do acrobatic things, you must be a seductive lover. All of this can be drawn from life.

“I was a widower when I was 29 years old (his wife died from a brain tumour leaving him with a two-year-old daughter) so, I lived out this very, very sad moment with my first wife and in La Boheme, the same situation… With experiences you learn a lot. Otherwise it’s impossible to be a good interpreter if you only have good moments,” says Alagna He says his solid family support is what kept him from losing his mind and they are still very much a part of his life and career.

According to the tenor, the program he’s put together for his Australian tour will be value packed with more than 30 arias plus songs from his Sicilian, French and Neapolitan roots.

“For this first time I wanted to give the most I could for the people. If I just come with the classical program where in a typical program you sing six or seven arias and after some encores it’s finished,” said Alagna. “Number one, I wanted to give the most possible… to give a program that is easy to love but with also a demanding program, very full and dense.”

Joining Alagna on stage will be young Australian soprano Siobhan Stagg who is establishing herself as a rising star in Europe recently stepping in to take roles with the Berlin Philharmonic and at the Royal Opera House in London. The Australian Sinfonietta Orchestra will accompany at what is sure to be a sold-out Sydney concert.

- Annabelle Drumm

EVENT ROBERTO ALAGNA One of the World’s Finest Tenors in Australia for the first time SYDNEY 21 July MELBOURNE 27 July BRISBANE 30 July For more information visit: www.alagna.com.au/ June 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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SFF returns to one of its original Sydney homes following record attendance last year. Enjoy the full program at sff.org.au/orpheum

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PINCHGUT UNEARTHS ANOTHER OPERATIC GEM

Rachelle Durkin plays armida RD: I still put a lot of work into vocal preparation.

Whether it’s having a lesson every week, practising an hour or so each day or studying a role with a coach, it’s important for me to be secure in the work I’m presenting on stage. Once I am prepared musically and I have incorporated my characterisation into the piece, there’s a sense of abandonment and freedom once I am on stage.

Looking back, I’m lucky to have enjoyed most of the roles I’ve sung. Those that stick out in my mind are Norina in Don Pasquale when I went on last minute for Anna Netrebko at the Met; the heroines in Les contes d’Hoffmann for West Australian Opera; Alcina in a beautiful production at Opera Australia with Maestro Antony Walker, and Violetta for Opera Australia’s HOSH on the Sydney Harbour.

Rachelle Durkin Once again Sydneysiders are to be blessed with a unique Pinchgut production of a rarely performed operatic gem, to star Rachelle Durkin, back in Sydney after acclaimed performances at the Met in New York. Directed by US rising star Crystal Manich, with the Orchestra of the Antipodes performing on classical instruments under the baton of the indomitable Antony Walker, Haydn’s Armida will be a feast for the senses.

Fine Music recently caught up with Rachelle Durkin and here are some snapshots of the conversation.

FM: It’s fair to say that you have been an international opera artist of the highest calibre for more than a decade now. How do you stay on top of your game and what are the roles or performances you enjoy the most?

FM: As a student from Western Australia, who has gone on to perform at The Met and leading companies around the world, do you ever stop to reflect on how far you have come and how your artistic journey has unfolded? Could you have forseen the directions it has taken?

RD: All I have to do is walk outside my apartment in Manhattan and I cannot help but feel an overwhelming sense of pride and accomplishment. I remember working my butt off at the Conservatorium when I was a student at WAAPA, sometimes singing up to four hours a day, much to the despise of my roommates I’m sure. I guess I thought the hard work might pay off in some way, but I never envisioned I’d be living in Manhattan and working at the Metropolitan Opera.

Winning the National Council Auditions and becoming a Lindemann Young Artist at the Met has to be one of my proudest moments, second to becoming a mum of course.

FM: How did the association come about and what do you most look forward to in working with Pinchgut on this unique production?

RD: I got a call from my agent in Australia asking whether I was free to sing Armida.

Once I glazed over the role to see if it was a good fit for my voice, I jumped at the offer. It thrills me that the company shines a spotlight on earlier works. Though I love singing standard repertoire, early music has always been my forte. One of the main reasons is that my voice is very versatile and I’m in my element when singing extremely fast coloratura passages. Much of earlier music repertoire requires this. The role of Armida is a prime example and the piece itself is so stunning. I’m also excited to be working with Antony Walker again and to sing for the first time with the Orchestra of the Antipodes.

FM: Haydn’s Armida certainly does show us that love can be a cruel mistress! Does this role demand a lot from you in terms of performance? What do you draw on in order to convey substance in your characterisation?

RD: It seems I’ve actually played the role of Armida four times. Handel’s Orlando, Alcina and Rinaldo and indeed Haydn’s Armida are all loosely based on similar storylines from poems written by Ariosto and Tasso. A pagan sorceress seduces a Knight in order to gain ground in war, falls in love with him only to be betrayed. I love the challenge of portraying a villain on stage. Armida has many layers to her character and requires a lot of physicality but there is also a subtlety in moments of her defeat whether it being in love or war.

The role of Armida will be a collaboration of my ideas and the ideas of director Crystal Manich. It’s important for me to come into rehearsal with a clean slate and open mind because no two roles are same. Armida will be an evolving process.

EVENT ARMIDA Pinchgut Opera 22, 24, 26, 28 June City Recital Hall, Sydney For more information visit: www.pinchgutopera.com.au June 2016

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Developing our young musical talent

The Fine Music Learning Centre Help us make The Fine Music Learning Centre a reality

For centuries, the world’s greatest musicians and composers have benefitted from the enthusiasm and financial support of music lovers. FINE MUSIC has continued that tradition, through nurturing and inspiring talented young musicians through scholarships and award experiences.

Now, with your help, we have the opportunity to expand that tradition by creating a facility at the Station to provide school and community groups the opportunity to develop a passion of fine music performance and broadcasting through education and exposure.

The Fine Music Learning Centre - an investment in our next generation of musicians and fine music lovers, yet it cannot become a reality without YOU.

LEARNING CENTRE

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As part of the FINE MUSIC ‘family’ your support is essential in raising the funds needed to finish and equip the Centre.

Mail: Cheque payable to The Fine Music Learning Centre Appeal 76 Chandos St, St Leonards, NSW, 2065

Please consider making a tax deductible donation to the Fine Music Learning Centre Appeal, through one of the following ways:

Phone: 9439 4777 On-line: Secure payment can be made at www.finemusicfm.com/donate

Thank you. Together we can make a world of difference for our young musicians.

KRUGER SCHOLARSHIP ENABLES NEW WORK

Rebecca Gill to premiere three horizons generation of composer continuing this distant cultural conversation.”

Looking into the works of Margaret Sutherland and Raymond Hanson was particularly interesting for Gill as she was not as familiar with their writing compared with other Australian composers.

“Chris’ compositions were not designed to be played in order, one after the other, so I can weave in amongst them some of the great Australian chamber pieces that may not get quite as much air time as, say, a Brahms Sonata,” says Gill.

“I’ve also come across some great works

by Stuart Greenbaum and am still exploring what else would make the concert even more interesting and entertaining for my different audiences.”

Rebecca Gill Young violinist Rebecca Gill has a very busy time ahead, having used her Kruger Scholarship from Fine Music to commission a new work which she will perform next month. Premiering at Fine Music’s Live from the Joan concert at the Joan Sutherland Performing Arts Centre in Penrith, three horizons actually comprises three pieces for piano and violin composed by Gill’s longtime friend Chris Williams.

Gill was also in the process of recording the work at the studios of Fine Music when she spoke to the magazine about what the Kruger Scholarship has so far enabled her to achieve.

“Part of my initial inspiration for the program was to look at the relationship between Australian composers and their European forebears. Although some of our cherished composers, like Peter Sculthorpe and Ross Edwards, are famous for trying to find a truly Australian voice, I think the European tradition of composition was an inescapable presence throughout 20th century Australian composition.

“When I looked through the work and lives of composers like Margaret Sutherland and Raymond Hanson I felt a strong engagement with English and European composition and also an innate Australian flavour,” says Gill.

Chris Williams studied in Oxford and has now made another shift to Washington D.C, explains Gill. “To me he represents a new

Gill has a special affection for chamber music and recital performances as they present an opportunity to express her “musical personality directly to an audience”.

Gill graduated from the Sydney Conservatorium in 2013, with a Masters of Music Performance (Research) studying with Janet Davies, and has already toured extensively in Australia and internationally, working with artists such as Pekka Kuusisto, Sir Mark Elder, Elizabeth Wallfisch, Pinchas Zukerman, Gautier Capuçon and Charles Dutoit. She first met Chris Williams at High School in Newcastle and there began a collaboration that continues to the present day.

Although, after completion of their studies at the Sydney Conservatorium and Williams’ move to Oxford to undertake a Masters, Gill regretted that they “hadn’t collaborated on a work or in concert before he moved to the other side of the world”.

When the opportunity to commission a work came up, through the Kruger Scholarship, Gill immediately thought of Williams: “It’s so exciting to have each come so far from that classroom in Merewether and to be able to finally join forces”.

“When I engaged Chris in this commission he was also involved in a project with his long-term mentor and friend, Australian composer Nigel Butterley. Like Chris and me, Butterley has a strong connection to Newcastle,” said Gill.

Two of the three pieces within three horizons have been titled after Butterley’s personal

art collection, ‘cloud, ground, trees’ and ‘white, sea, bird’. The third piece’s title was appropriated from Australian poet Michael Dransfield’s Geography Poems, ‘valley’s of the sky (chapels of pure light)’. For Williams, three horizons is “a trinity of trinities”. Its titles celebrate three Australian artists, the work pays homage to “the trinity of Rebecca, Nigel and Newcastle and was itself conceived and composed across three horizons: England, Australia and the USA”.

Gill says: “The varied nature of my work sometimes feels a little like juggling but I constantly remind myself how lucky I am to be making this my career. To have your passion as your job must be the ultimate privilege”.

- Samuel Moore

EVENT

Sunday 31 July, 2pm Fine Music’s presents Live from the Joan Joan Sutherland Performing Arts Centre, Penrith Saturday 13 August, 2pm Rose Room, Burradoo NSW Saturday 20 August, 1pm Adamstown Uniting Church, Newcastle Sunday 25 September, 3pm Wesley Uniting Church, Canberra Saturday 1 October, 2pm Utzon Room Sydney Opera House

The Fine Music Stefan Kruger Scholarship 2016 Fine Music is proud to offer the Kruger Scholarship to assist young, outstanding individuals to further their career in their chosen field of music.

The scholarship is valued at over $15,000 with a cash component of $10,000. The recipient will also receive support through Fine Music 102.5, with access to recording and broadcasting services plus marketing support. The scholarship is open to all Australian citizens, whose principal place of residence is Sydney. Applicants must be between the ages of 21 and 30 on 1 July in the year of application with the project or study taking place in 2017.

Applications close 1 August 2016.

Apply at: www.finemusicfm.com June 2016

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Artistic Director Carl Vine. Presented in Association with Musica Viva Australia

27th Music Festival Prelude Weekend 19th & 20th November 2016 Experience a Taste of the internationally renowned Huntington Estate Music Festival featuring 2 worldclass chamber music concerts, gourmet canapes and meals, and award-winning wines.

Tickets are available for both or either Saturday night and Sunday lunchtime concerts.

The 2016 Prelude Weekend features: Piers Lane, piano Alice Giles, harp Tamara Anna Cislowska, piano Goldner String Quartet Orava Quartet

“If you believe in heaven, it might just look a little like Huntington.�

EMMA AYRES, ABC CLASSIC FM

TICKETS ON SALE NOW CALL 1800 995 931 www.huntingtonestate.com.au

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FINE MUSIC’S LIVE FROM THE JOAN

Our gift to you of Music, Gerard Willems will perform Chopin’s Scherzi No. 1 and No. 3 at Fine Music’s live broadcast event.

The Great Gatsby On Sunday 31 July, Fine Music 102.5 will present Fine Music Live from the Joan Sutherland Performing Arts Centre in Penrith, a free concert for the people of Sydney.

A talented gathering of musicians and ensembles have been specially curated for the occasion and will cover a range of styles and genres that reflect the diversity of the music played on Fine Music 102.5.

The top-class performers booked to appear on the day include The Great Gatsby Orchestra (10-piece jazz group); Rebecca Gill Duo (violin and piano) Fine Music’s current Kruger Scholarship recipient; Acacia Quartet (string quartet); Sydney Symphony Fellows (orchestra); The Idea of North (Aria award winning a cappella group); and Gerard Willems (concert pianist).

Leader of The Great Gatsby Orchestra, Geoff Power, tells Fine Music magazine: “It’s a great opportunity for us to perform at one of Sydney’s finest venues, and we are proud to be associated with Fine Music.

“To the best of my knowledge, we are the only group in Sydney currently playing this repertoire (hot jazz and dance orchestra music from the 1920s), and all the more unique as the average age of the group is 20.”

At Live from the Joan, The Great Gatsby will play music by Duke Ellington from The Cotton Club, an Australian composition, a novelty song of the era and some San Franciscostyle jazz.

“We believe Fine Music to be synonymous with the best in music… and a joy to work with, and we are very grateful for the opportunities they have given us,” said Power.

Accomplished concert pianist and Associate Professor at the Sydney Conservatorium

“It shall be a pleasure to take part in the Live from the Joan concert… a wonderful way to share the music I love,” he tells Fine Music.

as I believe a performance is a two-way relationship between the audience and the performer.”

At Live From The Joan, the group will showcase a couple of songs from its 12th album entitled Ballads, along with some more up-tempo and light-hearted repertoire to balance out the concert.

“Who knows, you might even get to hear a Michael Jackson number,” says Piper.

- Paula Wallace

In regard to his chosen repertoire, Willems says: “These are dramatic and colourful and show off the beautiful Bosendorfer in the hall, which has a great acoustic.

“I have recorded a CD for Fine Music in this venue and was smitten with the beautiful atmosphere of the hall.”

Willems was actually the Patron of Fine Music some years ago and has since become a sponsor as he believes in the organisation’s mission of sharing fine music.

Fine Music actively supports numerous local artists and gives them the opportunity to bring their music to a large listenership through airplay of their albums, interviews and live performances.

The Idea of North

“The Idea of North has been performing now for 23 years and it’s this kind of support that has helped us with our vocation,” says the a cappella vocal ensemble’s bass, Andrew Piper.

“Over the years we have enjoyed working with the dedicated team of presenters and crew on a number of projects.

“Personally, I have even had the opportunity to present my very own weekly jazz program called A Twist of Jazz back in 2012 and our soprano presents her own weekly jazz program, Friday Night Jazz Session with Sally Cameron.”

Piper says the Live from the Joan event, provides the group with the “best of both worlds”.

“We will perform to a live audience as well as have our music broadcast to the Fine Music listeners.

“Having an audience to work with creates the opportunity for an exciting concert,

Gerard Willems

EVENT Live from the Joan Sunday 31 July, 2-5pm Joan Sutherland Performing Arts Centre Penrith Fine Music 102.5 Live Broadcast FREE event – no booking required June 2016

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32 VIRTUOSOS. 1 PASSION.

Experience one of the world’s most anticipated events, where talented young pianists compete passionately for international recognition, delivering performances that will define careers. 32 virtuosos will battle it out through a stunning series of concerts. The artistry will be sublime, the skill breathtaking and the rivalry intense. There can only be one winner.

6 – 23 JULY 2016 | SYDNEY OPERA HOUSE | SYDNEY CONSERVATORIUM OF MUSIC TICKETS FROM $30* BOOKINGS 02 9250 7777 | SYDNEYOPERAHOUSE.COM SYDNEYPIANOCOMPETITION.COM.AU *Selected performances. Concessions, student tickets, packages and groups of 5+ available. A GST inclusive transaction fee of $8.50 applies for online and phone bookings, and $5 for over the counter bookings.

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WINDFALL FOR PREMIERE OF NEW WORK

By composer david hush

Having devoted a fair amount of my creative output to compositions for strings, over the last 14 years, I have been increasingly drawn to writing for wind instruments.

Starting with Three Pieces for Solo Flute in 2002, I gradually progressed to writing solo pieces for other wind instruments, such as the clarinet and the bassoon, moving on to chamber works featuring small combinations of winds.

types of melodic articulation to be heard in Three Etudes yet retains a concise template.

Secondly, the most prominent harmonic intervals in Three Etudes are fourths and fifths. Owing to the small instrumentation (three winds) on the one hand and the practice of delegating an independent melodic role to a separate player from those articulating harmonies on the other, each harmony comprises only two notes. In Night Songs, by contrast, with an enlarged sound world of five instruments, the possibilities for harmonic construction based on fourths and fifths are much larger.

Last year I was commissioned to write a new work for the Sydney-based ensemble Windfall. Entitled Night Songs, the piece will receive its premiere on 21 June at the St Andrews Anglican Church, Lane Cove.

The title was inspired by Goethe’s Night Song (1804). In particular, the music seeks to capture three distinct sensations evoked, directly or indirectly, by Goethe’s poem: the sense of freedom and release occasioned by looking up at the sky on a starry night; the sense of wistful longing; and the sense of mystery.

Founded in 2002, Windfall is a dynamic Australian ensemble devoted to the performance of chamber music, with a special focus on works for wind quintet and winds with piano. Windfall’s collective wealth of musical perception and experience promises audiences vibrant performances and challenging programs, from the music of the baroque and classical eras through to the voices of the present day.

On 26 May 2014 three members of Windfall, Jocelyn Fazzone (flute); Teléna Routh (oboe); and John Cran (bassoon) gave the first performance of my Three Etudes at the Australian Academy of Science. The recital was conceived as a symbolic handshake between music and science in Australia, and was presented by Professor Suzanne Cory AC, President of the Academy.

Following the warm reception to Three Etudes, the players said they looked forward to working with me again, and added that while they would welcome a new trio, they would be especially receptive to a new quintet.

After visiting the ensemble’s website and listening to sound samples, the one that really won me over was their stunning rendition of the overture to The Magic Flute. I found it remarkable that this piece scored for full orchestra - a major achievement in its own

David Hush right - could be played so convincingly by five wind instruments.

Developing Night Songs The new work seeks to develop specific melodic, harmonic and structural traits as featured in Three Etudes.

As an example, the first movement of Three Etudes presents antiphony between the flute and the oboe on the one hand and the bassoon part on the other. While the flute and the oboe articulate fifths in parallel motion, the bassoon plays melodies redolent of ethnic Jewish music.

In the second movement, the flute and the oboe open with parallel fourths. This provides a harmonic background for two solos courtesy of the bassoon. The oboe part then assumes the primary melodic voice with two solos while the flute and the bassoon play in parallel fifths.

In the third movement, the primary melodic role is assigned to the flute. Short motivic fragments set to a fast tempo characterise this part, with the oboe and the bassoon providing harmonic support and complementary motives.

In Night Songs, there are three primary ways in which ideas embodied in Three Etudes are developed.

To begin with, while each movement of Three Etudes has much to offer melodically, the relative compactness of each movement ensures that all melodic statements are succinct. Night Songs thoroughly explores the

Finally, a striking feature of Three Etudes is the rate at which the roles of each instrument undergo transformation: the role of any instrument, or pairs of instruments, remains fixed for only a short time. In Night Songs, with an ensemble approaching twice the number of Three Etudes, the possibilities of transformation have been considerably enriched.

Having been thrilled with the results of the trio’s performance of Three Etudes in Canberra, the prospect of writing for the full wind quintet could not have been more challenging or exciting. I greatly look forward to the first rehearsal with this excellent ensemble, not to mention the premiere performance.

- David Hush

EVENT Lane Cove Music Tuesday 21 June, 8pm St Andrews Anglican Church (behind the Post Office), Lane Cove Müller: Quintet No. 2 in C minor Ravel: Le Tombeau de Couperin arr.

Mason Jones Warlock: Capriol Suite arr. Lisa Portus Hush: Wind Quintet (World Premiere) Mozart: Divertimento No. 14 KV270 A selection of pieces arranged by Lisa Portus Playford: Mr Deveridge’s Maggot Gershwin: Promenade (Walking the Dog) Shostakovich: Tahiti Trot (Tea for Two) Abreu: Tico-Tico no fuba For more information visit: www.windfall.net.au June 2016

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What’s On ENSEMBLE TEMPESTA Australian String Quartet 30 June, 7pm Venue: City Recital Hall Tickets: $30-$83 Bookings: https://www.cityrecitalhall.com/ events/tempesta Information: www.asq.com.au/whats-on/ detail/sydney/tempesta

ENSEMBLE Beethoven’s Seventh Omega Ensemble 11 July, 7:30pm Venue: City Recital Hall Tickets: $29-$94 Bookings: www.cityrecitalhall.com or 8256 2222 Information: www.omegaensemble.com.au One of the most celebrated works from one of the most celebrated composers, Beethoven’s Seventh is an undisputed masterpiece. First performed at a benefit concert for wounded soldiers, the Symphony achieved instant and lasting popularity. It is driven by an intoxicating energy in what Wagner described as the “apotheosis of dance”. Composers Gounod and Spohr are better known for their operatic creations, but both also made outstanding contributions to the instrumental cannon. Gonoud’s Petite Symphony is delightful and charming, while the sparkling Grand Nonetto flaunts Spohr’s melodic brilliance.

Webern managed to condense a lifetime of thoughts into these five succinct and beautifully crafted gems that seem to disappear right before our ears. Haydn’s early quartet from op 20 counters this with well-balanced classical logic and stark beauty. The fresh and quick-fire new style in Australian composer/pianist Joe Chindamo’s Tempesta, is a world away ENSEMBLE Sequenza Italiana Australian Chamber Orchestra Giovanni Sollima, Director & Cello 2 July, 7pm; 5 July, 8pm 6 July, 7pm; 8 July, 1.30pm Venue: City Recital Hall 10 July, 2pm Venue: Sydney Opera House Tickets: $49-$117 Bookings: www.aco.com.au/sequenza 1800 444 444 (no booking fees) In 2014, ACO audiences roared their approval of the exhilarating mastery of maverick cellist and composer Giovanni Sollima’s performances across Australia.

In 2016 he returns for an unmissable celebration of five centuries of Italian music, ably joined by soloists from the ACO. Rossini’s Une larme (A Tear) effortlessly

ORCHESTRAL BRILLIANCE Stephen Mould, Conductor Virginia Taylor, Flute Saturday 18 June, 7pm Sunday 19 June, 2pm Venue: The Concourse, Chatswood Tickets: $10.50-$47 Bookings: Box Office 8075 8111 or Ticketek 1300 795 012 Information: http://theconcourse.com.au/brilliance BRILLIANCE opens with Mozart’s sparkling Haffner Symphony and also includes a rarity that will delight you: the intensely beautiful Symphony No. 6 by Nielsen. The symphonies of this Danish master composer contain exquisite orchestral writing 14

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from the palpable anguish and heart-torn emotion in Mendelssohn’s final quartet, written in despair following the death of his sister Fanny. It was to be his last quartet. The program includes: Webern’s Fünf Sätze for String Quartet op 5; Haydn String Quartet in C Major op 20 no 2; Joe Chindamo Tempesta for String Quartet; and Mendelssohn String Quartet no 6 in F minor op 80. balances bravura with melancholy.

Berio’s Sequenzas pay tribute to the possibilities of each instrument, and this program enables ACO’s Principals Satu Vänskä and Maxime Bibeau to take virtuosic flight. Vänskä also features in a precision-demanding piece by Paganini, and Bibeau in Scelsi’s incantatory double bass solo. Though Sicilian himself, Sollima’s love of Neapolitan style flowers not only in a captivating rendition of galant composer Leo’s Third Cello Concerto, but also in his own work, Fecit Neap 17..., a spirited and heartfelt close to a stunning concert.

and feature a fascinating palette of incredible colours and textures. One of Australia’s living legends, the extraordinary flautist, Virginia Taylor, will guest star in a thrilling addition to the program. An artist who creates magical moments the way other people breathe, Virginia will perform Composer-in-Residence Matthew Hindson’s House Music, a flute concerto that will forever change your perception of the instrument. Experience the magnificence of the electrically enthusiastic Willoughby Symphony Orchestra as they bring this brilliant music to life as only this unique orchestra can.

CHAMBER Australia Piano Quartet in concert 12 June, 16 July, 22 October, 26 November, 3pm Venue: Utzon Room, Sydney Opera House Tickets: $35-60 Bookings: www.sydneyoperahouse.com or 9250 7777 Information: www.sydneyoperahouse.com/whatson/apq_1_2016.aspx Cutting-edge Australian chamber music will be paired with classical master works when the Australia Piano Quartet, one of the country’s most dynamic ensembles, plays in the intimate setting of the Sydney Opera House’s Utzon Room, from June to November 2016. The four concerts are designed to provoke new understandings of the masterpieces and their connections with contemporary works as part

CHORAL A Strange Eventful History The Song Company In collaboration with Gary Watt June 18, 3pm Venue: Blackheath Uniting Church 25 June, 6pm Venue: Wesley Uniting Church 23 June, 7pm Venue: Newcastle Conservatorium 26 June, 3pm Venue: Wollongong ART Gallery 19 June, 3pm Venue: Independent Theatre North Sydney 21 June, 7.30pm Venue: Eugene Goossens Hall, ABC 27 June, 7pm Venue: Berry Uniting Church Tickets: $20-$60 Bookings: www.songcompany.com.au or 8272 9500 The lifetime of an individual, as outlined by William Shakespeare in As You Like It is the unfolding framework for both the familiar and the unexpected – in Nassim Nicholas Taleb’s words, “the inability to predict outliers implies the inability to predict the course of history”. Part-theatre, part-concert program celebrating the 400th anniversary of Shakespeare’s death, A Strange Eventful History draws on the work of scholar Gary Watt on performance rhetoric for the Royal Shakespeare Company and his forthcoming Shakespeare’s Acts of Will, and on contemporary settings from The Song Company’s Call for Scores. The program includes a selection of Shakespeare settings by Banister, Byrd, Johnson, Landsman, and Morley.

of a vital and evolving art form. For the first recital on 12 June, APQ Emerging Artist violinist Anna Da Silva Chen will join the ensemble’s performance of the joyful Schumann Piano Quintet in E flat major Op. 44, in a program that also features Lachlan Skipworth’s spare, textural and uniquely Australian composition, piano quartet. Guest artists in the concert series also include breath-taking tenor Andrew Goodwin and APQ Emerging Artist Muhamed Mehmedbasic.

JAZZ James Morrison & his Big Band With Anthony Callea & Sarah McKenzie 22 June, 7.30pm Venue: State Theatre Sydney Tickets: $69-$89 Bookings: www.ticketmaster.com.au Information: www.statetheatre.com.au Australian jazz legend James Morrison has announced his line-up for his popular annual big band shows, which this year will feature multi-platinum-selling vocalist

Anthony Callea and one of the most talented jazz singers of her generation, Sarah McKenzie. The concerts – at Hamer Hall in Melbourne and Sydney’s State Theatre – will feature big band classics made famous

by Glenn Miller, Duke Ellington, Gershwin and Frank Sinatra. The gigs come hot on the heels of Morrison’s performances for President Obama and the First Lady at the International Jazz Day celebrations at the White House in April 2016, alongside Aretha Franklin, Sting, Herbie Hancock, Diana Krall and many others.

ENSEMBLE Sundays at the Joan Featuring Jane Rutter 26 June, 3pm Venue: Joan Sutherland Performing Arts Centre, Penrith Tickets: $30-$112 Bookings: Box Office on 4723-7600 or www.thejoan.com.au Information: http://thejoan.com.au/series/ sundays-at-the-joan The Joan’s 2016 Sunday Series – running from May to September - is rich in stories, songs and sound. On 26 June Jane Rutter, Australia’s queen of the flute, re-lives her student days in Paris with a concerttheatre piece that includes delicious French music from La Belle Époque to the present day, including Claude Debussy,

George Gershwin, Marin Marais, Maurice Ravel, Edith Piaf, Cole Porter and Henry Mancini. Using French poetry and her own anecdotes, Rutter relates her experiences in this most beautiful and romantic of cities, as well as the tales of many other artists, writers and musicians who flocked there to create and recreate themselves.

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CD Reviews Pinchas Zukerman Royal Philharmonic Orchestra Vaughan Williams, Elgar DECCA

✶✶✶✶✶ Pinchas Zukerman joins the Royal Philharmonic Orchestra for the first time in more than 40 years in an exquisite collaboration featuring The Lark Ascending, Tallis’ Fantasia, Introduction & Allegro, In Moonlight by Ralph Vaughan Williams and Edward Elgar of which he is Principal Guest Conductor. During the late 1960s in London Zukerman fell in love with English music. It was through his acquaintances with Jacqueline du Pré and Sir John Barbirolli that he discovered a natural affinity with the music of Elgar. The first

Mozart with Friends Nils Monkemeyer, viola, and assisting artists SONY

✶✶✶ Robertissimo Operatic arias and songs Robert Alagna, tenor, with various orchestras and conductors and assisting artists SONY

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This CD contains 16 songs and 18 operatic arias. The songs are of the kind that crossover tenors often sing and, although some of them are catchy, the only one that struck me as having much musical value was Si loin de vous by one Andre Hossein. The others are hardly memorable.

The arias are by Verdi (Rigoletto, Aida, Trovatore), Donizetti (La Favorite, L’elisir

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track The Lark Ascending is impeccably moving, a fantastic choice for the first piece.

Zukerman’s playing exudes pure beauty and his interpretation and vision of this piece is beautiful. Fantasia on a Theme by Thomas Tallis is equally as beautiful. You will be taken on an emotional rollercoaster, transporting you to your own paradise if you close your eyes and let yourself be swept away. We are then taken to the Serenade in E Minor for String Orchestra. Filled with flowery phrases, this is a stark contrast to the myriad of emotions heard in Williams’ works. The second movement Larghetto is a romantic transition from Allegro Piacevole. Listening to this powerfully romantic Serenade, one would imagine a lover longing deeply for a lost love never to return. Salut d’amour is no doubt another

beautiful yet simple piece. The simplicity of Elgar’s works is what makes them beautiful, particularly his melodies which are breathtaking. The final track, Introduction & Allegro for Strings, Op. 47 begins with authority, slowly transforming into an array of beautiful phrases.

- Leslie Khang

This CD is built around the violist Nils Monkemeyer, born in 1978 in Bremen.

He plays in all the works recorded here with assistance, when required, from Julia Fischer, violin, and Sabine Meyer, clarinet, both of whom are well established artists, and the Korean pianist William Youn who is less well known but is clearly an accomplished player. Monkemeyer himself is an excellent performer. The CD contains at least two masterpieces - the Trio for Clarinet, Piano and Viola K. 498 – one of Mozart’s most beautiful and delightful works, and the Duo K. 423 for Violin and Viola, written to fulfil a commission originally given to Michael Haydn. Here, Julia Fischer’s sensitive and delicate playing is a particular delight. Most of the other works on the disc

are from Mozart’s infancy or childhood and, although characteristic of his style, are too brief to make much of an impact; several last for less than a minute. Of greater consequence, but still not a masterpiece, is the Duet for Viola and Piano (originally written for violin and piano) of variations on Helas j’ai perdu mon amant K. 360. While this disc is worth owning for K. 498 and K. 423, it would have been preferable to have dropped some of the smaller works in favour of the violin and viola Duo No 2 or perhaps even one of the great string quintets which require two viola players.

d’amore), Giordano (Fedora), Lalo (Le Roi d’Ýs), Flotow (Martha), Cilea (Adriana Lecouvreur), Berlioz (Damnation of Faust), Bizet (Carmen, Les Pecheurs de Perles), Massenet (Werther, Le Jongleur de NotreDame) Halevy (La Juive) and Rabaud.

The last-named’s aria from Marouf has the advantage of unfamiliarity. Alagna is now 53 and his voice is still in acceptable condition, although it sounds rough from time to time and in any case is not the voice for some of the heroic roles he assumes here such as Radames and Calaf in Turandot. His musicianship and artistry are as impressive as ever. It is difficult to know for whom this CD is designed. Those interested in the

songs are unlikely to be attracted by so many arias and operatic fans are unlikely to want so many songs. The CD will probably be popular with the many fans of Alagna.

The orchestral accompaniments are satisfactory and the chorus which joins him at appropriate times is first rate.

– Richard Gate

– RG

CD Reviews Love Simone Kermes SONY

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The late 16th and the 17th century is a golden age, a time of cultural flowering, because, in the words of Simone Kermes, the “poetry and music merged to form such a profound, honest and at the same time touching mood that we can speak of consummate beauty in the most exalted sense.”. Love is a collection of beautiful baroque and renaissance love songs that reflect the versatility of love – passionate, dramatic and addictive - by the most popular composers of the time. Simone Kermes is a dramatic coloratura soprano and multi-

Fantasia Alliage Quintet with Sabine Meyer SONY

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The Alliage Quintet unite with German clarinetist Sabine Meyer on a journey of wonderful works by Borodin, Stravinsky, Beethoven Piano Trios Seraphim Trio G major op.1 No.2. D major op.70 No.1 ‘Ghost’. Bb op.11 ‘Gassenhauer Anna Goldsworthy (piano) Helen Ayres (violin) Timothy Nankervis ABC

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The well-known and much loved popular Seraphim Trio have performed together for more than 20 years, building contemporary audiences and teaching the next generation of performers. They each work in different state capital cities and one has to wonder when and where do they rehearse! However

award winner. For her solo albums she has received a number of international awards, Gramophone Magazine’s Recording of the Month and some of Russia’s highest cultural awards. Opera commitments have taken her to New York, Paris, Lisbon, Copenhagen, Moscow, Beijing and German state opera. Of particular interest Kermes gives a fine rendition of Monteverdi’s Amor, amor, a very realistic Mad song from John Eccles’s, John Dowland’s delightful Now, I know I needs must part, Henry Purcell’s If love’s a sweet passion and his most tragic Lament from Dido and Aeneas. Also included are works by Antoine Boësset, and Luis de Briçeño who add to the emotional rollercoaster of the ride in song! The album,

cast of instruments, and recording setup is as such that the “pop song” quality, the contemporary and eternal spirit and the immediacy of these compositions is revealed. They’re all sung with the unique legato, pure, and silver quality that makes Simone Kermes’ voice so appealing. Love is Simone Kermes’ most intimate and personal album yet.

- Emyr Evans

Dukas, Bernstein and Shostakovich. This is a unique selection of works as they are all based on famous fairytales, narratives and stories, e.g. Goethe’s Sorcerer’s Apprentice, Voltaire’s much-travelled Candide or the Russian folklore Firebird. The performance opens with Borodin’s Prince Igor: Polovetsian Dances which is a fun, lighthearted piece. The opening of Stravinsky’s Introduction from Firebird is powerful.

This quintet plays with great imagination.

Their playing is extremely narrative-like where every detail is essential to the story.

The quintet has not failed to portray the quirky nature of the work, particularly in the Variation of the Firebird. We are then transported into a completely different work, the Der Zauberlehrling by Dukas. The diverse tones from all of the instruments

makes this enjoyable to listen to. In Bernstein’s Candide: Overture, the clarinet really shines here, in which we hear the bright and rich tones. The most enjoyable work out of the five is Shostakovich’s Five Pieces for Two Violins and Piano. The first movement, Praeludium, is mellow and beautiful, a quiet introduction to a series of different characters in this work. The Gavotte evokes a childlike playfulness, innocent and simple. We then move on to the Elegie, which is quite the opposite to the Gavotte. The saxophone and clarinet arrangement is beautiful, with a modern take on it. Meyer’s playing is superb and her ability to tell a story is brilliant.

to the pleasure of many of their audiences they appear at various festivals and can be heard regularly on ABC Classic FM and the MBS Network. Mozart and Haydn had a profound effect on the development of the form of the piano trio and it was Beethoven who moved the structure forward. Three of the 12 Trios, the G major and D major were written during Beethoven’s 20s and they neatly contrast with the Bb Trio (Ghost) written in 1808 when he was emerging from his middle period. Lots of lovely Haydnesque and Mozartian moments occur in each work particularly in the lyrical expressive slow movements whilst the outer movements show an appealing energy

with balanced texturing and beautifully shaped phrases. The dramatic opening of the Bb work provides a strong anticipation of the maturer style and reflects the newly discovered decisiveness. The smallest work, the op.11 the Gassenhauer was originally composed for clarinet, cello and piano with the last movement based on a song Before I go to work I must have something to eat.

- LK

- EE

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Jazz CD Reviews Talk To Me Freddy Cole HighNote HCD7225

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This 2011 release only reinforces my view that Freddy Cole has long been the natural successor to the baritone balladeering icons Nat King Cole, Billy Eckstine, Joe Williams and Johnny Hartman. Although the octogenarian’s voice is darker and slightly rougher than the above four, he is stylishly sophisticated with a deeply personalised view of jazz singing. He may have some resemblance to his late brother but Cole is very much his own man. Few vocalists have such a broad repertoire described by Cole as “from Broadway to the blues”. As usual the accompanying musicians are of the highest

calibre including pianist John Di Martino, trumpeter Randy Napoleon and his usual group, guitarist Randy Napoleon, bassist Elias Bailey and drummer Curtis Boyd.

Harry Allen, filling in for Houston Person who is usually Cole’s first-choice tenor saxophonist on these HighNote recordings, is in superb form especially on the opening and best track, the little heard but lovely and bittersweet Mam’selle from the 1946 20th Century Fox movie classic The Razor’s Edge; Cole’s hushed vocal complements the ballad’s lyrics to perfection. Cole continually finds new gems for his material, less familiar but no less satisfying. Grammy Award winning songwriter Bill Withers, a long time Cole favourite, is represented by three tracks including a mellow You Just Can’t Smile It

Multi-award winning Australian trumpeter, Eugene Ball, has received widespread national and international recognition throughout a professional career that has featured performances with some of the biggest names in improvised music. His recording career with numerous ensembles including the Andrea Keller Quartet, the Allan Browne Quintet, the Australian Art Orchestra and The Bennett’s Hi(gh) Curious Lans Big Band are noteworthy and in addition Eugene Ball Quartet to being a sought after live performer, Ball is Eugene Ball -Trumpet also an accomplished composer and arranger James Macaulay -Trombone having received a Jazz Bell Award in 2008 James McLean - Drums for Best Australian Jazz Composition of the Mick Meagher - Electric bass Year. Hi(gh) Curious, interestingly, is his first Independent release as a CD or recording as a band leader. Dedicated ‘to https://eugeneball4tet.bandcamp.com/releases the mentor without peer’ the late drummer Allan Browne, this debut album features the ✶✶✶✶

Many A New Day Karrin Allyson Motema Music CD-183

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When Ella Fitzgerald recorded her Richard Rodgers Songbook album with Buddy Bregman’s Orchestra in 1956, she concentrated on the great composer’s music 18

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with lyricist Lorenz Hart rather than with his later and very successful partnership with Oscar Hammerstein II. Some critics, and I agreed with them at the time, claimed Hart’s lyrics were wittier and more sophisticated than Hammerstein’s despite the sentiment and romanticism of such gems as It Might As Well Be Spring and Bali Ha’i. However, Karrin Allyson takes Hammerstein’s lyrics, which she describes as brilliant and universal, to another level as she pays tributes to him and the genius of Rodger’s music with melodies from four Broadway shows - Oklahoma (five), The King And I (four), South Pacific (three) and The Sound of Music (two). As a jazz interpreter of the Great American Songbook this remarkably flexible stylist

Away and a tender Can’t We Pretend? He pays tribute to Williams, his idol, by caressing I Was Telling Her About You. Here’s Cole at his best: the epitome of taste and bluesy romanticism. Even Tony Bennett cannot match his durability.

- Kevin Jones drumming of James McLean and James Macaulay’s superb trombone with Ball on trumpet and composition on the four originals and the electric bass of Mike Meagher.

Personally I wouldn’t have minded an added piano to the ensemble to inject a little more colour and interplay but that tried format would have probably been too easy for the likes of this quartet. The band is successfully engaging without putting such a premium on rhythmic dialogue. The other three tracks are their improvisations of You’re My Thrill, Never Let Me Go and Joni Mitchell’s A Case of You. Be warned - you won’t find yourself humming along with those familiar tunes but rather discernibly curious at the originality of their interpretations.

- Barry O’Sullivan

has few equals today; her voice is creatively unique with a sound that has been described as slightly parched. It is in superb control as she emphasises the beauty of Out Of My Dreams, tenderly embraces We Kiss In A Shadow, joyfully swings through the title track and is mischievously saucy on I Cain’t Say No. The backing by pianist Kenny Barron (epitome of elegance on Many A New Day) and bassist John Patitucci (solos beautifully on Something Good) only adds to the magic.

This is up there with her most important album, Round Midnight (2011), described by many as the finest ballad album since Frank Sinatra’s classic Only The Lonely (1958).

Don’t miss it.

- KJ

SWINGING ON THE VINE

Wild About Harry

The enthusiastic applause fades in the background as I watch Big J shuffling through the heat haze in the lower paddock of my Hunter Valley hideaway, his head to the ground in search of sustenance. I recall the pleasurable look in his eyes when I promised pinot noir in his bowl instead of shiraz if he increased his intake of greens.

Meanwhile the applause is Harry James growing in intensity again as I turn towards my sound system revelling in the swinging power of a big band.

There have been few more exciting examples of Benny Goodman’s orchestra in full cry than on Jimmy Mundy’s arrangement of Cole Porter’s Ridin’ High from a Camel Caravan radio broadcast in New York on November 9, 1937. Goodman never recorded it commercially although it was the third number played, after Bugle Call Rag and Star Dust, during the opening of his legendary stand at the Paramount Theatre in New York on March 10, 1937 when teenagers jitterbugged in the aisles.

No wonder. It would be hard to top this performance in the cold confines of a recording studio. You reach for superlatives to describe Goodman’s clarinet playing in the chase choruses with Harry James whose explosive sound is fat-toned and ferociously intent. Zeke Zarchey, who was replaced by James in the band, said: “Fire came out of that trumpet every time he picked up his horn”.

Louis Armstrong, James’ early influence, said: “That white boy - he plays like a jig”.

Jazz historian Gunther Schuller said: “The solo work poured out of his horn with a sense of inevitability that no other trumpeter could equal with such consistency”. Add an eloquent jazz style, a passion for the blues and breathtaking execution and you have a unique and great jazz musician. Yet the centenary of his birth (March 16, 1916) has passed without seemingly any comment. How could such a superlative soloist, whose ability was praised by Dizzy Gillespie, Miles Davis and Clark Terry, and whose band was popular for more than 40 years be ignored?

Admittedly he put his role as a celebrity bandleader first and as a jazz musician second. However, many jazz critics have never forgiven him for that schmaltzy recording, complete with a string section, of You Made Me Love You where his wide vibrato was likened to that of an Italian tenor. It not only sold a million but rescued James from bankruptcy. The string of sentimental ballads that followed and the bravura performances of The Flight Of The Bumblebee and Carnival of Venice drew even more fire from them but they forgot that James also recorded such swinging instrumentals as Crazy Rhythm and Jeffries Blues.

Was there a more popular jazz musician? Seventy of his hits appeared on Billboard’s charts between 1939 and 1953. In comparison The Rolling Stones had 56! I must confess that if I had the choice of taking only a handful of trumpet discs to a desert island the first choice would be James’ 1945 recording of Carnival arranged by Billy May. The return of the Count Basie big band in 1952 was to inspire James to the most artistically fruitful period of his career with a band whose

smooth, lightly pulsating swing sound was fuelled by a roster of topclass arrangers including Ralph Burns, Neal Hefti, Thad Jones and especially Ernie Wilkins who did so much to set the Basie sound of the 1950’s. James may have been dubbed the “white ofay” but his band was more than just a Basie copy. It is on hearing these records again that I believe his place in the pantheon of jazz trumpeters and his importance in jazz history should be re-evaluated.

A complex personality, he died broke and unhappy. He was a harddrinking philandering loner with a gargantuan appetite for booze who abused his wives even using screen siren and his second wife Betty Grable as a punching bag; a promiscuous womaniser, young and old, all shapes and sizes, it didn’t matter; and he lost a fortune gambling and abused his children.

Helen Forrest, the most stylish of the big band singers with whom James had a romantic attachment, said: “He found peace on the bandstand. He knew he was loved when playing the trumpet. He knew nobody could hurt him”.

The heavy drinking took its toll and although James did not die young like Bix Beiderbecke and Bunny Berigan, he looked a lot older than his 67 years when he passed away on July 3, 1983. James worked up until nine days before his death, his health ravaged by lymphantic cancer. He didn’t fear death quipping: “It’s just another road trip”.

- Patrick D.Maguire

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

76 MacDougall Street, Milsons Point 8 June From 12.30 until 3pm (Doors open 11.45am) Paul Furniss & San Francisco Jazz Band $10.00 Entry Fee

26 June NEW VENUE Waverton Bowling Club Woolcott Street, Waverton Paul Baker Ensemble Jazz from 1-4pm Come along & enjoy a great afternoon of jazz at this great new venue overlooking the Harbour. Street parking available or a short walk from Waverton Station.

PO Box 186 Broadway, NSW 2007

www.sydneyjazzclub.com Tel +61 2 9719 3876

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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 June. There will be four performers featured in this month’s program including Gemma Lee, Jared Cheung, Ciaran Edwards-McKeown and Sophie Spencer.

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

Gemma Lee - Violin Gemma Lee, 19, currently studying at the Sydney Conservatorium of Music, has been a member of the Sydney Youth Orchestra, a member and soloist in the SBS Youth Orchestra and is currently part of the Sydney Conservatorium Symphony Orchestra. She currently plays a 1760 Francois Fent violin. Some highlights of her musical career to date include travelling to Verona, Italy for the chamber music summer course, where she was mentored by the Amaryllis Quartet.

“I also enjoyed competing in the Young Virtuoso Award last year as it was a challenging and rewarding experience,” she tells Fine Music magazine.

What does Lee bring to this year’s competition? “Open-mindedness and an appreciation of the various works played in this competition,” she says.

Jared Cheung – Cello Jared Cheung, 15, is in Year 11 at Barker College and has been studying with Georg Pedersen from the Sydney Conservatorium of Music since 2009.

He was awarded the Music Teacher Association (ACT) student award and won numerous awards in the National Eisteddfod as cellist and pianist before moving from Canberra to Sydney in 2012.

Having participated in previous YV programs, Cheung has been impressed with the level of expertise and enthusiasm that is demanded by the competition.

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“I believe that this inspiration is passed along to the performers and helps them reach another level of playing.

“I am sincerely flattered to be chosen as one of only a handful of musicians for such a coveted opportunity and I hope I can deliver,” he says.

Ciaran Edwards-McKeown - Guitar Ciaran EdwardsMcKeown, 22, studies at the Sydney Conservatorium prior to which he completed a Bachelor of Science at ANU majoring in mathematics and classical guitar.

Edwards-McKeown has performed as a concerto soloist in Westlake’s Antarctica Suite for Guitar and Orchestra with the Canberra Youth Orchestra and was a winner of the Melbourne Guitar Foundation’s International Competition.

He says the YV award is a great chance to gain exposure as a young artist through a respected broadcast platform and to gain experience recording in a studio environment.

“I’ve tried to balance my program with music from different parts of the world to show off the versatility of the guitar in a variety of musical styles,” said Edwards-McKeown.

Sophie Spencer Trumpet Sophie Spencer, 17, is a student at Abbotsleigh and studied piano, violin and viola before at age seven commencing trumpet lessons. Spencer has won many Awards and Championships and has been a member of the Castle Hill RSL Youth Wind Orchestra for the past seven years.

“I entered the Young Virtuoso Award as the competition offers musicians the opportunity to prepare and perform a diverse collection of works from different styles to an appreciative radio audience.

“It means a great deal as not many brass players are chosen,” she says.

- Judy Deacon

Fine Music’s Young Composers The last program to be broadcast on Young Virtuosi this month is a selection of compositions, to herald the Young Composer Award 2016 which closes for entries on 15 July.

Back in February, young composers were given the opportunity to broadcast their works. Following the success of these two broadcasts, we will again feature works that display a huge variety of styles and instrumentation, demonstrating the skill of young creatives.

Fine Music is also offering composers the opportunity to have an orchestral piece performed through its Young Composer Award. In partnership with Willoughby Symphony Orchestra, entrants this year are required to write a Clarinet Concerto. With prize money and performance prospects on offer, it’s an opportunity that young composers will not want to miss. Access the entry form at: https://form.jotform.com/ finemusicfm/YCA2016 And tune into Fine Music on 29 June to hear some of the works of Sydney’s up and coming composers.

- Solomon Frank

ON AIR Young Virtuosi Wednesdays, 1pm 1 June: Gemma Lee, violin 8 June: Jared Cheung, cello 15 June: Ciaran Edwards-McKeown, guitar 22 June: Sophie Spencer, trumpet Presenter: Chloe Chung Audio Engineer: Greg Ghavalas 29 June: Young Composers Presenter: Solomon Frank YVA repertoire can be found at the Fine Music website YCA entry form can be found on the Fine Music website under Young Virtuosi Co-ordinator: Judy Deacon yv@finemusicfm.com

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

General classical

Opera

Magic of stage and screen General classical

General classical

Repeat of Saturday night at home

Repeat of Sunday night concert Jazz classic & traditional Repeat of Sunday special

In a sentimental mood Young virtuosi In conversation General classical

After hours jazz

Ultima thule

SILVER CIRCLE RECIPIENTS ANNOUNCED had to fly by the seat of his banker’s chair and develop a system for membership, for subscriptions and for payment of goods and services from the accounts of an organisation that few people believed existed. His electronic hardware was a calculator. No computer, and hardly any desk space to do his job.

David Rumsey, on the other hand, was a numbers man when it came to such an association with J.S Bach. Rumsey’s was the first real voice on air, at high noon on 15 December 1974. The transmitter power at that time was not that great and so not many people heard his dulcet tones emanating from their hi fi sets. David Rumsey was “discovered” via the Sydney Conservatorium of Music. l-r: David Rumsey & Howard Cocks David Rumsey and Howard Cocks were recently honoured as Silver Circle recipients in recognition of their long-standing support of Fine Music.

Back in the days when almost nothing was digital, two of the founders of the fledgling radio station 2MBS-FM were toiling away, each in their own areas of expertise.

Howard Cocks worked in a bank. Therefore, without argument, Trevor Jarvie appointed him Treasurer. It was a similar scenario with another founder, Doug Keech. Automatically he became Secretary to the Cooperative because he typed his membership cheque.

Cocks was charged with setting up the accounts for the Society and managing the funds of the radio station. There were no accounting models to call on; there was no known precedent at the time so he

For over 25 years, until 1998, he was the regular organist with the Sydney Symphony Orchestra and as such frequently presided over the Grand Organs of Sydney Opera House and Sydney Town Hall. His associations with multimedia events have included performances of the Saint-Saëns Organ Symphony to 100,000 people with the orchestra in the Sydney Domain (via a micro-wave link - the organ was several kilometres away in Sydney Town Hall). In 1998 he wrote, produced, acted and performed in a highly successful 14-hour musical and dramatic spectacle on the life of J.S Bach, with actors in period costume from the National Institute of Dramatic Art, and musicians playing period instruments.

In March 1999, after some 20 years as Head of Organ and Church Music at Sydney Conservatorium, he resigned his Senior Lectureship at the University of Sydney to travel around Europe, USA and Canada where he gave recitals and master classes.

- David James

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June program highlights in the heroic 3rd, had audiences heard such orchestral forces perform music of such outrageous vigour. Never before had Beethoven’s ability to make carefully-crafted music sound extemporaneous, restless and rough-hewn been so felicitously employed.

This Sunday Evening Concert offers the contrast of an early Haydn symphony Symphony in G, Hob.I:8, subtitled Evening – with the mighty 7th, the latter courtesy of Nicholas Harnoncourt, a conductor whose interpretations of Beethoven have earned widespread acclaim. The two symphonies book end a delightful violin concerto by Beethoven’s contemporary and respected friend Louis Spohr, a fine composer whose career had the misfortune to coincide with that of the greatest musician of all time.

Artist of Choice – Crispian SteelePerkins

Marin Marais

LIVE AND LOCAL

9 June, 8pm The Marais Muse The world of the viola da gamba is quite a small one. Compared to the fiddle family, for instance, gambaists are small in number, and those who make the instruments even fewer.

When the great gambaist Wieland Kuiken toured Australia some years ago, he did so without his viol, and made arrangements to borrow instruments in all the cities he visited.

In Sydney, he had arranged to use Jennifer Eriksson’s, and when he picked it up and tried it he was struck by its quality. Well, it was an Ossenbrunner, and Kuiken was astonished to find one of these celebrated instruments in Australia. Since then, it has been joined by another, purchased by Daniel Yeadon.

Both Eriksson and Yeadon are principal members of members of the Marais Project, a Sydney band dedicated to celebrating the music written for and around the viol family of stringed instruments.

The viols are fretted instruments, and although they resemble the violin family in appearance, they are in fact quite differently constructed. The greater power of the fiddle eventually saw it eclipse the viol, but not before a considerable body of work had been written especially for its particular sonority.

Much of that music was written by Marin Marais (1656-1728) a Parisian violist, and his instrument’s foremost composer. He was a true Frenchman, disdaining the usual terminology of his craft and giving his pieces idiosyncratic names.

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In Live and Local, on 9 June, The Marais Project pay due respect to their eponymous muse, with three dance pieces from one of his many books of viol music named, in typical Marais fashion: Mennet Musette (plus gai), Muzette (gracieusement et doux) and Double. To conclude the program, Elaine Siversen has included a Fine Music recording of Marais’ Variations on Les folies d’Espagne.

Sunday Night Concert

12th June, 7pm If Beethoven was the master of the symphony, Haydn was incontestably its father. He picked it up as a short three movement work, ancillary to a theatrical production. In his hands, and aided by the unusually lavish orchestral resources made available by his aristocratic employer, the symphony grew in stature, along the way acquiring a fourth movement, and altogether outgrowing its adjunct status.

Beethoven was fastidiously respectful of the skills of masters such as Handel, Bach, Mozart and Haydn, and of the forms they bequeathed to music. But he had an equal belief that his duty as an artist was to stand on his predecessors’ shoulders, not merely to emulate their work. He set out, not to supplant the traditions of music with shocking novelty, but to inhabit them more fully than any predecessor, and to take them as far as his prodigious musical imagination would go.

The trajectory of the classical symphony thus reached its apogee with the 7th Symphony of Beethoven. Never before, not even

Diversions in Fine Music 28 June The trumpet is an instrument with a convoluted history. Like all members of the brass family, it started off as a plain tube, able, in principle, to play harmonics only.

Various ways were tried of liberating the instrument from this rather arpeggiated existence. Simply doubling its length gave access to the much smaller pitch steps of the upper register, and with prodigious skill at pitch-bending, virtuosi could achieve quasi-chromatic results. Slide trumpets were apparently made, but these initiatives led to the trombone, and the trumpet didn’t get a fully chromatic voice until the advent of valves in the late 18th century.

The valve trumpet was embraced with understandable enthusiasm, and the skills of the natural trumpet player fell into disuse. The historically-informed performance movement of the latter half of the 20th century brought a revival of interest in the older trumpet forms, and in the timbral character of the older instruments which the modern trumpet struggles to emulate. The English trumpeter Crispian Steele-Perkins has done much of the heavy lifting in this project. With a collection of over 100 historic trumpets, he has assiduously studied his instrument’s past through its music. In Diversions, Rebecca Zhong has collected performances which include the ground-breaking Hummel concerto and Steele-Perkins’ signature piece, his performance with Kiri te Kanawa of Handel’s Let the Bright Seraphim.

- Tom Forrester-Paton

Wednesday 1 June

Thursday 2 June 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 Galuppi, B. Sonata in D. 11 Allegro. 1 Alla tromba della Fama, from La Statira. 7 Concerto a quattro no 4 in C minor. 9 Harpsichord concerto in G. 11

Vaughan Williams 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 Dauvergne, A. Concert de simphonies in F, op 3 no 2 (1751). 21 Arne, T. Trio sonata no 1 in A (1757). 16 Benda, G. Cantata: Bald wird ihn die himmlische Jugend empfangen (1761). 16 Mozart, W. Divertimento in F, from London Sketchbook (1766). 9 Albrechtsberger, J. Harp concerto in C (1773). 20 10:30 MORNING CONCERT Prepared by Giovanna Grech

15:00 MUSIC AND WAR Prepared by Gerald Holder Butterworth, G. Six songs from A Shropshire lad (1911). 14 Vaughan Williams, R. Symphony no 3, Pastoral (1921). 39 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 Haydn, J. Armida, Hob.XXVIII:12. Opera in three acts. Libretto after Torquato Tasso. First performed Esterháza, 1784. 2:09

Shostakovich, D. Ballet suite no 2 (1951). 20

Handel, G. Excerpts from Armida abbandonata, HWV105 (1706-07). 8

Saint-Saëns, C. Piano concerto no 1 in D, op 17 (1858). 26

22:30 FEATURING THE HARP Prepared by Gael Golla

Borodin, A. Symphony no 1 in E flat (1862-67). 35

Saint-Saëns, C. Fantasy in A, op 124 (1907). 13

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

Brahms, J. Fingal’s song, op 17 no 4 (1860). 5

Sonata no 6 in E, from A pastime at the harpsichord (1781). 10 Arripe alpestri ad vallem (c1750). 19 Excerpts from Magnificat in G. 12 10:30 MORNING CONCERT Prepared by Michael Morton-Evans Rossini, G. Variations in C (1810). 13 Moscheles, I. Piano concerto no 7 in C minor, op 93, Pathétique (1835). 22 Kodály, Z. Dances of Galánta (1933). 16 Strauss, R. Thus spake Zarathustra, op 30 (1895-96). 33 12:00 JAZZ, PURE AND SIMPLE with Maureen Meers Covering the many aspects of jazz from Swing to Mainstream, with the Great American Songbook making regular appearances 13:00 THE EIGHTEENTH CENTURY Prepared by Richard Verco Devienne, F. Oboe sonata in C, op 71 no 3 (1799). 18 Dittersdorf, C. Double bass concerto in E. 24 Clérambault, L-N. Cantata: Orpheus (1710). 19 Aubert, J. Concerto grosso no 4 in E minor, op 26, Le carillon (1739). 11 Scarlatti, A. Quartetto in F (c1715). 7

Fauré, G. Impromptu no 6 in D flat, op 86 (1901). 8

14:30 WIND INTERLUDE Prepared by Brian Drummond

Ravel, M. Introduction and allegro (1906). 10

Saint-Saëns, C. Sonata, op 167 (1921). 16

13:00 YOUNG VIRTUOSI

Honegger, A. Introduction and dance. 4

Milhaud, D. Scaramouche, op 165c (1937). 9

14:00 IN CONVERSATION with Simon Moore 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.

Albéniz, I. Sonata in D. 3

15:00 ROMANTIC CONCERTOS Prepared by Frank Morrison

Debussy, C. Two arabesques (1888-91). 8 Mozart, W. Double concerto in C, K299 (1778). 26

Brüll, I. Piano concerto no 1 in F, op 10 (1860-61). 27 Lalo, E. Cello concerto in D minor (1876). 27 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Debbie Scholem June 2016

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Thursday 2 June

Friday 3 June 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 Frank Morrison Prokofiev, S. String quartet no 1 in B minor, op 50 (1930). 23 Saint-Saëns, C. Fantasy for violin and harp, op 124 (1907). 14 Schubert, F. String trio in B flat, D471 (1816). 16

Benjamin Britten 19:00 THE NEW JAZZ STANDARD with Frank Presley 20:00 LIVE AND LOCAL Part 1: Masterpiece, glories of the FrancoBelgian cello repertoire Recorded by Kerry Joyner for FINE MUSIC Ysaÿe, E. Sonata, op 28 (1924). 12 Franck, C. Sonata in A (1886). 29

10:30 MORNING CONCERT Prepared by Elaine Siversen Montsalvatge, X. Excerpts from ballet, Manfred (1945). 25 Tchaikovsky, P. Manfred symphony, op 58 (1885). 58 12:00 A JAZZ HOUR with Barry O’Sullivan

Debussy, C. Sonata (1915). 12

13:00 PATRICK THOMAS PRESENTS The iridescent flute: part 1

Tortelier, P. Toccata, Caprice no 3; Spirales; The clown. 9

Wilcher, P. An idle voyce. 3

Part 2: More Franco-Belgian strings Ysaÿe, E. Sonata in E, op 27 no 6 (1924). 7 Milhaud, D. Quatre visages, op 238 (1943). 9 21:30 THE TENORS Prepared by Philip Lidbury

Hanson, R. Flute sonata, op 10 (1939-40). 19 13:30 FROM BOHEMIA Prepared by Gael Golla Smetana, B. String quartet no 2 in D minor, Inacheve (1882-83). 20 Suk, J. Dumka, op 7 (1891-93). 5

Riccardo Muti 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 20:00 THE ROMANTIC CENTURY Prepared by Robert Small Stanford, C. Villiers Irish rhapsody no 1 in D minor, op 78 (1902). 14 Cello concerto in D minor (1880). 26 Mendelssohn, F. Symphony no 3 in A minor, op 56 Scottish (1842). 40 Onslow, G. Grand septet in B flat, op 79. 31 22:00 BAROQUE AND BEFORE Renaissance Masters Prepared by Robert Small and Susan Bell Dufay, G. Moribus et genere, from O gemma lux (c1434). 9

Rossini, G. Ah! sì, per voi già sento, from Otello (1816). 7

Janácek, L. Ploughing; Our birch tree, from 4 Moravian male-voice choruses (1904). 6

Ketèlbey, A. In the mystic land of Egypt (1931). 6

Vanhal, J. Bassoon concerto in C (arr. Miller). 17

Mozart, W. Se al labbro mio non credi, K295 (1778). 12

Martinu, B. Sonatina (1957). 8

22:00 DIFFERING PATHS OF THE 20TH CENTURY Prepared by Di Cox

Dvorák, A. Czech suite, op 39 (1879). 23

Anon. Riu, riu, chiu; Ricercar; Donna vagh’e leggiadra; Folias. 12

15:00 A TOUCH OF SUN Prepared by Randolph Magri-Overend

Palestrina, G. da Missa Papae Marcelli (pub 1567). 32

Rimsky-Korsakov, N. Hymn to the sun, from The golden cockerel (1909; arr. Rubinstein). 8

Various. Content désir qui cause ma douleur. 8

Walton, W. Overture: Scapino (1950). 9 Lord Berners. Suite from The triumph of Neptune (1926). 22 Britten, B. Four sea interludes, op 33a; Passacaglia, op 33b, from Peter Grimes (1944-45). 24 Arnold, M. Guitar concerto (1958-59). 23 Tippett, M. Five negro spirituals, from A child of our time (1939-41). 11 Gregson, E. Music for chamber orchestra (1968). 23

24

Bartok, B. Divertimento for string orchestra (1939). 27

Berlioz, H. Sunset from Ireland, nine melodies after Moore, op 2 no 1 (1829). 5 di Capua, E. O sole mio (1898). 3 Strauss, J. II Lady sun shines brightly, from Vienna blood, op 354 (1899). 10 Koehne, G. Suite from ballet, Once around the sun. 24 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Brendan Walsh

For a detailed program guide and digital schedule visit: www.finemusicfm.com/digital.html

Sermisy, C. de Tant que vivray; Au près de vous; Au joly bois. 8 Willaert, A. Missa mente tota (c1512-17). 35

Marenzio, L. Ohimè dov’ è il mio ben; Liquide perle amor, from Primo libro di madrigali a cinque voci (1580). 5

Saturday 4 June

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

Lawrence Foster 13:00 THE STORY GOES LIKE THIS...

Paderewski, I. Chants du voyageur, op 8

Prepared by Madilina Tresca

(c1883). 12

Korngold, E. Fairy tale pictures, op 3 (1910; orch.

Copland, A. Two pieces (1923-28). 10

9:00 WHAT’S ON IN MUSIC Our weekly guide to musical events in and around Sydney

1913). 19

9:30 MINING THE MAJORS Prepared by Elaine Siversen

magician (transcr. Schiff). 6

Spohr, L. Variations in B flat on Euer Liebreiz, eure Schönheit from Alruna (1809). 8

Brophy, G. Forbidden colours (1988). 11 Falla, M. de Pantomima, canción, from Love the Berlioz, H. Overture: Waverley, op 1 (1827-28). 11 Lee, R. Song of the white witch (1992). 6

Beethoven, L. 15 variations and a fugue in E flat on an original theme, op 35, Eroica (1802). 24

Prokofiev, S. Suite from The love for three oranges,

Wieniawski, H. Variations on an original theme, op 15 (1854). 13

Churchill, F. Reminiscences of Snow White (1995;

Weber, C.M. Theme and variations concertante, from Silvana, op 33 (1810). 12

14:30 THE SLEEPING BEAUTY

op 33 (1919). 17 arr. Wild). 8 Prepared by Di Cox

Thomson, V. Violin sonata (1930). 13 Piston, W. The incredible flutist, ballet (1938). 16 Bernstein, L. Overture to West Side story (1957; arr. Bernstein). 5 Musgrave, T. Excursions: eight duets for piano, four hands (1965). 8 Ginastera, A. Suite from ballet, Estancia, op 8 (1941). 11 Copland, A. Suite from The tender land (1954). 21 22:00 SATURDAY NIGHT AT HOME Prepared by Rex Burgess

Schubert, F. Variations in A flat on an original theme, D813 (1824). 19

Tchaikovsky, P. Ballet: The sleeping beauty, op 66

Respighi, O. Overture: Belfagor (1925). 12

(1890). 2:35

Stenhammar, W. Serenade in C, op 29. 19

Elgar, E. Variations on an original theme, op 36, Enigma (1899). 32

Glazunov, A. Theme and variations, op 72

Paganini, N. Violin concerto no 4 in D minor (1829-

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

17:30 STAGING MUSIC

Rodrigo, J. Concierto de Aranjuez (1939). 5

Folk Federation of NSW

(1900). 18 with Angela Cockburn 18:00 SOCIETY SPOT

Anderson, L. Blue tango. 3

with Kate Delaney

Britannic salute (after Arne and Elgar) . 4

19:00 THE MAGIC OF STAGE AND SCREEN

Sousa, J.P. Intaglio waltzes. 8 Trad. David of The White Rock (arr. Elgar Howarth). 3 12:00 JAZZ SATURDAY @ STUDIO A with Leita Hutchings

30). 32 Alkan, C-V. Études, op 35: no 4 in C; no 10 in G flat; no 12 in E (pub. 1847). 20 Holst, G. Symphony in F, op 8, The Cotswolds (1899-1900). 27

with Annabelle Drumm 20:00 INFLUENCES AND CONNECTIONS Aaron Copland Prepared by Chris Blower Philipp, I. Puck. 2 Boulanger, N. Trois pièces for cello and piano (1914). 7

June 2016

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Sunday 5 June Elgar, E. Te Deum laudamus, op 34 no 1. 13 Stainer, J. I saw the Lord. 7 Rheinberger, J. Gloria, from Mass in F, op 190 (1898). 3 Adams, J. Excerpts from The gospel according to the other Mary. 9 Gregorian chant: Pange lingua. 4 18:00 FRENCH COMPOSERS AND THE SAXOPHONE Prepared by Gael Golla Dubois, P.M. Quatuor pour saxophones (1956). 9 Boutry, R. Divertimento (1963). 8 Ibert, J. Concertino da camera (1935). 12

Emerson String Quartet

Michael Schönheit

Poulenc, F. Suite française. 13

0:00 CLASSIC-ALL THROUGH THE NIGHT

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

Debussy, C. Rhapsody (1908). 10

6:00 SUNDAY MORNING MUSIC with Terry McMullen 9:00 MUSICA SACRA Presented by Barrie Brockwell Bach, J.S. Cantata, BWV35: Geist und Seele wird verwirret (1726). 6

Sor, F. Six waltzes, op 18. 13

Schubert, F. Ave Maria, D839 (1825; transcr. Liszt c1837). 8

Strauss, J. II Thunder and lightning polka, op 324 (1868). 3

Mendelssohn, F. Ave Maria (1830). 8

Beethoven, L. 12 German dances, WoO13 (1795). 14

Joao IV Crux fidelis, from Oxford church anthems. 3 Mozart, W. Recordare, from Mass no 19 in D minor, K626, Requiem (1791). 6 Vivaldi, A. Magnificat in G minor, RV611. 20 10:00 THE CLASSICAL ERA Prepared by Barrie Brockwell Kuhlau, F. Overture to The three brothers from Damascus (1830). 9 Crusell, B. Introduction and variations on a Swedish air, op 12 (1804). 10 Pichl, V. Sinfonia in B flat, Melpomene (1764-1803). 19 Schubert, F. Sonata in A minor, D821, Arpeggione (1824; arr. Allen Kranz). 26 Bellini, V. Ah! non giunge uman pensiero, from La sonnambula (1831). 3 Pollini, F. Theme and variations. 6 Beethoven, L. String quartet in E flat, op 74, Harp (1809). 30 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 26

14:00 CLASSICAL DANCING Prepared by Madilina Tresca

Stravinsky, I. Three movements from Petrushka (1921). 16 Strauss, Josef. Chatterbox polka, op 245 (arr.

Schonherr). 4 15:00 SUNDAY SPECIAL Dvorák in New York Prepared by Chris Blower Dvorák, A. String quintet in E flat, op 97 (1893). 31 Hear my prayer, O God; The Lord is my shepherd; O will sing a new song; I will lift up mine eyes unto the hills; O sing unto the Lord a new song, from Ten Biblical songs, op 99 (1894). 12 Sonatina in G, op 100 (1893). 18 Te Deum laudamus, from Te Deum, op 103 (1892). 7 Symphony no 9 in E minor, op 95, From the New World (1893). 42 17:00 HOSANNA Prepared by Meg Matthews Hymns: All for Jesus; All things bright and beautiful; O the deep, deep love of Jesus. 10 Gibbons, O. Anthem: Almighty and everlasting God. 2

For a detailed program guide and digital schedule visit: www.finemusicfm.com/digital.html

19:00 SUNDAY NIGHT CONCERT Prepared by Stephen Matthews Mendelssohn, F. Overture to A midsummer night’s dream, op 21 (1826). 12 Concert piece no 2 in D minor, op 114 (1832). 9 Symphony no 2 in B flat, op 52, Hymn of praise (1840). 58 20:30 NEW HORIZONS Australiana: Room of wonders Prepared by Calogero Panvino Broadstock, B. Federation Square: Rooms of wonder (2003). 11 Griswold, E. Tim crystals (2012). 4 Wilson, N. Heartbroken star in the dream winds of endless night (2013). 3 Dean, R. Ears by Roger Dean and Greg White (2010). 6 Grady - Narushima. Pentagram two (2007). 6 English, L. For those who live and die in transit (2012). 5 Serret - Peart - Eccles - Miller. Landscape (2013). 4 Anon. Sonic systems laboratory (2012). 5 Humberstone, J. Cycles and circles version 5. 4 Moore, K. Fern. 12 Dean, B. The Siduri dances (2007). 13 22:00 AFTER HOURS JAZZ with Kevin Jones

Monday 6 June

Christopher Hogwood 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Robert Small

Tuesday 7 June

Arthur Fagen 13:00 FEATURING CHRISTOPHER HOGWOOD Prepared by Denis Patterson

0:00 CONTEMPORARY COLLECTIVE

Tippett, M. Fantasia concertante on a theme of Corelli (1953). 19

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

3:00 CLASSICAL TILL DAWN

9:00 DIVERSIONS IN FINE MUSIC A year in retrospect: 1826 Prepared by Jennifer Foong

Haydn, J. On mighty pens, from The creation, Hob.XXI:2 (1796-98). 7 Telemann, G. Flute concerto in E (c1718). 16

9:00 DIVERSIONS IN FINE MUSIC Artist of choice: Klaus Thunemann Prepared by Chris Blower

Kuhlau, F. Overture to William Shakespeare (1826). 10

Handel, G. Gentle Morpheus, son of night, from Alceste, HWV45 (1750). 7

Bach, J.S. Ricercar a 6, from A musical offering, BWV1079 (1747; arr. Holliger). 7

Chopin, F. Introduction and varations in E on a German national air, op posth (1826). 8

Martinu, B. Double concerto (1953). 28

Zelenka, J. Trio sonata no 4 in G minor. 19

Dvorák, A. Serenade in E for strings, op 22 (1875). 31

Crusell, B. Concertino in B flat (1829). 18

15:00 PORTRAITS Prepared by Emyr Evans

Vivaldi, A. Double concerto in G, RV545. 10

Paganini, N. La campanella (1826; transcr.

Primrose, Lindemann). 6 Rossini, G. L’ora fatal s’aspressa I, from L’assedio di Corinto (1826). 6 Schubert, F. Rondeau brillant in B minor, D895 (1826). 15

Françaix, J. Cinq portraits de jeunes filles (1936). 13 Britten, B. Two portraits (1930). 15

Spohr, L. String quartet in D minor, op 74 no 3 (1826). 29

Thomson, V. Bugles and birds: a portrait of Pablo Picasso (1940). 2

Garcia, M. E non lo vedo, from La figlia dell’aria (1826). 7

Gershwin, G. A symphonic portrait of Porgy and Bess (1935/43; arr. Bennett). 24

10:30 MORNING CONCERT Prepared by Rex Burgess

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

Dvorák, A. Overture: Hussite, op 67 (1883). 14 Mozart, W. Violin concerto no 5 in A, K219, Turkish (1775). 28 Magnard, A. Symphony no 3 in B flat minor, op 11 (1896). 40 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

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

Janácek, L. Mládi, for wind sextet (1924). 17 Devienne, F. Bassoon sonata in C, op 24 no 1 (c1785). 10 10:30 MORNING CONCERT Prepared by Frank Morrison Wagner, R. Overture to Tannhäuser (1845). 15 Enescu, G. Suite no 1 in C, op 9 (1903). 29 Martinu, B. Symphony no 1 (1942). 38 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 THE FOUR YEAR POST Prepared by Derek Parker Schubert, F. The four-year post, D190. 32 Schubert, F. Excerpts from Incidental music to Rosamunde, D797 (1823). 23 14:00 CAPRICCIO SWISS Prepared by Randolph Magri-Overend Veress, S. Four Transylvanian dances (194349). 13 June 2016

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Wednesday 8 June

Tuesday 7 June

Sylvain Cambreling

István Kertész

Bloch, E. Baal shem, three pictures of Chassidic life (1923). 15

0:00 CONTEMPORARY COLLECTIVE

Martin, F. Piano concerto no 2 (1966-67). 22

Klami, U. Suomenlinna, op 30 (1940). 12

Honegger, A. Music from the film, Les misérables (1934; ed. Adriano). 59

6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Peter Kurti

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

9:00 DIVERSIONS IN FINE MUSIC Music of the 18th century Prepared by Frank Morrison

Sibelius, J. Belshazzar’s feast, op 51 (1906). 14

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

Solère, E. Symphony concertante in F (pub.

1790). 18

20:00 RECENT RELEASES with Michael Field

Haydn, J. String quartet in E flat, Hob.III:38, Joke (1781). 16

22:00 CHAMBER SOIRÉE Prepared by Phil Vendy

Mozart, W. Horn concerto no 3 in E flat, K447 (1784-87). 16

Paganini, N. Trio in D for strings and guitar (1833). 21

Zelenka, J. Concerto à eight concertante in G. 18

Cras, J-E. Quintet for harp, flute and string trio (1928). 21

10:30 MORNING CONCERT Prepared by Denis Patterson

Gross, E. Quartet for mandolin and string trio, op 148 (1986). 30

Rimsky-Korsakov, N. Overture to The Tsar’s bride (1898). 6

Guilfoyle, R. Music for clarinet and string trio. 23

Saint-Saëns, C. Piano concerto no 3 in E flat, op 29 (1869). 26

Martinu, B. Nonet in F for wind quintet, string trio and double bass (1959). 16

Bruckner, A. Symphony no 1 in C minor (1866; Vienna version 1891). 50

3:00 CLASSICAL TILL DAWN

Bach, J. Christian Piano concerto in B flat, op 1 no 1 (1763). 14

12:00 JAZZ SKETCHES with Robert Vale 13:00 YOUNG VIRTUOSI 14:00 IN CONVERSATION with Simon Moore 15:00 MUSICAL ROUNDABOUT Helsinki Prepared by Francis Frank Palmgren, S. Sleigh ride, from Pictures from Finland, op 24 (1910). 2 28

For a detailed program guide and digital schedule visit: www.finemusicfm.com/digital.html

Sibelius, J. The swan of Tuonela, op 22 no 2 (1893). 10

Sibelius, J. Cantata: Oma maa, our native land, op 92 (1918). 12

16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with James Hunter 19:00 JAZZ STARS AND STRIPES with Peter Mitchell 20:00 AT THE OPERA Hungarian double bill Prepared by Elaine Siversen Kodály, Z. Háry János, op 15. Singspiel in a prologue, four acts and epilogue. Libretto by Béla Paulini and Zsolt Harsáyni based on the comic epic, The Veteran by János Garay. First performed Budapest, 1926. 1:40 Bartók, B. Duke Bluebeard’s castle, op 11. Opera in one act. Libretto by Béla Balázs. First performed Budapest, 1918. 59 23:00 SCHUBERT’S GREAT Schubert, F. Symphony no 9 in C, D944, Great (1825-28). 58

Thursday 9 June

Friday 10 June

Coates, E. The selfish giant, phantasy (1925). 10 Massenet, J. Ah! gentle child, from Cinderella (1899). 9 Mendelssohn, F. Incidental music to A midsummer night’s dream, op 21 (1826), op 61 (1843). 41 15:00 20TH CENTURY GERMAN CHAMBER MUSIC Prepared by Gael Golla Dohnányi, E. Violin sonata in C sharp minor, op 21 (1912). 17 Busoni, F. Introduction and elegy (1921). 9 Strauss, R. Prelude for string sextet, from Capriccio, op 85 (1940-1). 11 Hindemith, P. Sonata (1939). 16

Jerzy Maksymiuk 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 Corrette, M. Sonata in G, op 14 no 5 (pub. 1742). 9 Phoenix (pub. 1738). 9 Sonata in D, from Les délices de la solitude, op 20 no 6 (c1739). 11 Sonata in E minor, op 25 no 4 (1742). 13 Organ concerto in A, op 26 no 2 (pub. 1756). 9 Concerto comique no 25, Les sauvages et la Fürstemberg (1732-60). 9 Laudate Dominum (1766). 21 10:30 MORNING CONCERT Prepared by Paul Hopwood Berlioz, H. Overture: King Lear, op 4 (1831). 15 Arensky, A. Piano concerto in F minor, op 2 (1882). 26 Beethoven, L. Symphony no 6 in F, op 68, Pastoral (1808). 41 12:00 JAZZ, PURE AND SIMPLE with Maureen Meers 13:00 ONCE UPON A TIME...

Prepared by Randolph Magri-Overend Ravel, M. Sheherezade, fairy overture (1899). 16 Castelnuovo-Tedesco, M. Overture: A midsummer night’s dream, op 108 (1940). 7

16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Marilyn Schock 19:00 THE NEW JAZZ STANDARD with Frank Presley 20:00 LIVE AND LOCAL Part 1: The Marais project Recorded by Jayson McBride for FINE MUSIC on 16 August 2015 at Sydney Conservatorium Marais, M. Mennet Musette (plus gai); Muzette (gracieusement et doux) - Double, from Pièces de violes, bk 4 (1717). 4 Montéclair, M. de Cantata: Pan et Syrinx. 21 Marais, M. Sémélé, Act II (arr. Raymond Harvey). 18 Part 2: More French music from Fine Music recordings Marais, M. Variations on Les folies d’ Espagne (pub.1701). 14 Rebel, J-F. Ballet: Les élémens (1737). 23 21:30 ROMANTIC FRENCH d’Indy, V. Symphony on a French mountain song, op 25, Symphonie cévenole (1886). 27 22:00 DIFFERING PATHS OF THE 20TH CENTURY Prepared by Phil Vendy Skryabin, A. Le poème de l’extase, op 54 (190708). 24 Schoeck, O. Suite from Penthelisea (1925). 25 Barraqué, J. Sonata for piano (1950-52). 39 Leighton, K. Symphony for strings, op 3 (194849). 25

Sara Macliver 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 Emyr Evans Bax, A. Quintet for harp and strings (1919). 14 Villa-Lobos, H. Bachianas brasileiras no 4 (1930-41). 16 Clarke, R. Two pieces for viola and cello (1930). 6 Glière, R. Eight pieces for violin and cello, op 39 (1909). 17 Bartók, B. 44 duos for two violins, bk 3 (1931). 13 Bach, J.S. Violin sonata in C minor, BWV1024. 14 10:30 MORNING CONCERT Prepared by Rex Burgess Mendelssohn, F. String symphony no 8 in D (1821). 29 Nielsen, C. Springtime in Funen, op 42 (1921). 18 Stravinsky, I. Petrushka (1911). 37 12:00 A JAZZ HOUR with Barry O’Sullivan 13:00 PATRICK THOMAS PRESENTS The iridescent flute: part 2 Paviour, P. Elstow suite (2012). 8 Allen, G. Flute sonata, op 56 (2004). 15 13:30 FROM THE MID 18TH CENTURY Prepared by Francis Frank Richter, F. Sinfonia a quattro in C minor (bef.1750). 11

Rimsky-Korsakov, N. Fairy tales, op 29 (187980). 18

Handel, G. The raptur’d soul, from Theodora, HWV68 (1750). 8

Thomas, A. Yes, for tonight I am the fairy queen, from Mignon (1866). 6

Corelli, A. Violin sonata in D minor, op 5 no 12, La folia (1700). 10 June 2016

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Friday 10 June

Saturday 11 June

Charles Mackerras

Phillipe Bernold

Bach, C.P.E. Flute concerto in A minor, Wq166 (1750). 23

0:00 CLASSIC-ALL THROUGH THE NIGHT

Bach, W.F. Cantata: Tremble and fall (late 1750s) 27 15:00 20TH CENTURY CHAMBER Prepared by Georgia Melville Schoenberg, A. Verklärte Nacht, op 4 (1899). 27 Messiaen, O. Theme and variations (1932). 9 Ravel, M. Violin sonata in G (1923-27). 18 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Lloyd Capps

6:00 SATURDAY MORNING MUSIC with David Garrett 9:00 WHAT’S ON IN MUSIC Our weekly guide to musical events in and around Sydney 9:30 MINING THE MAJORS Prepared by Raj Gopalakrishnan Strauss, J. II Fairy tales from the Orient, op 444 (1892). 8 Sculthorpe, P. Night pieces (1971). 7

19:00 FRIDAY JAZZ SESSION with Sally Cameron

Foote, A. Nocturne; Scherzo for flute and string quartet (1918). 13

20:00 THE ROMANTIC CENTURY Prepared by Judy Ekstein

Tchaikovsky, P. Romeo and Juliet duo: Do you not hear the nightingale? (1869; compl. and orch. Taneyev). 13

Weber, C.M. Clarinet quintet in B flat, op 34 (1815). 27 Schumann, R. Fantasy pieces, op 73 (1849). 12 Mendelssohn, F. Fantasy in F sharp minor, op 28 (1833). 14 Schubert, F. Symphony no 9 in C, D944 Great (1825-28). 55 22:00 BAROQUE AND BEFORE Prepared by Andrew Dziedzic Pergolesi, G. Stabat Mater (1736). 40 Bach, J.S. Suite no 5 in C minor, BWV1011, from Six solo cello suites (c1721). 29 Rebel, J-F. Ballet: Les élémens (1737). 23 Bach, J.S. Violin concerto in D minor, BWV1052 (1735-40). 23

Maroufi, J. Golden dreams. 4 Ravel, M. Shéhérazade (1903). 16 Rimsky-Korsakov, N. Scheherazade, symphonic suite, op 35 (1888). 45 11:30 ON PARADE Edinburgh Tattoo 2015 Prepared by Robert Small Various. Ode to the Motherland; Marching troops; Burns night and moon rise; Soldier’s honour; Scotland the brave. 7 Killaloe; El Capitan; Closer walk with thee; Hound dog; Moonlight serenade; Rocky top; Somewhere over the rainbow; Stars and stripes forever. 6 To the few; Aces high; March from Battle of Britain suite; Ad astra; Battle of Britain march; In the mood; RAF march past. 5 Hands across the sea; Arrive as strangers, leave as friends. 5

30

For a detailed program guide and digital schedule visit: www.finemusicfm.com/digital.html

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 PIANO Prepared by Emyr Evans Ravel, M. Sonatine pour piano (1905). 11 Tzigane (1924). 9 Valses nobles et sentimentales (1911). 14 Piano concerto for the left hand (1931). 18 15:00 NAUGHTY MARIETTA Prepared by Chris Blower Herbert, V. Operetta: Naughty Marietta (1910). 1:49 Vaughan Williams - Irving. Bitter Springs (1950). 26 17:30 FUTURE FANFARES with Jason Noble A two part series on Artologys 2015 Fanfare Competition. Younger composers are given the opportunity to write a fanfare for use at the Sydney Opera House, to replace the existing bell to invite patrons into the auditorium 18:00 SOCIETY SPOT Organ Music Society of Sydney Prepared by Andrew Grahame 19:00 THE MAGIC OF STAGE AND SCREEN Prepared by Maureen Meers Loewe, F. Excerpts from Paint your wagon (1951). 19

Saturday 11 June

Sunday 12 June 15:00 SUNDAY SPECIAL No school, no tradition Prepared by Chris Blower Delius, F. Polka: Zum Carnival (1885). 2 Am schönsten Sommerabends war; Biem Sonnenuntergang (1888). 10 Légende (c1892-95). 8 American rhapsody (1896). 9 Piano concerto in C minor (1904). 23 The walk to the Paradise Garden (1907). 11 String quartet, op 83 (1916). 28 A song before sunrise (1918). 6 Caprice; Elegy (1930). 8

John Pickle

Nikolaus Harnoncourt

Rodgers, R. Excerpts from Allegro (1947). 12

0:00 CLASSIC-ALL THROUGH THE NIGHT

Herman, J. Excerpts from Hello, Dolly (1964). 18

6:00 SUNDAY MORNING MUSIC with Robert Small

20:00 INFLUENCES AND CONNECTIONS Hector Berlioz Prepared by Rex Burgess Berlioz, H. Overture: Waverley, op 1 (1827-28). 10 Gluck, C. Aria: Se mai senti spirati sul volto, from La clemenza di Tito (1752). 10 Berlioz, H. Love scene, from Romeo and Juliet, op 17 (1839). 16 Weber, C.M. Wie nahte mir der Schlummer; Und ob die Wolke, from Der Freischütz (1821). 13

72

9:00 MUSICA SACRA Prepared by Chris Blower Charpentier, M-A. Psalm 83: Quam dilecta (1675). 20 Allegri, G. Psalm 50 (51): Miserere mei Deus. 14 Bernstein, L. Chichester psalms (1965). 19 10:00 THE CLASSICAL ERA Prepared by Richard Verco

Cherubini, L. Symphony in D (1815). 30

Mozart, W. Violin concerto no 5 in A, K219 (1775). 28

Berlioz, H. Les nuits d’été, op 7 (1840-41). 29

Wagenseil, G. Sinfonia in D (c1770). 11

22:00 SATURDAY NIGHT AT HOME Prepared by Elaine Siversen

Beethoven, L. Sonata no 17 in D minor, op 31 no 2, Tempest (1802). 23

Rossini, G. Overture to William Tell (1829). 12 Liszt, F. Songs from Schiller’s William Tell (1845). 15 Glazunov, A. Symphonic poem in B minor, op 13, Stenka Razin (1885). 16 Handel, G. I feel the Deity within; Arm, arm, ye brave! from Judas Maccabeus (1746). 4 Beethoven, L. Twelve variations in G on See the conqu’ring hero comes from Handel’s Judas Maccabaeus, WoO45 (1796). 14

Donizetti, G. String quartet no 12 in C (1821). 21 Cimarosa, D. Overture to L’Italiana in Londra (1779). 8 Lebrun, L. Clarinet concerto in B flat. 18 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

Massenet, J. Suite from ballet Le Cid (1885). 20

13:00 WORLD MUSIC: Whirled Wide

Charpentier, M-A. Stanzas of Le Cid (1681). 6

14:00 FEATURING THE VIOLA Prepared by Wenxin Guan

Dvorák, A. Symphonic poem: The hero’s song, op 111 (1897). 21

Clarke, R. Sonata (1919). 24 Hummel, J. Fantasie (c1833). 8 Vieuxtemps, H. Sonata in B flat, op 36 (pub.

1863). 23

17:00 HOSANNA Prepared by Meg Matthews Hymns: Crown Him with many crowns; Holy, holy, holy; O praise ye the Lord. 9 Schelle, J. Komm, Jesus, komm (1684). 6 Bach, J.S. Komm, Jesus, komm, BWV229. 9 Boyce, W. O where shall wisdom be found? 7 Trad. Immaculate Mary (arr. Doig). 4 Crosby, F. Blessed assurance; To God be the glory. 8 Fletcher, P. Festival toccata (1915). 8 18:00 SEPTEMBER Prepared by Randolph Magri-Overend Wilcher, P. One Tuesday in September (2001). 5 Werner, G. September, from Musicalisher Instrumental-Calendar (1748). 10 Metheny, P. September 15th; Keeper of the seasons (arr. Treece). 8 Fauré, G. In the September forest, op 85 no 1 (1902). 4 Strauss, R. Four last songs (1948). 24 19:00 SUNDAY NIGHT CONCERT Prepared by Judy Ekstein Haydn, J. Symphony in G, Hob.I:8, Evening (1761). 21 Spohr, L. Violin concerto no 8 in A minor, op 47 (1816). 19 Beethoven, L. Symphony no 7 in A, op 92 (1811-12). 40 20:30 NEW HORIZONS Prepared by James Nightingale Thomas, Augusta. Terpsichore’s dream (2007). 16 Higdon, J. Impressions (2003). 27 Lang, D. Just: After song of songs. 13 Adams, J. Saxophone concerto (2013). 28 22:00 AFTER HOURS JAZZ with Kevin Jones June 2016

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Monday 13 June

Tuesday 14 June

0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with James Hunter 9:00 DIVERSIONS IN FINE MUSIC A year in retrospect: 1784 Prepared by Francis Frank Clementi, M. Piano sonata in E flat, op 12 no 2 (1784). 10 Mozart, W. String quartet no 17 in B flat, K458, Hunt (1784). 33 Wesley, S. Symphony no 4 in D (1784). 13 Harington, H. Enchanting harmonist (1784). 3 Kraus, J.M. Innocente donzelletta (1784). 5 Rosetti, A. Symphony in C (1784). 14 10:30 MORNING CONCERT Prepared by Derek Parker

Piers Lane

Adam, A. Overture to Si j’étais roi (1852). 7

0:00 CONTEMPORARY COLLECTIVE

Coleridge-Taylor, S. Violin concerto in G minor, op 80 (1912). 32

3:00 CLASSICAL TILL DAWN

Strauss, R. Symphonia domestica, op 53 (190203). 46

6:00 FINE MUSIC BREAKFAST

12:00 SWING SESSIONS with John Buchanan

with Julie Simonds

13:00 GLAZUNOV AND THE MIGHTY HANDFUL Prepared by Susan Briedis

9:00 DIVERSIONS IN FINE MUSIC

Rimsky-Korsakov, N. Capriccio espagnol, op 34 (1887). 15

Prepared by Anne Irish

Borodin, A. Notturno, from String quartet no 2 (1885). 9 Balakirev, M. Islamey: oriental fantasy, op 19 no 6 (1869/1902). 7 Glazunov, A. Concerto in E flat for alto saxophone, op 109 (1934). 14 Cui, C. Orientale, from Kaleidoscope, op 50 no 9 (1893). 3 Mussorgsky, M. Coronation scene, from Boris Godounov (arr. Shostakovich 1940). 6 14:00 CAPRICCIO IRLANDAIS Prepared by Randolph Magri-Overend Harty, H. A comedy overture (1906). 14 Field, J. Fantasie sur l’air de Martini (c1811). 11 Balfe, M. I dreamt I dwelt in marble halls, from The Bohemian girl (1843). 4 Field, J. Piano concerto no 3 in E flat (c1805). 31 Harty, H. With the Wild Geese (1910). 20 Stanford, C. Villiers Symphony no 7 in D minor, op 124 (1911). 28 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 32

including Arts Calendar at 7.30am

Artist of choice: Isaac Stern

Mozart, W. Violin concerto no 1 in B flat, K207 (1773). 21 Schubert, F. Rondo in B minor, D895, Rondo brillant (1826). 16 Bach, J.S. Double violin concerto in D minor, BWV1043 (1730-31). 16 Kreisler, F. Liebesleid. 3 Rimsky-Korsakov, N. Flight of the bumblebee (1900). 1 Bruch, M. Violin concerto no 1 in G minor, op 26 (1868). 24 10:30 MORNING CONCERT Prepared by Sheila Catzel Elgar, E. Overture: In the South, op 50, Alassio (1903). 21 Paderewski, I. Piano concerto in A minor, op 17 (1880). 35 Beethoven, L. Symphony no 1 in C, op 21 (1800). 25 12:00 JAZZ RHYTHM with Jeannie McInnes 13:00 SONG AND DANCE Prepared by Randolph Magri-Overend

For a detailed program guide and digital schedule visit: www.finemusicfm.com/digital.html

14:00 CLASSICAL JUKEBOX Prepared by Randolph Magri-Overend Rossini, G. Overture to William Tell (1829). 12 Bach, J.S. Toccata and fugue in D minor, BWV565 (bef. 1708). 9 Mahler, G. Adagietto, from Symphony no 5 in C sharp minor (1901-02). 10 Rachmaninov, S. Piano concerto no 2 in C minor, op 18. 33 Beethoven, L. Symphony no 6 in F, op 68, Pastoral (1808). 46 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 Dvorák, A. Piano trio no 1 in B flat, op 21 (1875). 38 Shostakovich, D. String quartet no 4 in D, op 83 (1949). 24 Rubinstein, A. Cello sonata no 1 in D, op 18 (1852). 23 Caplet, A. Quintet for flute, oboe, clarinet, bassoon and piano (1899). 25

Composing cutting-edge legal solutions in Australia and across the globe. www.bakermckenzie.com/australia

Proud supporters of • Art Gallery Society of New South Wales • Belvoir • Fine Music 102.5 • Musica Viva • Pacific Opera

Wednesday 15 June

Jirí Belohlávek

Paul Agnew 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 Albinoni, T. Concerto in D op 7 no 6 (c1715). 8 Roman, J. Sonata VIII in A (c1746). 14 Linley, T. the younger Sonata in A (c1768). 11 Wagenseil, G. Memoriam, from Confitebor (ed.

Raum). 3 Wassenaer, U. Concerto no 1 in G for strings. 11 Handel, G. Quel fior che all‘alba ride, HWV 200 (c 1708). 7 Philidor, P. Suite for flute, violin and continuo in G (1717). 9 Rosetti, A. Symphony in F (1776-77). 15 10:30 MORNING CONCERT Prepared by Michael Field Respighi, O. The birds (1927). 19 Reinecke, C. Flute concerto in D, op 283 (c1895). 21 Tchaikovsky, P. Symphony no 1 in G minor, op 13, Winter Dreams (1866/74). 43 12:00 JAZZ SKETCHES with Robert Vale 13:00 YOUNG VIRTUOSI 14:00 IN CONVERSATION with Michael Morton-Evans 34

June 2016

Thursday 16 June

fineMusic 102.5

15:00 MUSSORGSKY EXPLORED

0:00 CONTEMPORARY COLLECTIVE

Part 1

3:00 CLASSICAL TILL DAWN

Prepared by Michael Morton-Evans Mussorgsky, M. Scherzo in B flat (c1858). 4 Where art thou, little star? (1858). 3 Intermezzo in B minor. 8 Oedipus in Athens: Chorus of people in the temple (1861; arr. Rimsky-Korsakov). 3 A night on Bare Mountain (1867; orch. RimskyKorsakov 1886). 11 The he-goat (1867). 2 Entr’acte to Act IV of Khovanshchina (1880; transcr.

Stokowski). 5 Dawn over the Moscow River (arr. RimskyKorsakov); Dance of the Persian girls, from Khovanshchina (1872). 13 A joke. 2 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Tom Forrester-Paton 19:00 JAZZ STARS AND STRIPES with Peter Mitchell

6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Simon Moore 9:00 DIVERSIONS IN FINE MUSIC Composer focus Prepared by Madilina Tresca Stanford, C. Villiers Prince Madoc’s farewell (1893). 4 Symphony no 5 in D, op 56, L’allegro ed il penseroso (1894). 40 Clarinet sonata (1911). 21 Irish skies. 5 Irish rhapsody no 6, op 191 (1922). 10 10:30 MORNING CONCERT Prepared by Anne Irish Saint-Saëns, C. Overture: Spartacus (1863). 15 Paganini, N. Violin concerto no 2 in B minor, op 7 (1826). 28 Suk, J. Symphony no 1, op 14 (1897-99). 40

20:00 AT THE OPERA Prepared by Colleen Chesterman

12:00 JAZZ, PURE AND SIMPLE with Maureen Meers

Rameau, J-P Dardanus. Opera in four acts. Libretto

by Charles-Antoine le Clerc de la Bruere. First performed Paris, 1739. 2:08

13:00 OPERA IN CONCERT Prepared by Giovanna Grech

Excerpts from Les Indes galantes (1735-61). 10

Massenet, J. Ah! Salomé! Dans ce palais ... Il est doux, il est bon, from Hérodiade (1881). 6

23:00 ROMANTIC CONCERTOS Prepared by Frank Morrison Bennett, W. Sterndale Piano concerto no 2 in E flat, op 4 (1833). 26 Offenbach, J. Cello concerto in G, Concerto militaire (1848). 29

Dvorák, A. Overture to Rusalka, op 114 (1901). 4

Verdi, G. Addio del passato, from La traviata (1853). 7 Borodin, A. There is neither sleep nor rest, from Prince Igor (1869-87). 8 Saint-Saëns, C. Vois ma misère, hélas, from Samson et Dalila (1877). 9

Friday 17 June

Thursday 16 June Massenet, J. Meditation from Thaïs (1894). 5

Wind octet no 1 in E flat. 15

Giordano, U. Ecco l’altare, from Andrea Chénier (1896). 8

Mendelssohn, F. Concert piece no 1 in F minor, op 113 (1833). 8

14:00 LATIN HORIZONS Prepared by David Ogilvie

Bach, J. Christian Sinfonia concertante in C. 22 Stravinsky, I. Suite from The soldier’s tale (1918). 25

Duran de la Mota, A. Villancico negro: Pasitico arroyuelos! 5

15:00 ENGLISH ORCHESTRA

Anon. Sonata XVIII. 9

Leigh, W. Overture: Agincourt (1937). 12

Salas y Castro, E. Los bronces se enternezcan. 7

Bridge, F. Isabella (1907). 18

Rodriguez - Contursi - Maroni La cumparsita. 4

Britten, B. Four sea interludes, from Peter Grimes (1945). 24

Lecuona, E. Rapsodia negra (1930s). 11

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

Malaguena. 3 Serebrier, J. Fantasia (1960). 12 Brouwer, L. Guitar concerto no 3, Concerto elegiaco. 22 Serebrier, J. Symphony no 3, Symphonie mystique (2003). 26 Huirse, J. Kacharpari. 2 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm With Sue Jowell 19:00 THE NEW JAZZ STANDARD with Frank Presley 20:00 LIVE AND LOCAL Macquarie Trio Australia Recorded by George Hilgevoord for FINE MUSIC Mozart, W. Piano trio in C, K548 (1788). 18 Brahms, J. Piano trio in C minor, op 101 (1866). 22 Schubert, F. Piano trio in E flat, D929 (1827). 38 21:30 RUSSIAN RHAPSODY Glazunov, A. Oriental rhapsody, op 29 (1889). 27 22:00 DIFFERING PATHS OF THE 20TH CENTURY Prepared by Robert Small Vaughan Williams, R. Violin concerto in D minor, Concerto accademico (1925). 16 Cantata: Epithalamion (1957). 32 Nielsen, C. Symphony no 5, op 50 (1921-22). 37 Berkeley, L. Trio, op 44 (1954). 25

Herbert von Karajan 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 Haydn, J. Baryton trio in D, Hob.XI:95. 11 Paganini, N. Sonata no 1 in E for violin and guitar (c1828). 11 Mozart, W. String quartet no 1 in G, K80 (1770). 18 Bach, J.S. Cello suite no 1 in G, BWV1007 (1720). 21 Carr-Boyd, A. Fandango (1982). 5 Trimble, J. Suite for strings (1953). 13 10:30 MORNING CONCERT Prepared by Paul Hopwood Respighi, O. Brazilian impressions (1928). 20 Bach, J. Christian Bassoon concerto in B flat. 22 Sibelius, J. Symphony no 4 in A minor, op 63 (1911). 39 12:00 A JAZZ HOUR with Barry O’Sullivan

19:00 FRIDAY JAZZ SESSION with Sally Cameron 20:00 THE ROMANTIC CENTURY Prepared by Frank Morrison Goldmark, K. String quartet in B flat, op 8 (1860). 29 Joachim, J. Violin concerto no 3 in G (bef.

1875). 35 Franck, C. Piano trio in B minor, op 2 no 4 (183942). 19 Saint-Saëns, C. Violin concerto no 3 in B minor, op 61 (1880). 28 22:00 BAROQUE AND BEFORE Prepared by Elaine Siversen Part 1: Lesser known composers of the British Isles Roseingrave, T. Organ concerto in D (c1739; arr.

Holman). 11 Oswald, J. Divertimento 3 (1759). 6 O’Carolan, T. Carolan’s receipt for whiskey. 10 Corbett, W. Suite in D. 14 Part 2: The glory of Venice Tomkins, T. When David heard that Absolom was slain (pub. 1622). 5 Monteverdi, C. Sfogava con le stelle (pub. 1603). 3

13:00 PATRICK THOMAS PRESENTS The iridescent flute: part 3

Monteverdi, C. Concerto, Duo seraphim clamabant; Antiphon, Revertere; Psalm 147, Nisi Dominus ... Gloria Patri; Antiphon, Revertere, from Vespers of the Blessed Virgin (pub. 1610). 12

Howlett, M. Exhibits (1992). 10

Chiome d’oro, from Madrigals bk 7 (pub. 1619). 3

Ghandar, A. Transparent crystal, from Iridescences (1998). 4

Ogni amante è guerrier, from Madrigals bk 8 (pub.

1638). 14

Wilcher, P. Blue glaze. 9

Gloria in excelsis Deo à 8 voci (pub. 1640). 11

13:30 WIND COMBINATIONS Prepared by Elaine Siversen

Addio Roma, from The coronation of Poppea (1642). 4

Barsanti, F. Concerto grosso in D, op 3 no 4 (1743). 11

Psalm 109: Dixit Dominus domino meo II, from Selve morale e spirituale (pub. 1640). 8 June 2016

fineMusic 102.5

35

Saturday 18 June

Anton Nanut

Teddy Tahu Rhodes 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SATURDAY MORNING MUSIC with Stephen Wilson 9:00 WHAT’S ON IN MUSIC Our weekly guide to musical events in and around Sydney 9:30 MINING THE MAJORS Prepared by Brian Drummond Kuhlau, F. Variations on an Irish air: The last rose of

13:00 G&S HOUR

20:00 INFLUENCES AND CONNECTIONS

with Randolph Magri-Overend

Gerald Finzi

Prepared by Randolph Magri-Overend

Farrar, E. The wanderer’s song; Silent noon; The

Benda, G. Harpsichord concerto in C (1779). 15

(1908-11). 9

Edwards, R. Three little piano duets (1990). 2

Finzi, G. Life a right shadow is; This world a hunting

Rachmaninov, S. Piano concerto no 3 in D minor,

elegies, op 5 (1926). 5

15:00 MESSIAH

Beethoven, L. Once more I hail Thee, from 25 Irish

Prepared by Di Cox

Stanford, C. Villiers Irish rhapsody no 2 in F minor, op 84, Lament for the son of Ossian (1903). 16 Feld, J. Sonata (1957). 18 Field, J. Piano concerto no 7 in C (c1833). 30

Handel, G. Messiah, HWV56 (1742). 2:21 17:30 THE VOICES, THE ROLES

Elgar, E. In the South, op 50, Alassio (1904). 22

11:30 ON PARADE

Granados, E. Andaluza. 5 Valses poéticos (1887). 12

Anderson, L. Irish washerwoman. 3

Two dances, from 12 Danzas Espaňolas,

Stuart, L. Soldiers of the Queen. 3 Sousa, J.P. A mingling of the Wets and Drys: A Prohibition-era fantasy. 13 12:00 JAZZ SATURDAY @ STUDIO A with Leita Hutchings

Vaughan Williams, R. Whither must I wander?

22:00 SATURDAY NIGHT AT HOME

Classical Guitar Society

Respighi, O. March, from The Pines of Rome. 5

Ferguson, H. Octet, op 4 (1933). 21

Finzi, G. Dies natalis, op 8 (1925-39). 25

18:00 SOCIETY SPOT

La Maja de Goya, from Tonadillas en un estilo

Morris, R. Canzon ricertati no 6 (1931). 9

from Songs of travel (1904). 4

Heavy fathers: the basses

Prepared by Sue McCreadie

Prepared by Owen Fisher

is; This life, which seems so fair, from Three short

Rubbra, E. Symphony no 1, op 44 (1935-37). 35

Harty, H. An Irish symphony (1904/15/24). 31

Music that’s band

Paganini, N. Violin concerto no 3 in E (1826). 37 Boccherini, L. Aria de concerto, Care luci. 8 Berlioz, H. Harold in Italy, op 16 (1834). 44

antiguo (arr. Llobet). 5 op 37 no 6 (1892-1900).

10

Intermedio, from Goyescas (1911; arr. P. Romero). 4 Spanish dances nos 1 to 3 (1892-1900; orch. de Grignon). 15 19:00 THE MAGIC OF STAGE AND SCREEN with Sue Jowell What’s in a name?

36

roadside fire, from Three vagabond songs, op 11

op 30 (1909). 38

summer, op 105 (1829). 9

songs, WoO 152 (1814). 4

Prepared by Katy Rogers-Davies

14:00 EBONY AND IVORY

For a detailed program guide and digital schedule visit: www.finemusicfm.com/digital.html

Sunday 19 June

Monday 20 June

15:00 SUNDAY SPECIAL Unknown symphonies from the Russian archives: part 3 Prepared by Paolo Hooke Mirzoyan, E. Symphony for timpani and strings (1962). 31 Popov, G. Symphony no 2, op 39, Motherland (1943). 35 Vainberg, M. Symphony no 5 in F minor, op 76 (1962). 44 17:00 HOSANNA Prepared by Richard Munge Harris, W. O what their joy. 8 Davies, H. Walford Psalm 121. 2 Leighton, K. Magnificat 6

Kirill Kondrashin 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SUNDAY MORNING MUSIC

Vivaldi, G. Gloria in excelsis Deo, from Gloria in D, RV589. 2 Goodall, H. Psalm 23: The Lord is my shepherd. 3

with Paul Roper

Rutter, J. For the beauty of the earth. 4

9:00 MUSICA SACRA

Stainer, J. Anthems: Lead, kindly light; I saw the Lord. 16

Prepared by Rex Burgess Du Mont, H. Dialogus de anima (pub. 1657). 19

Hymns: O worship the King; There is a green hill far away; Ye holy angels bright. 10

Tavener, J. The veil of the temple: cycle 6

Reger, M. Toccata in D minor, op 59. 4

(2003). 16 Fauré - Messager. Messe des pêcheurs de

18:00 CHAMBER HOUR Prepared by Barrie Brockwell

Villeville (1881). 17

Telemann, G. Sonata in A minor. 7

10:00 THE CLASSICAL ERA

Servais, A-F. Grand fantasy, Souvenir of Bade, op 20. 14

Prepared by Sheila Catzel Dittersdorf, C. Viola concerto in F. 25 Haydn, M. Notturno in F. 16 Neukomm, S. Serenade in B flat for wind octet and double bass (1796). 13

Zdenek Macal 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: 1934 Prepared by Di Cox Copland, A. El Salón México (1934-36). 11 Delius, F. Two aquarelles (1934; arr. Fenby). 4 Rachmaninov, S. Rhapsody on a theme by Paganini, op 43 (1934). 22

Schumann, R. Romanze in A, op 94, no 2 (1849). 4

Gershwin, G. Suite from Porgy and Bess (1934). 11

Haydn, J. String quartet in G minor, Hob.III:74, Rider (1793). 22

Ibert, J. Flute concerto (1934). 20

19:00 SUNDAY NIGHT CONCERT Prepared by Barrie Brockwell

Prokofiev, S. Overture on Hebrew themes, op 34 (1934). 9

Telemann, G. Overture in B flat, La Bourse. 22

10:30 MORNING CONCERT

(c1772). 25

Gershwin, G. Lullaby for string orchestra (1919). 8

Prepared by Paul Hopwood

Cherubini, L. String quartet no 3 in D minor

Korngold, E. Violin concerto in D, op 35 (1945). 26

Wagner, R. Overture: Rule Britannia (1837). 12

(1834). 29

Dvorák, A. Suite in A, op 98b, American (1895). 22

Carulli, F. Concerto in G for flute, guitar and

12:00 SYDNEY JAZZ CLUB PRESENTS

orchestra. 22

Speak easy, swing hard

20:30 NEW HORIZONS Prepared by Nev Dorrington

with Richard Hughes

Sakamoto, R. The revenant (2015). 34

13:00 WORLD MUSIC: Whirled Wide

Arnalds, O. The Chopin project (2015). 47

Haydn, J. Symphony in E flat, Hob.I:43, Mercury

14:00 ROMANTIC PIANO Prepared by Emyr Evans Beethoven, L. Bagatelles, op 126 (1823-4). 17 Busslied, op 48 no 6 (bef.1802). 5

Jóhannsson, J. Excerpts from Englabörn. 7 22:00 AFTER HOURS JAZZ with Kevin Jones

Glière, R. Symphony no 2 in C minor, op 25 (1907). 46 12:00 SWING SESSIONS with John Buchanan 13:00 UNDER THE HAMMER Prepared by Madilina Tresca Britten, B. Overture: The building of the house, op

In questa tomba oscura, WoO133 (1807). 4

79 (1967). 6

Cello sonata no 3 in A, op 69 (1807-08). 27

Grainger, P. Fisher’s boarding house (1899). 7 June 2016

fineMusic 102.5

37

Tuesday 21 June

Monday 20 June

Marko Letonja

Heinrich Hollreiser

Zdeněk Fibich

Leisner, D. Tango solitaire; Waltz for the old folks;

0:00 CONTEMPORARY COLLECTIVE

14:00 WAR GAMES Prepared by Randolph Magri-Overend

Ballad for the lonely; Samba!, from Dances in the mad house (1987). 12 Janácek, L. Prelude, from The house of the dead (1927-28; arr. Chlubna, Bakala). 6 Mussorgsky, M. The old castle, from Pictures at an exhibition (arr. Segovia). 5 Sousa, J.P. The champagnes; The Rhine wines; White rock and psyches; The whiskies, Scotch, Irish, bourbon and rye, from People who live in glass houses (1909). 12 14:00 HEAVENLY INSPIRATIONS Prepared by Frank Morrison

6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Julie Simonds 9:00 DIVERSIONS IN FINE MUSIC Artist of choice: Hector McDonald Prepared by Elaine Siversen Edwards, R. Maninya III (1985). 11 Haydn, J. Horn concerto no 1 in D, Hob.VIId:3 (1762). 18 Seiber, M. Notturno (1944). 9

Mendelssohn, F. Overture and war march of the priests, from Athalie, op 74 (1845). 14 Holst, G. Mars, from The planets, op 32 (1914-16; arr. Sauer). 8 Duparc, H. Au pays où se fait la guerre (1869). 6 Beethoven, L. Wellington’s victory, op 91 (1813). 15 Schubert, F. Raste Krieger! Krieg ist uns, D837 (1825). 9 Prokofiev, S. Ode on the end of war, op 105 (1945). 13

Mozart, W. Ah kindly stars, K538 (1788). 7

Förster, C. Horn concerto in E flat (c1743). 13

Messiaen, O. Le banquet céleste (1928). 8

Brahms, J. Trio in E flat for horn, violin and piano, op 40 (1865). 30

Tchaikovsky, P. Ouverture solennelle: 1812, op 49 (1880). 15

10:30 MORNING CONCERT

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

Lentz, G. Nguuraa from mysterium, from Caeli enarrant VII (1991-2000). 9 Mozart, W. Symphony no 41 in C, K551, Jupiter (1788). 29 15:00 BIRDS AND BEARS Prepared by Madilina Tresca Walker, S. The wild duck (1983; arr. Isaacs). 23 Vaughan Williams, R. The lark ascending (1914/20). 15 Hahn, R. The swans (c1895). 4 Coates, E. The three bears, a phantasy (1926). 10 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Michael Field

Auber, D-F-E. Overture to The bronze horse (1835). 8 Marcello, A. Double concerto no 3 in B minor (pub.

1738). 11 Bruckner, A. Symphony no 4 in E flat, Romantic (1874). 1:03 12:00 JAZZ RHYTHM with Jeannie McInnes 13:00 OBOES IN CONCERT Prepared by Sheila Catzel Telemann, G. Oboe concerto in E flat. 12

19:00 JAZZ NICE ‘N EASY with Ken Weatherley

Vivaldi, A. Oboe concerto in C, RV447. 15

20:00 STORMY MONDAY with Austin Harrison and Garth Sundberg

Concerto in F for recorder, oboe, violin, bassoon, two repieno violins, viola and continuo, RV98, La tempesta di mare. 6

22:00 THE AUSTRALIAN JAZZ SCENE with Susan Gai Dowling and Peter Nelson 38

3:00 CLASSICAL TILL DAWN

Bach, J.S. Oboe concerto in F (c1735-40). 20

For a detailed program guide and digital schedule visit: www.finemusicfm.com/digital.html

Walton, W. A wartime sketchbook (arr. Palmer). 25

19:00 THE JAZZ BEAT with Lloyd Capps 20:00 RECENT RELEASES with Robert Small 22:00 CHAMBER SOIRÉE Prepared by Sheila Catzel Rachmaninov, S. Piano trio élégïaque no 1 in G minor (1892). 13 Wirén, D. String quartet no 5, op 41 (1970). 13 Dvorák, A. Piano quintet no 1 in A, op 5 (1872). 27 Raff, J. Six morceaux, op 85 (1859). 20 Fibich, Z. Quintet in D for clarinet, horn, violin, cello and piano, op 42 (1893). 36

Wednesday 22 June

Thursday 23 June 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 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 Denis Patterson Massenet, J. Picturesque scenes (1874). 16 Hummel, J. Double concerto in G, op 17 (c1805). 37

Okko Kamu 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN

15:00 MUSSORGSKY EXPLORED Part 2 Prepared by Michael Morton-Evans

6:00 FINE MUSIC BREAKFAST

Mussorgsky, M. The nursery (1870-72). 15

including Arts Calendar at 7.30am with Peter Kurti 9:00 DIVERSIONS IN FINE MUSIC Music of the 18th century Benda, G. Sinfonia no 5 in G. 12 Frederick II. Sonata in E minor for flute and basso continuo. 9 Mozart, W. Sonata in B flat, K358 (1773-74). 18 Handel, G. Scherza in mar, from Lotario, HWV26 (1729). 6 Telemann, G. Sonata in C minor for recorder, oboe and basso continuo. 11 Bach, J. Christian Bassoon concerto in E flat. 23 10:30 MORNING CONCERT Prepared by Elaine Siversen Roman, J. Suite in G minor, Sjukmans Musiquen (1727-28). 25 Bach, C.P.E. Double concerto in E flat, Wq47 (1788). 18 Lindblad, A. Symphony no 1 in C (1832). 39 12:00 JAZZ SKETCHES with Robert Vale

Introduction to Sorochintsy Fair (1874). 5 Gopak, from Sorochintsy Fair. 2 Boris Godunov, symphonic synthesis (1874; orch.

Stokowski 1936). 23

Berwald, F. Symphony no 2 in D, Sinfonie capricieuse (1842). 28 12:00 JAZZ, PURE AND SIMPLE with Maureen Meers 13:00 PLUMBING THE DEPTHS Prepared by Stephen Wilson Bach, J.S. Cello suite no 2 in D minor, BWV1008 (c1720). 20 Bottesini, G. Gran duetto no 2 (1880). 18

Bell scene, from Boris Godunov (1874; orch.

Rimsky-Korsakov). 4

Onslow, G. Grand sextet, op 77b (1849). 33

Trepak, from Songs and dances of death (1875-77). 5

Vivaldi, A. Sonata no 8 in G, RV22, from Manchester Manuscript (1712). 13

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

Sperger, J. Double bass concerto in D. 25

15:00 ORGAN AND ORCHESTRA Prepared by Brian Drummond Lovelock, W. Sinfonia concertante for organ. 20 Dupré, M. Cortège et Litanie, op 19 no 2 (1921). 6

20:00 AT THE OPERA Prepared by Elaine Siversen

Guilmant, A. Organ symphony no 2 in A minor, op 91 (1906). 29

Borodin, A. Prince Igor. Opera in a prologue and four acts. Libretto by the composer. First performed St Petersburg, 1890. 3:31

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

In the Steppes of Central Asia (1880). 8

19:00 THE NEW JAZZ STANDARD with Frank Presley 20:00 LIVE AND LOCAL An evening recital in St Stephens Recorded by George Hilgevoord for FINE MUSIC Mozart, W. Sonata no 32 in B flat, K454 (1784). 21 Ravel, M. Kaddisch. 5 Debussy, C. Sonata (1917). 13

13:00 YOUNG VIRTUOSI

Schubert, F. Notturno in E flat, D897 (1825). 9

14:00 IN CONVERSATION

Fauré, G. Elegy, op 24 (1882). 6

with Michael Morton-Evans

Beethoven, L. Trio in E flat, op 1 no 1 (1792). 29 June 2016

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Friday 24 June

Thursday 23 June

13:30 THE PRODIGAL SON Prepared by Rex Burgess Debussy, C. L’enfant prodigue (1884). 35 Alfvén, H. The prodigal son, suite (1957). 19 14:30 HOMAGE TO VENUS Prepared by Derek Parker Wagner, R. Venusberg music and baccanale, from Tannhäuser (1845/61). 14 Gougeon, D. Clere Vénus (2002). 26 Holst, G. Venus; Mercury, from The planets, op 32 (1914-16). 11 Handel, G. Venus and Adonis, HWV85 (c1700). 10 Fauré, G. The birth of Venus, op 29 (1882). 23

George Onslow 21:30 SPINNING WHEEL Dvorák, A. Symphonic poem: The golden spinning wheel, op 109 (1896). 27 22:00 DIFFERING PATHS OF THE 20TH CENTURY Prepared by Judy Ekstein Stenhammar, W. Serenade in F, op 31 (1911-13). 33

Reinhard Goebel 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

19:00 FRIDAY JAZZ SESSION with Sally Cameron 20:00 THE ROMANTIC CENTURY Prepared by Phil Vendy Mendelssohn, F. Double concerto in A (1823). 35 Goldmark, K. Suite in E flat, op 43 (1893). 31 Moscheles, I. Concertante in F. 14

Skryabin, A. Eight études, op 43 (1903). 14

Prepared by Sheila Catzel

Prokofiev, S. Suite from Lieutenant Kijé, op 60 (1934). 20

Hummel, J. Trio in E flat (1799). 20

Milhaud, D. Sonata, op 47 (1918). 18

(1871). 14

22:00 BAROQUE AND BEFORE Prepared by Rex Burgess

Boccherini, L. String quintet in E, op 13 no 5

Veracini, F. Violin concerto in A à cinque (c1716). 12

(1771). 24

Dufay, G. Nuper rosarum flores; Alma redemptoris mater II; Letabundus; Ecclesie militantis. 23

Shostakovich, D. Ballet suite no 2 (1951). 20

Volkmann, R. Serenade no 3 in D minor, op 69

Raff, J. String octet in C, op 176 (1872). 24 10:30 MORNING CONCERT Prepared by Brian Drummond Wagner, R. Overture to Tannhäuser (1845). 15 Chopin, F. Andante spianato and grande polonaise brilliante in F, op 22 (1834). 15 Dvorák, A. Festival march in C, op 54 (1879). 6 Brahms, J. Symphony no 4 in E minor, op 98 (1884-85). 44 12:00 A JAZZ HOUR with Barry O’Sullivan 13:00 PATRICK THOMAS PRESENTS John McCabe plays Grieg Grieg, E. Resignation; Scherzo-impromptu; Night ride; Folk tune from Valders; Study, homage to Chopin, from Moods, op 73 (1903-05). 14 Bridal march from Telemark; Tune from the Fairy Hill, from Peasant dances, op 72 (1902-03). 10 40

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

For a detailed program guide and digital schedule visit: www.finemusicfm.com/digital.html

Brahms, J. Double concerto in A minor, op 102 (1887). 33

Bach, J.S. A musical offering, BWV1079 (1747). 48 Dufay, G. J’attendray tant qu’il vous playra; Adieu ces bons vins de Lannoys. 6 Anon. N’a pas long temps que trouvay Zephirus; Je la remire, la belle. 4 Landini, F. Giunta vaga biltà; Nessun ponga sperança. 8 Dufay, G. Mon cuer me fait tous dis penser. 6

Saturday 25 June

Sunday 26 June

14:00 ROMANTIC PIANO Prepared by Emyr Evans Schubert, F. Violin sonata no 1 in D, D384 (1816). 13 To my piano, D342 (1816). 5 Piano trio in B flat in one movement, D28, Sonata (1812). 8 Arpeggione sonata in A minor, D821 (1824). 27 15:00 LA SOURCE Prepared by Chris Blower Delibes - Minkus. Ballet: La source (1870). 1:29 Mozart, W. Serenade in D, K250, Haffner (1776). 51 17:30 FUTURE FANFARES with Jason Noble

Richard Bonynge 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 Mendelssohn, F. Overture: The Hebrides, op 26, Fingal’s Cave (1830). 10

18:00 SOCIETY SPOT Sydney Schubert Society Prepared by Ross Hayes Schubert, F. From incidental music to Rosamunde, Princess of Cyprus, (1823): Overture to The magic harp; Entr’acte 1; Ballet; Shepherds melodies; Entr’acte III; Entr’acte II; Ballet; Der Vollmond strahit auf Bergeshöh’n. 50 19:00 THE MAGIC OF STAGE AND SCREEN Prepared by Maureen Meers Perretti - Creatore. Excerpts from Maggie Flynn (1968). 19 Lerner, A. My Fair Lady suite. 11

Bruch, M. Scottish fantasy, op 46 (1880). 31

Bart, L. Excerpts from Oliver (1960). 20

Roberton, H. All in the April evening. 4

20:00 INFLUENCES AND CONNECTIONS Ralph Vaughan Williams Prepared by James Nightingale

Trad. Swing low, sweet chariot (arr. Roberton). 3

Maxim Vengerov 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SUNDAY MORNING MUSIC with David Garrett 9:00 MUSICA SACRA Prepared by Elaine Siversen Purcell, H. Te Deum laudamus in D (1694). 14 Handel, G. Dettingen Te Deum (1743). 40 10:00 THE CLASSICAL ERA Prepared by Di Cox Cimarosa, D. Overture to L’Italiana in Londra (1779). 8 Boccherini, L. Sinfonia in D minor, op 12 no 4, La casa del Diavolo (pub. 1771). 22 Weber, C.M. Grand quintetto in B flat, op 34. 24

MacKenzie, A. Second Scottish rhapsody, op 24, Burns. 16

Tallis, T. Spem in alium (ed. Brett). 9

Field, J. Nocturnes: no 10 in E minor; no 11 in E flat; no 12 in G (1822). 12

Parry, H. Psalm 122: I was glad. 7

Haydn, M. Transformations; Serenade. 6

Arnold, M. Four Scottish dances, op 59 (1957). 9

Vaughan Williams, R. Three Shakespeare songs (1951). 7

Viotti, G. Violin concerto no 23 in G (1792-93). 23

Bantock, G. A Hebridean symphony (1915). 35 11:30 ON PARADE Prepared by Paul Hopwood Sousa, J.P. Suite: At the movies (1922). 16 Mozart, W. Overture to The magic flute, K620 (1791; arr. Kenyon). 7 Walters, H. Trumpets wild. 3 12:00 JAZZ SATURDAY @ STUDIO A with Leita Hutchings

Bruch, M. Romance for viola and orchestra, op 85 (c1912). 8 Ravel, M. Tzigane (1924). 9 Vaughan Williams, R. The lark ascending (1914/20). 16 Butterworth, G. A Shropshire lad, rhapsody (1912). 9 Holst, G. Hammersmith, a prelude and scherzo for orchestra, op 52 (1930-31). 14 Vaughan Williams, R. Songs of travel (1904). 25 22:00 SATURDAY NIGHT AT HOME Prepared by Frank Morrison

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

Bach, J. Christian Sinfonia in D, op 18 no 3 (c1781). 11 12:00 SYDNEY JAZZ CLUB PRESENTS Classic jazz and ragtime With John Buchanan 13:00 WORLD MUSIC: Whirled Wide 14:00 OPERA IN CONCERT Prepared by Giovanna Grech Rossini, G. Overture to The silken ladder (1812). 6 Bizet, G. Habanera: L’amour est un oiseau rebelle, from Carmen (1873-74). 4

Fuchs, R. Serenade no 1 in D, op 9 (1874). 20

Massenet, J. Maître, bois dans cette amphore ...

Vision fugitive, from Hérodiade (1881). 6

Haydn, J. Nocturne no 3 in C, Hob.II:32 (1788-94). 15

Verdi, G. Ballet music from Macbeth (1847). 10

Debussy, C. Images (1905-12). 34

Donizetti, G. Poor Ernesto!. I’ll seek some far-off land.

And if it should befall, from Don Pasquale (1843). 8

Klughardt, A. Symphony no 5 in C minor, op 71 (1892). 39

Giordano, U. Amor ti vieta, from Fedora (1898). 2 June 2016

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Monday 27 June

Sunday 26 June Mascagni, P. Tu qui, Santuzza?, from Cavalleria rusticana (1890). 13 15:00 SUNDAY SPECIAL Remembering Abbado Prepared by Rebecca Zhong Beethoven, L. Overture to The creatures of Prometheus, op 43 (1800-01). 5 Schubert, F. Romanze, from Rosamunde, D797 (1923). 3 Berg, A. Three pieces for orchestra, op 6 (1914-15). 21 Mahler, G. Symphony no 6 in A minor (1904). 1:20 17:00 HOSANNA Prepared by Stephen Matthews Hymns: Come down O love divine; Come Holy Ghost. 6 Hymn: Christ is made the sure foundation. 4 Vaughan Williams, R. O clap your hands. 3 Finzi, G. God is gone up, op 27 (1951). 5 Harvey, J. Come, Holy Ghost (1984).

Palestrina, G. da Tu es Petrus (pub. 1572). 3

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

Attwood, T. Psalm 138. 3

9:00 DIVERSIONS IN FINE MUSIC A year in retrospect: 1905 Prepared by Derek Parker

Walmisley, T. Magnificat; Nunc dimittis in D minor (1855). 8

Vaughan Williams, R. Norfolk rhapsody no 1 in E minor (1905-06). 10

18:00 QUINTET Prepared by Wenxin Guan

Debussy, C. Ibéria, from Images for orchestra (1905-12). 18

Mendelssohn, F. Excerpts from Saint Paul. 10

Borodin, A. String quintet in F minor (1853-54). 28 Dvorák, A. Piano quintet no 1 in A, op 5 (1872). 27 19:00 SUNDAY NIGHT CONCERT Pepared by Frank Morrison Elgar, E. Overture: Cockaigne, op 40, In London town (1900-01). 15

Godowsky, L. Symphonic metamorphosis on Künstlerleben, after Johann Strauss II (1905). 15 Lehár, F. Love unspoken, from The merry widow (1905). 4

Castelnuovo-Tedesco, M. Sonatina, op 205 (1965). 13 Barber, S. Adagio for strings, op 11 (1936). 7 Bernstein, L. Clarinet sonata (1941-42). 10 Korngold, E. Suite from Much ado about nothing, op 11 (1920). 13 Copland, A. Piano quartet (1950). 22 14:30 CONCERT IN THE AFTERNOON Prepared by Andari Anggamulia Liszt, F. Two legends (1876). 19 Bartók, B. Romanian folk dances (1917). 7 Liszt, F. Piano concerto no 1 in E flat (1849/53-56).

19 Bartók, B. Concerto for orchestra (1943). 37

Ravel, M. Introduction and allegro (1905). 11

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

Prokofiev, S. Symphony no 7, op 131 (1950-52). 33

Strauss, R. Dance of the seven veils, from Salome, op 54 (1905). 9

19:00 JAZZ NICE ‘N EASY with Ken Weatherley

20:30 NEW HORIZONS Prepared by Robert Small

10:30 MORNING CONCERT Prepared by Derek Parker

20:00 STORMY MONDAY with Austin Harrison and Garth Sundberg

Sullivan, A. Overture to The Yeomen of the Guard (1888). 5

22:00 THE AUSTRALIAN JAZZ SCENE with Susan Gai Dowling and Peter Nelson

Paganini, N. Violin concerto no 1 in D, op 6 (1815). 35

Moore, K. Fern. 12 Stanley, J. Helix reflections. 5 Clausen, R. Calm on the listening ear of night; In pace. 16 Gellman, S. Piano quartet (2003). 22 Foster, G. Romance for cello and orchestra: Nicholas and Alexandra, from The pearl of Dubai, suite (2010-11). 11 Gunning, C. Death on the Nile (1989-2004). 14

42

Àdám Fischer

Joplin, S. Bethena: a concert waltz (1905). 8

Brahms, J. Piano concerto no 2 in B flat, op 83 (1878-81). 51 Haydn, J. Symphony in G, Hob.I:100, Military (1794). 24 12:00 SWING SESSIONS with John Buchanan

Amyas’s last painting, from Five little pigs (19892004). 4

13:00 AMERICAN CHAMBER MUSIC Prepared by Gael Golla

22:00 AFTER HOURS JAZZ with Kevin Jones

Stravinsky, I. Suite from The soldier’s tale (1919). 15

For a detailed program guide and digital schedule visit: www.finemusicfm.com/digital.html

Tuesday 28 June

Kurt Masur

Leif Segerstam 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Julie Simonds 9:00 DIVERSIONS IN FINE MUSIC Artist of choice: Crispian Steele-Perkins Prepared by Rebecca Zhong Hummel, J. Trumpet concerto in E (1803). 18 Alwyn, W. Concerto grosso no 1 in B flat for chamber orchestra (1943). 12 Handel, G. Let the bright seraphim, from Samson, HWV57 (1742). 6 Leighton, K. An Easter sequence (1969). 14 Vivaldi, A. Trumpet concerto in C, RV537. 7 Pearson, L. Suite no 3 in D. 12 Puccini, G. Arias, from La bohème (1896; arr.

Pearson). 10 10:30 MORNING CONCERT Prepared by MIchael Field Massenet, J. Suite no 7: Scènes alsaciennes (1881). 23

Wednesday 29 June

14:00 CELLO & CO Prepared by Madilina Tresca Spohr, L. Piano trio no 4 in B flat, op 133 (1846). 29 Beethoven, L. String quartet in F, op 14 no 1 (1800). 13 Brahms, J. Cello sonata no 1 in E minor, op 38 (1862-65). 28

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

Chopin, F. Waltz in A minor, op 34 no 2 (1831; arr.

Ginsburg). 6

Prepared by Richard Verco

Offenbach, J. Duet in A minor, op 53 no 2 (1847). 8

(1791). 18

Beethoven, L. Duncan Gray, from 12 Scottish songs, WoO 156 (1824-25). 2 Boccherini, L. Guitar quintet no 9 in C, La ritirata di Madrid (1798). 23 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 Charles Barton

Hoffmeister, F. String quartet in F, op 14 no 1

Pepusch, J. Cantata V: Corydon (1710). 9 Dieupart, C. Concerto in A minor. 5 Vanhal, J. Symphony no 2 in G minor (1771). 19 Bach, J.S. Cantata, BWV211: Schweigt stille, plaudert nicht, Coffee cantata (1734). 25 Handel, G. Overture to Admeto, Re di Tessaglia, HWV22 (1727). 6 10:30 MORNING CONCERT Prepared by Judy Ekstein

22:00 CHAMBER SOIRÉE

Stamitz, J. Organ concerto no 1 in D. 17

Haydn, J. Violin concerto in C, Hob.VIIa:1 (1769). 17

Telemann, G. Tafelmusik: Quartet in G. 14

Mendelssohn, F. Symphony no 3 in A minor, op 56,

Sibelius, J. Symphony no 1 in E minor, op 39 (1899). 43

Doppler, F. Andante and rondo. 8

12:00 JAZZ RHYTHM with Jeannie McInnes 13:00 AUSTRALIAN CHAMBER ORCHESTRA Produced by Simon Moore Highlights and previews of the month’s concerts including interviews with the key players

Beethoven, L. Trio in E flat (1791-92). 14

Vivaldi, A. Concerto in A, RV82 (c1730). 8 Haydn, J. String quartet in F, Hob.III:82 (1799). 22 Hyde, M. Tangled rope. 4 Kreisler, F. Praeludium and allegro. 6 Moscheles, I. Septet in D, op 88 (1832). 30

Scottish (1842). 38 Bruch, M. Violin concerto no 1 in G minor, op 26 (1868). 24 12:00 JAZZ SKETCHES with Robert Vale 13:00 YOUNG VIRTUOSI 14:00 IN CONVERSATION with Michael Morton-Evans June 2016

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Wednesday 29 June

Howard Hanson 15:00 MUSSORGSKY EXPLORED Part 3 Prepared by Michael Morton-Evans Mussorgsky, M. Sunless, vocal cycle (1874; arr.

Svetlanov). 20 Pictures at an exhibition (1874; transcr. Stokowski). 29 Song of the flea. 3 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Stephen Wilson

Sakari Oramo 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 Raj Gopalakrishnan Pierné, G. Scherzo-Caprice, op 25 (1890) 8 Concert piece, op 39 (1901). 14

19:00 JAZZ STARS AND STRIPES with Peter Mitchell

Ramuntcho, suite no 1 (1908). 20

20:00 AT THE OPERA Opera oscura: Oedipus at Colonus Prepared by Paul Roper

Allegretto scherzando, from Piano trio op 45 (192021). 9

Sacchini. A. Oedipe à Colone. tragedie lyrique in three acts. Libretto by Nicholas-François Guillard, after Sophocles. First performed Versailles, 1786. 1:53 Gluck, C. Overture; O toi qui prolongeas mes jours; Scythian dance; Unis dès la plus tendre enfance, from Iphigénie en Tauride (1779; arr. Triebensee c1805). 14

Les Cathédrales (1915). 10

Paysages franciscains, op 43 (1919). 19

Mozart, W. Flute quartet no 1 in D, K285 (1777). 14 Beethoven, L. Violin sonata no 5 in F, op 24, Spring (1800-01). 23 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Sue Jowell 19:00 THE NEW JAZZ STANDARD with Frank Presley 20:00 LIVE AND LOCAL Soloists with the State Orchestra of Victoria Recorded by 3MBS-FM

Rossini, G. Overture to Sinfonia in E flat (180609). 5

Saint-Saëns, C. Symphony no 3 in C minor, op 78, Organ (1886). 35

Haydn, J. Cello concerto no 1 in C, Hob.VIIIb:1 (c1761-65). 23

21:30 WIND INTERLUDE Prepared by Brian Drummond

Elgar, E. Symphony no 1 in A flat, op 55 (1907). 53

Handel, G. Sonata in C for recorder and continuo, HWV365 (pub. 1720). 11

22:30 SKETCHBOOKS Prepared by Angela Bell

13:00 CAPRICCIO ESPAGNOL Prepared by Randolph Magri-Overend

Burleigh, H. Southland sketches (1916). 11

Rodrigo, J. Concierto de Aranjuez (1939; arr.). 23

Bloch, E. Supplication, from Three sketches from Jewish life (1924). 2

Sor, F. Study, op 6 no 9 (pub. 1815-17). 3

Ippolitov-Ivanov, M. Caucasian sketches, op 10 (1894). 25

Beethoven, L. Grosse fuge in B flat, op 133 (1826). 16

Patterson, M. To the summit. 7

12:00 JAZZ, PURE AND SIMPLE with Maureen Meers

Beach, A. Four sketches, op 15 (1892). 11

15:00 CLASSICAL CHAMBER Australian made Prepared by Wenxin Guan

10:30 MORNING CONCERT Prepared by Denis Patterson

Traetta, T. Dormi, Oreste, from Ifigenia in Tauride (1763). 8

Chadwick, G. Symphonic sketches (18951904). 31

44

Thursday 30 June

Albéniz, I. Asturias, from Suite española no 1 (1886). 6 Bacarisse, S. Guitar concertino in A minor, op 72 (1955). 22 Falla, M. de The three-cornered hat (1919). 40 Rimsky-Korsakov, N. Capriccio espagnol, op 34 (1887). 16

For a detailed program guide and digital schedule visit: www.finemusicfm.com/digital.html

Strauss, R. Four last songs (1948). 22

Weber, C.M. Variations for clarinet and piano, op 33 (1811). 14 22:00 DIFFERING PATHS OF THE 20TH CENTURY Prepared by James Nightingale Poulenc, F. Les biches (1923). 20 Kats-Chernin, E. Cadences, deviations and Scarlatti (1995). 14 Britten, B. Four cabaret songs (1939). 16 Zimmerman, B. Metamorphose (1953-54). 25 Adams, J. Chamber symphony (1992). 21 Satie, E. Parade, ballet réaliste (1917). 15

The following composers have works of at least five minutes on the June dates listed Adam, A. 1803-1856 13 Adams, J. b1947 5,12,30 Albéniz, I. 1860-1909 30 Albinoni, T. 1671-1751 15 Albrechtsberger, J. 17361809 1 Alfvén, H. 1872-1960 24 Alkan, C-V. 1813-1888 4 Allegri, G. 1582-1652 12 Allen, G. b1927 10 Alwyn, W. 1905-1985 28 Arensky, A. 1861-1906 9 Arnalds, O. b1986 19 Arne, T. 1710-1778 1 Arnold, M. 1921-2006 2,25 Auber, D-F-E. 1782-1871 21 Aubert, J. 1689-1753 2 Bacarisse, S. 1898-1963 30 Bach, C.P.E. 1714-1788 10,22 Bach, J. Christian 17351782 8,17,22,26 Bach, J.S. 1685-1750 5,7,10,12,14,17,21,23,24,29 Bach, W.F. 1710-1784 10 Balakirev, M. 1837-1910 13 Bantock, G. 1868-1946 25 Barber, S. 1910-1981 27 Barraqué, J. 1928-1973 9 Barsanti, F. 1690-1772 17 Bart, L. b1930 25 Bartok, B. 1881-1945 3,10,27 Bartók, B. 1881-1945 3,10,27 Bax, A. 1883-1953 10 Beach, A. 1867-1944 29 Beethoven, L. 1770-1827 4,5,9,11,12,14,19,21,23,2 6,28,30 Benda, G. 1722-1795 1,18,22 Bennett, W. Sterndale 18161875 15 Berg, A. 1885-1935 26 Berkeley, L. 1905-1989 16 Berlioz, H. 1803-1869 3,4,9,11,18 Bernstein, L. 1918-1990 4,12,27 Berwald, F. 1796-1868 23 Bloch, E. 1880-1959 7 Boccherini, L. 1743-1805 18,24,26,28 Borodin, A. 1833-1887 1,13,16,26 Bottesini, G. 1821-1889 23 Boulanger, N. 1887-1979 4 Boutry, R. b1932 5 Boyce, W. 1711-1779 12 Brahms, J. 1833-1897 1,16,21,24,27,28 Bridge, F. 1879-1941 17 Britten, B. 1913-1976 2,6,17,20,30 Broadstock, B. b1952 5 Brophy, G. b1953 4 Brouwer, L. b1939 16 Bruch, M. 1838-1920 14,25,29 Bruckner, A. 1824-1896 8,21

Brüll, I. 1846-1907 2 Burleigh, H. 1866-1949 29 Busoni, F. 1866-1924 9 Butterworth, G. 1885-1916 1,25 Caplet, A. 1878-1925 14 Carulli, F. 1770-1841 20 Castelnuovo-Tedesco, M. 1895-1968 9,27 Chadwick, G. 1854-1931 29 Charpentier, M-A. 16351704 11,12 Cherubini, L. 1760-1842 11,19 Chopin, F. 1810-1849 6,24,28 Churchill, F. 1911-1942 4 Cimarosa, D. 1749-1801 12,26 Clarke, R. 1886-1979 10,12 Clausen, R. b1953 26 Clementi, M. 1752-1832 13 Clérambault, L-N. 16761749 2 Coates, E. 1886-1957 9,20 Coleridge-Taylor, S. 18751912 13 Copland, A. 1900-1990 4,20,27 Corbett, W. c1675-1748 17 Corelli, A. 1653-1713 10 Corrette, M. 1709-1795 9 Cras, J-E. 1879-1934 7 Crosby, F. 1820-1915 12 Crusell, B. 1775-1838 5,7 d’Indy, V. 1851-1931 9 Dauvergne, A. 1713-1797 1 Dean, B. b1961 5 Dean, R. b1948 5 Debussy, C. 1862-1918 1,2,5,23,24,25,27 Devienne, F. 1759-1803 2,7 Dittersdorf, C. 1739-1799 2,19 Dohnányi, E. 1877-1960 9 Donizetti, G. 1797-1848 12,26 Doppler, F. 1821-1883 28 Du Mont, H. 1610-1684 19 Dubois, P.M. 1930-1995 5 Dufay, G. c1400-1474 3,24 Duparc, H. 1848-1933 21 Dupré, M. 1886-1971 23 Duran de la Mota, A. 16721739 16 Dvorák, A. 1841-1904 3,5,6,11,14,19,21,23,24,26 Edwards, R. b1943 21 Elgar, E. 1857-1934 4,5,14,18,26,30 Enescu, G. 1881-1955 7 English, L. b1976 5 Falla, M. de 1876-1946 4,30 Farrar, E. 1885-1918 18 Fauré, G. 1845-1924 1,23,24 Feld, J. b1925 18

Ferguson, H. 1908-1999 18 Fibich, Z. 1850-1900 21 Field, J. 1782-1837 13,18,26 Finzi, G. 1901-1956 18 Fletcher, P. 1879-1932 12 Foote, A. 1853-1937 11 Förster, C. 1693-1745 21 Foster, G. b1945 26 Françaix, J. 1912-1997 6 Franck, C. 1822-1890 2,17 Frederick II. 1712-1786 22 Fuchs, R. 1847-1927 25 Galuppi, B. 1706-1785 2 Garcia, M. 1775-1832 6 Gellman, S. b1947 26 Gershwin, G. 1898-1937 6,19,20 Ginastera, A. 1916-1983 4 Giordano, U. 1867-1948 16 Glazunov, A. 1865-1936 4,11,13,16 Glière, R. 1875-1976 10,20 Gluck, C. 1714-1787 11,29 Godowsky, L. 1870-1938 27 Goldmark, K. 1830-1915 17,24 Gougeon, D. b1951 24 Grainger, P. 1882-1961 20 Granados, E. 1867-1916 18 Gregson, E. 20th c 2 Grieg, E. 1843-1907 24 Gross, E. b1926 7 Guilfoyle, R. b1926 7 Guilmant, A. 1837-1911 23 Gunning, C. 26 * Handel, G. 1685-1759 1,6, 10,15,18,22,24,26,28,29,30 Hanson, R. 1913-1976 3 Harris, W. 1883-1973 19 Harty, H. 1879-1941 13,18 Haydn, J. 1732-1809 6,8,12,17,19,21,25,27,28,30 Haydn, M. 1737-1806 19,26 Herbert, V. 1859-1924 11 Herman, J. b1932 11 Higdon, J. b1962 12 Hindemith, P. 1895-1963 9 Hoffmeister, F. 1754-1812 29 Holst, G. 1874-1934 4,21,24,25 Honegger, A. 1892-1955 7 Howlett, M. b1931 17 Hummel, J. 1778-1837 12,23,24,28 Ibert, J. 1890-1962 5,20 Ippolitov-Ivanov, M. 18591935 29 Janácek, L. 1854-1928 3,7,20 Joachim, J. 1831-1907 17 Jóhannsson, J. b1969 19 Joplin, S. 1868-1917 27

Klughardt, A. 25 * Kodály, Z. 1882-1967 2 Koehne, G. b1956 3 Korngold, E. 1897-1957 4,19,27 Kreisler, F. 1875-1962 28 Kuhlau, F. 1786-1832 5,6,18 Lalo, E. 1823-1892 2 Landini, F. c1325-1397 24 Lang, D. 12 * Lebrun, L. 1752-1790 12 Lecuona, E. 1896-1963 16 Lee, R. 20th c 4 Leigh, W. 1905-1942 17 Leighton, K. b1929 9,19,28 Leisner, D. b1953 20 Lentz, G. 20th c 20 Lindblad, A. 22 * Linley, T. the younger 17561778 15 Liszt, F. 1811-1886 11,27 Loewe, F. 1901-1988 11,25 Lord Berners. 1883-1950 2 Lovelock, W. 1899-1986 23 MacKenzie, A. 1847-1935 25 Magnard, A. 1865-1914 6 Mahler, G. 1860-1911 14,26 Marais, M. 1656-1728 9 Marcello, A. 1684-1750 21 Martin, F. 1890-1974 7 Martinu, B. 1890-1959 3,6,7 Mascagni, P. 1863-1945 26 Massenet, J. 1842-1912 9,11,16,23,26,28 Mendelssohn, F. 1809-1847 3,5,9,10,17,21,24,25,26,29 Messiaen, O. 1908-1992 10,20 Metheny, P. b1954 12 Milhaud, D. 1892-1974 2,23 Mirzoyan, E. b1921 19 Montéclair, M. de 16671737 9 Monteverdi, C. 1567-1643 17 Montsalvatge, X. b1912 3 Moore, K. 5,26 * Morris, R. 1886-1948 18 Moscheles, I. 1794-1870 2,24,28 Mozart, W. 1756-1791 1,2 ,5,6,8,12,13,14,16,17,20,22 ,23,25,30 Musgrave, T. b1928 4 Mussorgsky, M. 1839-1881 13,20,22,29 Myslive?ek, J. 1737-1781 17 Neukomm, S. 1778-1858 19 Nielsen, C. 1865-1931 10,16

O’Carolan, T. 1670-1738 17 Kats-Chernin, E. b1957 30 Offenbach, J. 1819-1880 Ketèlbey, A. 1875-1959 2 15,28 Onslow, G. 1784-1853 3,23 Klami, U. 1900-1961 8

Oswald, J. 1711-1769 17

Sibelius, J. 1865-1957 8,17,28 Skryabin, A. 1872-1915 9,23 Paderewski, I. 1860-1941 Smetana, B. 1824-1884 3 4,14 Solère, E. 1753-1817 8 Paganini, N. 1782-1840 Sor, F. 1778-1839 5 4,6,7,16,17,18,26 Sousa, J.P. 1854-1932 Palestrina, G. da c15254,18,20,25 1594 3 Sperger, J. 1750-1812 23 Parry, H. 1848-1918 25 Spohr, L. 1784-1859 Patterson, M. 20th c 30 4,6,12,28 Paviour, P. b1931 10 Stainer, J. 1840-1901 5,19 Pearson, L. b1931 28 Stamitz, J. 1717-1757 29 Pepusch, J. 1667-1752 29 Stanford, C. Villiers 1852Pergolesi, G. 1710-1736 10 1924 3,13,18 Philidor, P. 1681-1731 15 Stenhammar, W. 1871-1927 4,23 Pichl, V. 1741-1805 5 Strauss, J. II 1825-1899 Pierné, G. 1863-1937 30 3,11 Piston, W. 1894-1976 4 Strauss, R. 1864-1949 Pollini, F. 1742-1843 5 2,9,12,13,27,30 Popov, G. 1904-1972 19 Stravinsky, I. 1882-1971 Poulenc, F. 1899-1963 5,30 5,10,17,27 Prokofiev, S. 1891-1953 Suk, J. 1874-1935 3,16 3,4,20,21,23,26 Sullivan, A. 1842-1900 27 Puccini, G. 1858-1924 28 Purcell, H. 1659-1695 26 Tallis, T. c1505-1585 25 Tavener, J. 1944-2013 19 Rachmaninov, S. 1873Tchaikovsky, P. 1840-1893 1943 14,18,20,21 3,4,11,15,21 Raff, J. 1822-1882 21,24 Telemann, G. 1681-1767 Ravel, M. 1875-1937 6,19,21,22,28 1,9,10,11,25,27 Thomas, A. 1811-1896 9 Rebel, J-F. 1666-1747 9,10 Thomas, Augusta. b1964 12 Reinecke, C. 1824-1910 15 Thomson, V. 1896-1989 4 Respighi, O. 1879-1936 Tippett, M. 1905-1998 2,6 4,15,17 Tomkins, T. 1572-1656 17 Richter, F. 1709-1789 10 Tortelier, P. 1914-1990 2 Rimsky-Korsakov, N. 1844- Traetta, T. 1727-1779 29 1908 3,8,9,11,13,30 Trimble, J. 1915-2000 17 Rodgers, R. 1902-1979 11 Rodrigo, J. 1901-1999 30 Vainberg, M. 1919-1996 19 Roman, J. 1694-1758 Vanhal, J. 1739-1813 3,29 Vaughan Williams, R. 187215,22 Roseingrave, T. 1690-1766 17 1958 1,16,20,25,27 Veracini, F. 1690-1768 24 Rosetti, A. c1750-1792 Verdi, G. 1813-1901 16,26 13,15 Veress, S. 1907-1992 7 Rossini, G. 1792-1868 Vieuxtemps, H. 1820-1881 12 2,6,11,14,26,30 Rubbra, E. 1901-1986 18 Villa-Lobos, H. 1887-1959 10 Rubinstein, A. 1829-1894 14 Viotti, G. 1755-1824 26 Vivaldi, A. 1678-1741 Saint-Saëns, C. 1835-1921 5,7,21,23,28 Volkmann, R. 1815-1883 24 1,2,3,8,16,17,30 Sakamoto, R. b1952 19 Wagenseil, G. 1715-1777 12 Salas y Castro, E. 1725Wagner, R. 1813-1883 1803 16 7,20,24 Satie, E. 1866-1925 30 Scarlatti, A. 1659-1725 2 Walker, S. b1961 20 Schelle, J. 1648-1701 12 Walmisley, T. 1814-1846 26 Schoeck, O. 1886-1957 9 Walton, W. 1902-1983 2,21 Schoenberg, A. 1874-1951 10 Wassenaer, U. 1692-1766 15 Weber, C.M. 1786-1826 Schubert, F. 17974,10,11,26,30 18283,4,5,6,7,8,10, Werner, G. 1693-1766 12 14,16,21,23,25 Schumann, R. 1810-1856 Wesley, S. 1766-1837 13 Wieniawski, H. 1835-1880 4 10 Wilcher, P. b1958 12,17 Sculthorpe, P. b1929 11 Seiber, M. 1905-1960 21 Willaert, A. c1490-1562 3 Wirén, D. 1905-1986 21 Serebrier, J. b 1938 16 Sermisy, C. de c1490Ysaÿe, E. 1858-1931 2 1562 3 Servais, A-F. 1807-1866 19 Shostakovich, D. 1906-1975 Zelenka, J. 1679-1745 7,8 Zimmerman, B. 1918-1970 30 1,14,23

Key

Music duration is shown after the record and citation Orchestra ban: bandoneon SO: Symphony

Orchestra PO: Philharmonic Orchestra NO: National Orchestra RO: Radio Orchestra FO: Festival Orchestra CO: Chamber Orchestra TO: Theatre Orchestra RSO: Radio Symphony

RTO: Radio & Television Orchestra Prom O: Promenade Orchestra Ch & O: Chorus & Orchestra NSO: National Symphony Orchestra alto: male alto

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 June 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

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PERSONNEL MUSIC BROADCASTING SOCIETY OF NEW SOUTH WALES CO-OPERATIVE LTD Owner and operator of Australia’s first community operated stereo FM station, 2MBS-FM now known as Fine Music 102.5. The Objects of the Society are primarily to broadcast fine music and operate one or more FM broadcasting stations for the encouragement of music. Another is to be part of Sydney’s cultural landscape networking with musical and arts communities to support and encourage local musicians and music education and to use our technical and broadcast resources to further this aim.

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BOOK & CD FAIR @ CROWS NEST

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June 2016

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or call 9439 4777.

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PLATINUM PATRONS ($2500-$49,999)

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fineMusic 102.5

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Crossword and Trivia ACROSS

1. This harp is a wind instrument (7) 5. Associate with intsrumental ensemble (7) 9. Old inhabitant of Zimbabwe (9) 10. Lammermoor lady (5) 11. Hark! Let sin be confounded (6) 12. Celebs I’d use for sound measure (8) 14. Swap extra coins (10) 16. Confusing test remains unchanged (4) 18. Exhibition at a late post office (4) 19. Tune plans a mess - not very nice (10) 22. Short poems concerning two animals captured by bridge players (8) 23. Outward appearance of Walton (6) Compiled by Gwynn Roberts 26. Sound like it isn’t, but it’s a corruption (5) Name:_______________________________________________ 27. Field inventions for evening play (9) Address: _____________________________________________ 28. How we heard about gold recovery (7) Tel: _________________________________________________ 29. Northern Territory tribe dislodged bird (29) Email: _______________________________________________

To go in the draw to win a copy of Robertissimo featuring Roberto Alagna, from Universal, email your crossword answers to: competitions@finemusicfm.com by 23 June 2016 The Crossword 72-76 Chandos Street St Leonards NSW 2065

DOWN

1. A first class lyric invokes textile (7) 2. Woodwind decorations about nothing (5) 3. Cold lettuces (8) 4. Fix arrangement in LA (4) 5. Rossini opera about heartless Dame in cellar (10) 6. Elle in trouble over Melba (6) 7. Art chores organised for musical ensemble (9) 8. Last night trains derailed en route (7) 13. Hymned birthplace of RVW (4,6) 15. Lamp fire I organized for better radio reception (9) 17. Boys’ weapon initially aimed at felines (8) 18. Strauss’s shocking heroine (7) 20. Last resort excuse for betraying one’s country (7) 21. Humperdinck girl (6) 24. Little orphan or sharpshooter (5) 25. Cabs detoured for non-striker (4)

CROSSWORD SOLUTION - MAY 2016

Across: 1 CLEMENTI, 5 SCOTCH, 10 RAGTIME, 11 HUNDING, 12 BEAUMARCHAIS, 15 ADAGE, 17 RICERCARE, 19 PARNASSUS, 21 GLENN, 22 COUNTERPOINT, 27 ORLANDO, 28 VIVALDI , 29 FURIES, 30 TAP DANCE Down: 1 CARL, 2 EAGLE, 3 EPICURE, 4 THESAURUS, 6 CENTAUR, 7 TWIN SHARE, 8 HUGO, 9 CHIC, 13 HARPY, 14 BENNY , 16 AURICULAR, 18 CESAREVNA, 20 ALUMNAE, 21 GROOVED, 23 THOR, 24 NYLON, 25 WOLF, 26 VINE

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. What is the name of the assassin in Verdi’s opera Rigoletto?

2. What is an ocarina?

3. To which Swedish singer was he referring when Hans Anderson said: “One laughs, one weeps, one gains as much from listening to her as from going to church”?

4. Softly awakes my heart is an aria from which opera?

5. The Fountains of Rome is an orchestral suite by Respighi. How many fountains did he depict in the suite?

6. American composer Hoagy Carmichael who shot to fame with the song Star Dust in 1929 began his adult life in what profession?

7. In last month’s quiz we featured jazz musician “Duke” Ellington. This time it’s “King” Oliver.

What was Oliver’s real first name?

8. Which eccentric conductor was the son of a purveyor of pills and potions designed for headaches and stomach upsets?

TRIVIA ANSWERS

Hoagy Carmichael

Sparafucile 2. A small egg-shaped wind instrument made of earthenware or metal 3. Jenny Lind “The Swedish Nightingale” 4. Samson and Delilah by Camille Saint-Saens 5. Four 6. Lawyer 7. Joseph 8. Sir Thomas Beecham

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June 2016

fineMusic 102.5

ALFRED HITCHCOCK FILM FESTIVAL:

THE HOLLYWOOD YEARS 1940-1960

14 CLASSICS FROM THE MASTER OF SUSPENSE ALL LOOKING BETTER THAN EVER ON THE BIG SCREEN IN STUNNING DIGITAL! REBECCA (1940) / FOREIGN CORRESPONDENT (1940) / SABOTEUR (1942) SHADOW OF A DOUBT (1943) / LIFEBOAT (1944) / SPELLBOUND (1945) / NOTORIOUS (1946) STRANGERS ON A TRAIN (1951) / DIAL M FOR MURDER IN 3D (1954) / REAR WINDOW (1954) / TO CATCH A THIEF (1955) VERTIGO (1958) / NORTH BY NORTHWEST (1959) / PSYCHO (1960)

S E A S O N S TA R T S J U L Y 2 1