Fine Music Magazine - August 2016

AUGUST 2016 Your guide to what’s on: Classical and Jazz

MAGAZINE

Sydney Conservatorium of Music Open Day: Saturday 27 August

Ironwood Chamber Ensemble Celebrating ten years together

Louisa Breen & Bonnie Brown Champions of Australian music

Jack Symonds Notes from Underground

COMING UP

Chief Conductor David Robertson returns in August for these exciting concerts.

CLASSICAL

A celebration of the:

STRAVINSKY BALLETS Experience the three great ballet scores Stravinsky composed for Diaghilev’s Ballets Russes.

The Rite of Spring

The Firebird

Petrushka

Get your tickets to witness the groundbreaking music that caused a riot!

THU 4 AUG 1.30PM

Overflows with sumptuous harmonies and sublime effects. Indulge!

Stravinsky’s vibrant, compelling and playful score makes for a sensational sonic experience.

WED 17 AUG 6.30PM THU 18 AUG 1.30PM FRI 19 AUG 11AM

Primal

FRI 5 AUG 8PM SAT 6 AUG 2PM

Ravishing WED 10 AUG 8PM FRI 12 AUG 8PM SAT 13 AUG 8PM

Immortal

Mahler 2

Resurrection Symphony

Photo: Jay Fram

AT THE SYDNEY TOWN HALL The SSO returns to the acoustically ravishing Sydney Town Hall for Mahler’s magnificent Resurrection Symphony, one of his most inspired creations!

MAHLER Symphony No.2, Resurrection David Robertson conductor (pictured) / Kiandra Howarth soprano Caitlin Hulcup mezzo-soprano / Sydney Philharmonia Choirs SAT 27 AUG 8PM SUN 28 AUG 2PM BOOK NOW TICKETS FROM $39* CALL 8215 4600

NO FEES WHEN YOU BOOK THESE CONCERTS ONLINE AT

MON-FRI 9AM-5PM ALL CONCERTS AT THE SYDNEY OPERA HOUSE UNLESS OTHERWISE STATED * Selected performances. Prices correct at time of publication and subject to change.

Booking fees of $5-$8.95 may apply depending on method of booking.

TICKETS ALSO AVAILABLE AT: SYDNEYOPERAHOUSE.COM 9250 7777 Mon–Sat 9am–8.30pm Sun 10am–6pm

CONTENTS

EDITOR’S DESK

VOL 43 No 8

2 COVER STORY Sydney Conservatorium of Music’s Open Day 4 From the Chair… with Janine Burrus 5 Jack Symonds & Sydney Chamber Opera 7 Ironwood Chamber Ensemble turns 10 9 Maria Lindsay and the work of Tommy Tycho 10 Nicky Gluch on training as a conductor 11 Breen & Brown: piano duo expands horizons 12 Bridget Bolliger and Andrew West perform 13 Young Virtuosi 14 What’s On – Sydney and surrounds 16 CD Reviews 18 Jazz CD Reviews 19 Swinging on the Vine 21 August Program Highlights 48 Crossword and Trivia Quiz

Digital Channel Fine Mus - page 20

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YEARS

We all know that music can be a great motivator, especially the kind we play at Fine Music. But now we know that, for some of us, music is more motivating than a morning coffee on a Monday! A survey on behalf of digital music service Spotify has found that for those under the age of 35, music (50%) is just as motivating as coffee (48%) on a typical Monday.

Fine Music has a large number of loyal listeners (43%) in the 25-39 year demographic and nearly 18% of listeners are aged 18-24. This is no doubt due to the youth related programs and activities that Fine Music has produced over its history including an active Young Virtuosi program of awards and musical development, which will be continued through our new Learning Centre.

There are many ways to become involved with Fine Music, which broadcasts on FM, digital and online streaming. We are always looking for volunteers to fill many of the roles required in running a community radio station such as Fine Music – from programming and presenting, to technical and recording.

In this issue of Fine Music magazine we speak to James Humberstone and Matthew Hindson from Sydney Conservatorium of Music about the vision for the institution and why it continues to be our most prestigious school for musicians, composers and musicologists. The public will get its chance to see what lies behind the castellated walls bordering the edge of the Royal Botanic Gardens off Macquarie Street, when The Con holds its Open Day on 27 August.

We also feature stories on Sydney Chamber Opera, Ironwood Ensemble, Maria Lindsay, piano duo Louisa Breen and Bonnie Brown, and Fine Music’s own Artist in Residence Bridget Bolliger.

For a list of what’s on in Sydney and surrounds see page 14. And for those interested in wandering a bit further afield, the Newcastle Music Festival is happening this month over 11 days and featuring more than 200 performers.

The Festival opens with a concert featuring mezzo soprano Deborah Humble on 11 August and other great soloists and ensembles perform in a range of concert styles, from choirs to big bands.

Wherever you are this month, we hope you are taking the time to sit back and enjoy some fine music.

1974 - 2014

Paula Wallace - Editor

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ABN 64 379 540 010 Art Direction: Design Campaign - liza@designcampaign.com.au Printing: Megacolour, Unit 6, 1 Hordern Place. Camperdown, NSW, 2050 Distribution coordinator: Sissy Stewart Advertising Enquiries: sponsorship@finemusicfm.com Editor: Paula Wallace Sub editor: Norm Chosid Contributors: Michael Morton-Evans, Gwynn Roberts, Kevin Jones, Barry O’Sullivan, Patrick D Maguire, Tom Forrester-Paton, David Groves, Michael Muir, Emyr Evans, Richard Gate, Leslie Khang, Samuel Cottell, Judy Deacon, Janine Burrus, Nicky Gluch, Barry Walmsley, Callum Close.

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: Madison Hallworth, student of Bachelor of Music (performance), 4th year Sydney Conservatorium of Music.

Image – Matthew Vasilescu.

ENJOY, LEARN, DISCUSS Fine Music presenters and other expert volunteers offer a series of monthly talks on topics ranging from Bach’s Brandenburg Concertos, to Spanish and Klemer music and more.

Third Sunday of the month, 2.30pm at Fine Music 72-76 Chandos Street, St Leonards Tickets: $10 or $5 for Fine Music volunteers and Subscribing Friends (cash only) Bookings and enquires: 02 9439 4777 (during business hours) or email: reception@finemusicfm.com

August 2016

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SYDNEY CONSERVATORIUM OF MUSIC

Why it’s our most prestigious music school and composers would choose to attend the Music Department of the University of Sydney.

However, these days, following the Hawke Government’s White Paper – Higher Education: a policy statement (John Dawkins, 1988) - the Conservatorium has become part of the University, and now can boast being a thriving, bustling institution for all musicians, performers, composers and musicologists.

A vision for The Con

The Con’s Head of School and Associate Dean (Learning and Teaching), Professor Matthew Hindson AM. Image: Bex Photography What lies behind those castellated walls bordering the edge of the Royal Botanic Gardens off Macquarie Street? How does convict architect Francis Greenway’s colonial building play a role in modern Australia?

It is no less than the Sydney Conservatorium of Music (The University of Sydney), an impressive institution a century old, which whilst small in physical dimension, packs a huge punch. Overshadowed by financial investment towers, apartment blocks and luxury hotels is a hothouse of musical activity, the Con, arguably Australia’s finest music institution, having been dubbed “the most prestigious music school in Australia”.

On my return to my alma mater, I saw lots of students, and lots of activity, and a place that seemed humming with energy. The public will get its chance to feel the buzz at this very special place when on Open Day (27 August), the Con casts its doors and windows ajar for all to see. There will be music happening everywhere, from the courtyard to the corridors and the café, to its many public performance spaces.

How this place has changed! As a student in the early 1980s, the Con was principally for those who wished to perform. Musicologists 2

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I spoke with Head of School and Associate Dean (Learning and Teaching), Professor Matthew Hindson AM about the vision for the Con, as it enters a new century. The highly acclaimed Australian composer, whilst steeped in the European tradition, was laid-back and thoughtful, with an eye for new innovation and new trends, as well as the emerging interest and connection with music of other cultures, such as Asia.

Sir Malcolm Williamson, Nigel Westlake, Ernest Llewellyn, and Ross Edwards.

“We have the largest number of students in the Con’s history, with over 900 enrolled in degrees and diplomas, about 800 of whom are undergraduate students, and that’s not counting the many people who choose to be enrolled in single subjects, rather than a whole course,” Hindson said.

“But importantly, we have depth and breadth in what we offer”. Hindson is quick to point out that there is something for everyone at the Con, and the huge appeal of its postgraduate program is testament to its depth.

“We are offering a Masters coursework program for composers, which will appeal significantly to people who perhaps have not done composition in their undergraduate years. This might be attractive particularly to school teachers who are involved in some way with composition in their teaching careers, but wish to gain more technique in what they do,” he said.

Moving with the times

His take on music as a study or profession, is quite invigorating.

A sign that the Con has moved into the 21st century is its thrust into new endeavours, such as the partnerships it has formed with such organisations as Musica Viva, Sydney Symphony Orchestra, Pacific Alliance of Music Schools, Sydney International Piano Competition, and the Conservatorio di Verona for the Con’s Estivo (European Chamber Music Summer School).

“Today, musicians will have a portfolio style career, in which they may have many different elements to a successful career”, Hindson said.

And after a number of years of disharmony, with controversial appointments of successive Deans, the Con has now safely settled into a new century.

He is unashamedly proud of the institution’s students and staff, claiming to have the very best in Australia. Noting the likes of Associate Professor Goetz Richter whose studio is immediately opposite Hindson’s, and Associate Professor John Lynch (acclaimed US Wind Symphony conductor), he cites many of the students past and present who have or are making a name for themselves, such as Toby Thatcher (Assistant Conductor of the Sydney Symphony Orchestra).

Hindson is quite sanguine about it all.

His own music has been described as displaying “influences of popular music styles within a classical music context, and, as a result, directness and immediacy are common features in his music”.

Famous alumni read like a who’s who of the music world and include Richard Bonynge AC CBE, Richard Tognetti AO, Lyn Williams, Sir Charles Mackerras, Alexander Briger, Iva Davies (Icehouse), James Morrison, Barry Tuckwell, Geoffrey Parsons, Simone Young,

“With a large staff of creative people here at the Con, I bet if you gathered 100 people in any organization, you would find that there are a variety of views about how to get things done,” he said.

The centenary celebrations were not without criticism, as howls were heard from those who thought new Australian composition should be showcased, as its chosen centerpiece for all students to perform at the Sydney Opera House was Bernstein’s MASS. Hindson, himself a composer, is more restrained.

“Like our performance on Open Day with Orchestra and Choir of Holst’s Planet’s under

the baton of Maestro Eduardo Diazmuñoz, it is a great work and showcases the skills of so many of our students,” he said.

In Conversation: Dr James Humberstone, Lecturer in Music Education

Hindson believes that new composition is being trumpeted at the Con, and points to the new National Women Composers’ Development Program. It is coupled with other new initiatives such as the Research Centre for Music Diversity, Masterclass program and an innovative Music Education in the 21st century program.

Dr James Humberstone fell into teaching. He knew, from the age of ten, that he wanted to be a composer but he swore off being an ‘educator’; both his parents were teachers and it looked tough. Then one day, he received a call from Matthew Hindson. Hindson was working as the composer in residence at MLC School; having been offered another position, he was hoping Humberstone Dr James Humberstone, Lecturer in Music Education, could cover for him. He decided to give it a go, it was just for a term… he Sydney Conservatorium of Music ended up staying for twelve years.

Mitchell, Claudia Sangiorgi Dalimore and over 100 Conservatorium students who were Hindson and Humberstone continue to cross involved in recording and performing the paths, but in a more literal sense, in the hallways of the Sydney Conservatorium of music. At the core of this epic lies the idea Music where they both work. Humberstone of “re-interpreting”. Humberstone explains, is a lecturer in music education who, with his “It’s about looking where we are in 2016 and dual passion for composing and technology, saying, what’s going on in the world. When hopes to show the world that technology can we look at this story which is thousands of be used to reinvigorate music education in years old, how does it come to be telling us the 21st century. As forward looking as he may so many things about what we are dealing be, his teaching ethos is also inspired by the with at the moment?” nurturing education he received as a student.

As a man whose passion lies in using “When I look at things that were really key,” technology to breathe life into tradition, it’s he tells Fine Music, “they were the elements clear why Humberstone has so enjoyed of super passionate teachers who gave a lot being involved. The continuity of the project of their own time and dedication to help me now lies in the hands of funding and external succeed”. interest. In Humberstone’s ideal world, it would become a touring show that they Aside from teaching Conservatorium would “take on the road for a month around students, Humberstone has also released Australia with Conservatorium students”.

Sydney University’s first MOOC (Massive

These may have grand titles, but the public can see and hear all that is on offer at the Open Day. Commencing at 9am, prospective students and those just wishing to see what happens in this hothouse environment, can ask leading educators, composers and performers what it actually takes to study and have a career in music. They can sit in

”

… a real love and passion for this thing…

”

on lectures and masterclasses, or take in a performance. The large-scale performance by the SCM Symphony Orchestra and Choir will occur at 2pm in the Verbrugghen Hall, and it’s free.

- Barry Walmsley

EVENT OPEN DAY 2016 27 August 2016 9am-4pm Sydney Conservatorium of Music Turn your talent into a career by visiting the Con for Open Day. Get one-on-one advice from staff and students, find out about our flexible study options and hear a performance or two. This is the best day to discover the wide range of music studies available at the University of Sydney – don’t miss out.

Finish the day with a free performance at 2pm of Holst’s The Planets by the SCM Symphony Orchestra and Choirs, conducted by Maestro Eduardo Diazmuñoz, in the spectacular Verbrugghen Hall.

If you would like to find out more about studying at Sydney Conservatorium of Music, please contact us on 1800 SYD UNI (1800 793 864) or ask a question online: http://music.sydney.edu.au/study/open-day/

Open Online Course). In this, his focus is not on students with the passion to pursue music at tertiary level, but in trying to inspire students “who maybe just do music in Years 7-8 as a mandatory thing”. If music is taught well at this stage, Humberstone believes it can become something that has “an effect in their life, allowing them to be more creative, have a real love and passion for this thing that we know, because we’re in music, and it is just so wonderful”.

The wonder of music is kept very much alive for Humberstone through his ongoing involvement in creative projects. In 2016, he was composer for the project Odysseus Live, a re-imagining of Homer’s The Odyssey through the eyes of rap-artist/poet Luka Lesson. The work, which premiered on 26 June, sees a merging of rap and spoken word, orchestral and electronic music, all with accompanying visuals. Along with Lesson and Humberstone, Odysseus Live brings to the fore the talents of Jordan Thomas

If dreams have currency, however, Lesson’s might win out. “He’d like to perform it in Greece, at the foot of the Acropolis,” says Humberstone.

Humberstone is clearly a moralist and there seems a striking similarity between his approach to life and the composition style of his musical hero, Howard Skempton. Asked if he sees himself as embodying the notion attributed to Skempton, that of emancipating consonance, Humberstone provides a thoughtful answer: “Skempton’s music to me… rather than necessarily being the emancipation of anything, is the consolidation of the preciousness of sound.

“As things fly forward in the crazy blur that they do in 2016, as we’re busy wrecking our planet, it’s super important to find that sense of space and beauty and preciousness of sound. Humanity, now more than ever, needs to stop and think and look around at things.”

- Nicky Gluch

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FROM THE CHAIR...

This month I’d like to pay tribute to the 327 volunteers who give so generously of their time and expertise to enable us to bring you Fine Music.

If you listen to Breakfast, you may have heard students on work experience presenting their choice of music. More than 10 volunteers provide training in the different areas of the radio station. One of the pleasures has been introducing the current year 10 students to volunteers who began this way. To mention just one, Alison Zhou, now studying a Bachelor of Commerce, continues as a presenter of our Wednesday afternoon Young Virtuosi Program.

Fine Music encompasses a broad range of volunteers in a wide number of roles as hinted at by this year’s volunteer awards: Inez Glanger, a friendly, organised Receptionist, was recognised for her dedication over 25 years; Chris Blower, the Chair of the Programming Committee, for his involvement with work experience students and most particularly for establishing a

system to make an alternate program possible on Digital Radio 21 hours a day; Michael Morton-Evans OAM, a name that will be familiar to many of you, for his In Conversation on Wednesday afternoons and the interview training he provides; John Mitchell for critical behind the scenes work in developing policies and procedures for our Work, Health and Safety Committee; and Susan Ping-Kee, the Chair of the Library Committee, for her indepth analysis of our CD collection.

We are very proud to be an organisation that values tradition and commitment as we continue to attract new volunteers bringing new ideas as we move into the future. The numbers are impressive.

Five volunteers have worked with us for over 40 years, 14 for over 20 years and 58 for over 10 years. Each month between three and 11 new volunteers join Fine Music.

We say thank you to you our many listeners for your support.

Janine Burrus Chair, Fine Music

THE SONGS THAT GOT AWAY

By Johanna Allen

8 - 10 SEPTEMBER, GLEN STREET THEATRE Journey back to the Cotton Club of 1930’s Manhattan to discover the stories and enjoy the timeless hits of Harold Arlen.

Tickets: $64 - $47. Student Rush just $16.

Transaction charges may apply

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NOTES FROM UNDERGROUND Composer Jack Symonds on his chamber opera

Jack Symonds. Image - Anja Emzen When composer Jack Symonds finished reading Fyodor Dostoevsky’s Notes from Underground he knew it was the perfect text for an opera. Symonds first composed the work in 2010 for the inaugural season of Sydney Chamber Opera, of which he is the Artistic Director. The aim of the company is to provide a platform for the performance of contemporary chamber operas in Sydney.

Symonds’ opera, Notes from Underground was the work that established Sydney Chamber Opera as a first rate company with the critics describing it as a ‘force to be reckoned with.’ Since then the company has gone from strength to strength and is representing the opera in August.

Dostoevsky’s novel of the same name was one of the first credited existential works to be found in literature and the way in which the prose is constructed presented many challenges in the creation of the libretto and the musical representation of the characters and the unfolding of the narrative.

”

… pause, rewind, understand how events occur…

”

In preparing the libretto (by Pierce Wilcox) Symonds created a table of scenes as he saw the book divided. “I saw the text as clearly divided into seven opera scenes so that focuses on the fulcrum around the vision of the man’s meeting and the vision

of Liza, which is the central idea of the book. And I gave a little list and a table that detailed to page numbers and sentences how I saw these two halves as corresponding so I said make a libretto out of that,” Symonds explains.

This division of scenes provided the framework for the musical ideas that Symonds would employ in creating the unfolding narrative.

Musically, Symonds describes the opera as “Zooming in and out of an enormously tall chord in every register of differently tuned thirds, which is a simple interval that can produce passages of completely functioning tonality.

“This is then detuned into almost painful microtonality and by focusing and moving between this single spine of differently tuned thirds I can manipulate very quickly the transitions between stages of character and states of time,” he explains.

This technique was effective in representing the simultaneous unfolding of events in the narrative: “In music you can use time to pause, rewind, understand how events occur and imagine that there is this constant dialogue between present and past through every parameter of music, virtually,” said Symonds.

In order to represent both Aboveground and and Underground Man, Symonds double cast the role of the lead, “I think it is a wonderful structural thing for a composer to already have implicit, the same events, that are going through Underground Man’s head are also being played out on the stage in Aboveground Man’s life (they’re the same character) and so the possibilities for musical representation of the narrative might start off with a whole lot of promise and hope and a sort of humour, and they are kind of destined to end up in nihilism,” Symonds explains.

Second time around Symonds is excited at the opportunity to get a second outing of this work, which in contemporary music is not always a possibility for composers. “I am glad that we can present a version that more people can see and hear in a better performance space.

It’s also an opportunity to really remake the score and I estimate that most of the content is intact but at least two thirds of the work has been re-written and certainly re-orchestrated and for entirely different singers.

“It was quite important for me to write for the singers, having worked with lots of singers now since Sydney Chamber Opera began.

I like to think that I know how these peoples voices operate much more than I did with the original singers when I had worked much in opera,” said Symonds.

So, while the second iteration of Notes from Underground, is more tailored to the singers’ voices it is not a completely new piece as the content and the concepts are the same. “But as far as composition in terms of the time it takes to write a composition, in the year that I have spent re-working it almost feels like I’ve written a new piece,” said Symonds, adding that it’s a wonderful gift for a composer to get “another shot at it”.

So, what else is in the pipeline for Jack Symonds? “I have been labouring for a while now on a double concerto for the Bendigo Festival of Exploratory Music which has taken far more time than I expected. It’s a whole new language for me in some ways, and I am very excited to get to the end of that. I have also been editing and recording a CD of my chamber music.”

- Samuel Cottell

EVENT 13, 15, 17, 19 & 20 August , 8pm Sydney Chamber Opera presents Jack Symonds’ Chamber Opera Notes from Underground Carriageworks www.sydneychamberopera.com August 2016

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IRONWOOD CHAMBER ENSEMBLE A twist on historically informed performance

l-r: Rachael Beesley, Nicole Forsyth, Anna McMichael & Daniel Yeadon Australian chamber ensemble, Ironwood, is celebrating its tenth birthday this year.

Recently, Fine Music magazine spoke with violinist Anna McMichael and keyboardist, Neal Peres da Costa about their journey with the group over the past decade, and what is coming up for the rest of the year.

Since its establishment in 2006, Ironwood has been committed to exploring music from the baroque, classical and romantic periods on early string and keyboard instruments. The members believe that historically informed performance should be complemented by new materials, and actively commission new music for historical instruments. Over the past ten years, the ensemble has worked with some of the finest musicians in the country including Diana Doherty, Fiona Campbell and Miriam Allan, and commissioned music from Paul Stanhope, Rosalind Page and Kevin March.

“It has been a chance to explore a very wide range of repertoire from the 17th to the early 20th centuries on period instruments and with cutting edge research into historically informed performance style, particularly the Classical and Romantic eras” said Neal Peres da Costa.

“It has also been the chance to work with worldclass musicians bringing incredible insights and performance flair to all the repertoire we have performed and recorded,” he said.

The ensemble includes violinists Rachael Beesley, Alice Evans, Julia Fredersdorff, Anna McMichael and Robin Wilson; cellist Daniel Yeadon; and harpsichordist/organist/ fortepianist Neal Peres Da Costa.

For Violinist, Anna McMichael, the past decade has been highlighted by “witnessing

the quality of music making from the other players in Ironwood. I’m always so happy to play with these musicians as they are all incredibly special and talented in their own right and with each performance I learn and develop new things as a musician”.

When it comes to period performance, Peres da Costa thrives on the discovery of new material and new practices: “I simply love the detective work, and the continual questioning of what the composer expected for his/ her music and what the notation meant to musicians who first brought the music to life.

“Trying to answer these questions means that we are constantly assessing how the music goes and coming up with new solutions.

There’s a feeling of getting into the head of the composer and that’s really exciting for me.”

As one might assume, there are numerous techniques that are different between performances on period instruments and modern instruments. “Period keyboards were an integral part of the sound world of the particular composition” says Peres da Costa.

“The composers knew intimately the sounds they were writing for and these sounds form an important dimension of the musical art work.”

But why is a period instrument so important in the context of these performances? Why are they so vastly different, and why do the colours and textures available to the performer change so much in comparison to a modern instrument?

“Period keyboards including harpsichords and fortepianos (18th-19th centuries) produced particular sounds with quicker decay of notes and more transparent timbres which helped the music to speak in ways entirely different to the more sustained sound of the modern piano” said Peres da Costa.

With the combination of gut strings on the string instruments, the sound created during an Ironwood performance is both exciting

and authentic, allowing the modern listener a glimpse into the sound world of the classical and romantic period.

What’s in store For their next concert, the ensemble is preparing works by Mozart and Beethoven for solo keyboard, string trio and piano quartet.

“I love the added extremes of Beethoven, the radical searching for boundaries that occurs across his lifetime” said McMichael.

“Mozart is always challenging for its level of perfection of form and beauty”, she continues. “I’m particularly looking forward to performing Mozart’s piano quartet with an historical keyboard and the Beethoven trio is a favourite of mine I’ve been wanting to play for some time.”

As for what else is to come, Ironwood has a very busy few months ahead adds McMichael “We are travelling to the new hall at Ngeringa in Adelaide in August which we are really curious to see and hear. As well as a guest spot at this year’s Tyalgum Music Festival. Ironwood was very popular at last year’s festival as a string quartet so is returning again, but this time also with Neal on fortepiano.”

The much anticipated Ironwood Brahms CD on ABC classics is to be released this year and Ironwood will also return to Canowindra Baroque Music Festival.

- Callum Close

EVENT Mozart’s Fantasy Ironwood Chamber Ensemble Anna McMichael (violin), Nicole Forsyth (viola), Daniel Yeadon (cello), Neal Peres da Costa (piano) 5 September, 6.30pm Sydney Conservatorium of Music: Recital Hall West Mozart: Fantasie K.397 for Keyboard Beethoven: 1st Movement, G Major String Trio Op. 9 No. 1 Mozart: Piano Quartet in G minor K478 www.ironwoodchamberensemble.com August 2016

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ARTISTIC DIRECTOR CARL VINE. PRESENTED IN ASSOCIATION WITH MUSICA VIVA AUSTRALIA

THE 27 HUNTINGTON ESTATE MUSIC FESTIVAL TH

OPENING WEEKEND 19 & 20 NOVEMBER 2016 Experience a Taste of the internationally renowned Huntington Estate Music Festival featuring 2 world-class 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

“… one of the best chamber music festivals in the world … (and) it just keeps getting better.” EMMA AYRES / ABC CLASSIC FM TO BOOK CALL 1800 995 931 OR VISIT WWW.HUNTINGTONMUSIC.COM.AU

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THE MAESTRO AND MARIA VIOLINIST CHAMPIONS TYCHO’S MUSIC

Tommy Tycho and Maria Lindsay. Image - Jon Reid In 1951 when the Maestro Tommy Tycho arrived in Australia, he had only a few pounds to his name and a wealth of musical experience. After working as a store man at David Jones for a short period he was able to secure a spot giving broadcasts on ABC radio, which was the start of his long and successful showbiz career. Fast forward 30odd years to a concert at the Sydney Opera House with the Sydney Youth Orchestra where a young violinist, Maria Lindsay was the Concertmaster, and a musical friendship that would last another 30 years formed.

The Maestro was so impressed and inspired

by Lindsay’s playing that soon after hearing her play, he started work on a Violin Concerto in dedication. A lifelong friendship formed and even though their paths went in different directions, they always kept in touch.

With the demands of showbiz and writing arrangements and orchestrations for the best in the business, Tycho’s Violin Concerto was put on the back burner, but always stayed in the back of his mind. When he first showed Lindsay the Concerto she still had no idea that it was dedicated to her so when she finally did find out she was both inspired and delighted.

In 2008 the Maestro suffered a debilitating stroke that saw his left side paralysed, but his brain was still musically active and there was nothing stopping him from enjoying music with many of his closest musical friends who would visit. The Violin Concerto had still yet

to be performed, but the thought of it was always something for Tycho to look forward to. The first performance finally came in 2010 when Lindsay organised her own Chamber Orchestra, the Lurline Orchestra (which she formed in 2009 with her sister Angela). The Maestro was delighted at finally hearing his Violin Concerto being performed in full.

“It was the Concerto that kept him going at times,” explained Lindsay. “He would play the recording of it every day after we had performed it, as there was a bit of a recording of one of the earlier performances. So, all of that was very personal, enriching, and at the same time I never lost sense of what a privilege it was that Tommy wrote such a wonderful work for me”.

Lindsay’s mission

Maria Lindsay has made it her mission to perform this iconic work to as many audiences as she can. Most recently, she performed the work with the North Sydney Symphony Orchestra and in August will perform the work with the Balmain Sinfonia “When I perform it with Balmain Orchestra, we do it without a conductor, and that’s a challenge, because Tommy’s orchestral writing is intricate, rich - you look at it on the page and you don’t realise… when you play it every part is important and the parts weave in and out,” says Lindsay.

Most Australian audiences know Tycho for his big showbiz performances and not

many people seem to know the wealth of his compositional output. Besides the Violin Concerto he has written a Trumpet Concerto, a Piano Concerto and a number of chamber pieces including one for a String Quartet as well as many others. The Violin Concerto is a virtuosic piece and includes aspects of very fine classical style writing with a diverse mix of Persian and Eastern scales (that he had heard when he was a pianist in Iran from 1948-1951).

“The first movement is very rich and dramatic in character, it’s quite dark then there is a very lyrical, lush, second movement, which then builds into an incredible climax towards the end,” said Lindsay. “And then the third movement is this dance-like virtuosic romp.

There are a couple of little cadenzas in the third movement. In the midst of all the dancelike elements of the third movement, it slows down and we again get those Persian sounds in there.”

So, how have audiences responded to this work? “I’ve been amazed by the response to it. It’s certainly been an element of surprise.

Before people see it they’ll say, ‘is it jazzy?’ or they’ll say, ‘is it Hungarian?’ and it’s neither of those things.

“When I’m talking to people afterwards, it’s just absolute delight. But when I play the Concerto on stage, and I feel the response, it’s incredibly emotional. I’ve played it in halls where… I’ve actually seen tissues coming out,” said Lindsay.

She says it has been amazing to see Tycho’s music touching people, adding, “It’s going to stay that way, I think”.

- Samuel Cottell

EVENT Violin Concerto – Tommy Tycho Maria Lindsay, violin With Balmain Sinfonia 6 August, 5pm Italian Forum, Leichardt http://balmainsinfonia.com With Lurline Chamber Orchestra 11 September, 2.30 pm Holy Family Church Hall, Maroubra 18 September, 2 pm Benedictine Monastery, Arcadia http://www.lco.org.au August 2016

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THE CHALLENGES OF TRAINING In the art of conducting concerts and our favoured conductors, score preparation and how many times we’ve been caught singing parts aloud on public transport.

Conducting Spin Dance as part of the MYM Conductor Development Program In the movie Steve Jobs, the character of Jobs (Michael Fassbender) compares his role at Apple to that of a conductor. “Musicians play their instruments”, he says, “I play the orchestra”. Now whilst this idea of ‘playing an orchestra’ is what makes conducting so exhilarating, it also presents the greatest difficulty i.e. practising. Whereas violinists can take their instrument and music into a practice room and rehearse from dawn til dusk (most) budding conductors don’t have an orchestra at their disposal. Sure, experience can be garnered working with amateur orchestras but, unless the orchestra is very generous, the young conductor is not going to have the opportunity to try something a few different ways until they get it right.

It would be like a trainee surgeon saying to their patient, I hope you don’t mind but I thought I’d try a few different sutures, you know, so I know what’s best for next time…

Enter the role of the conducting workshop.

Varying in length from anything from a day to three weeks, these workshops are the young conductor’s training ground. And, having taken part in a few over the past year, I can also say that they serve another purpose.

They are the opportunity for the musicians without a section to mix with their comrades.

Especially for those of us in the very early stages of our training, it is a relief to swap stories, to realise that we’ve all gone through the same experiences, made the same mistakes. But besides the support network it’s also incredibly jovial - the permitted place to let run our youthful enthusiasm, to discuss 10

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Australia being just so far away from the happenings in the Northern Hemisphere, I was lucky enough to build two workshops into my overseas vacation. The first was as an observer at the conducting masterclass at the RNCM in Manchester. Whilst there is nothing to beat ‘podium time’ (the time you actually wave your arms in front of an orchestra) attending as an observer certainly takes the pressure off. Suddenly you can absorb all that the tutor is saying without the impeding fear of your turn being around the corner.

Every tutor has a different approach. Some wish students to try a specific technique or to consider the music in a different way. Others are able to mould the individual style of the students in front of them. For me it was a great privilege to meet Australian conductor (and previous fellow at the RNCM) Matthew Wood. With his astute observation he was able to pick up on the specific nuances of each conductor. And then with a physique almost designed for conductor tuition, he used his long arms to move the conductor’s, almost like a puppet, in the way he thought more effective, allowing them, and us, to witness the change. It is when you can hear the difference, when you realise that even the shape of the hands can convey a different message, that you are assured that a conductor is not just a metronome.

Royal Opera House, London

‘Playing’ the ballet At the second workshop, I was fortunate enough to be a participant. I wish to be a ballet conductor and so learning of a balletconducting workshop at the Royal Opera House in London I literally changed my ticket to ensure I could be in town. And it was worth every penny. Our tutor was the very experienced Andrea Quinn who spoke with such infectious passion that even the more mundane aspects of ballet conducting seemed extremely exciting. It is its own unique language and skills set and so we had a lot to learn before we could try our hand at it. To know the music inside out is just the baseline. A ballet conductor then needs to know how this fits with the choreography, for example when to leave time for a dancer to land and when to keep the tempo steady to allow the movement to flow.

On the first day we had a chance to iron out any technical flaws with the ballet pianist (and even the most experienced amongst us realised it was a steep learning curve) and on the second day the dancers arrived. It’s privilege enough to have a private viewing of two professional dancers performing pas de deux. It takes it to a whole new level when you have 10 minutes to conduct them!

Nerves disappear when you have so much to focus on and it’s only when you sit back down that you realise, today, I played the ballet.

- Nicky Gluch

IN THEIR ELEMENT

THE PIANO DUO EXPANDING HORIZONS “Peter is such an important figure of Australian music and I don’t know what I was expecting when I met him,” said Brown.

“He was so down to earth and humble. He asked so many questions about writing for two pianos. Then he presented us with this extraordinary piece,” She said the composer managed to work the didjeridu into the texture of the piano duo in the most beautiful way.

“It is just the most wonderful blend of homogenous sound when the three instruments are playing together. It’s so stunning,” Brown explains.

l-r: Russell Smith, Louisa Breen and Bonnie Brown As children, pianists Bonnie Brown and Louisa Breen often performed piano together.

In fact, Louisa Breen’s mother was one of Bonnie Brown’s first important piano teachers. Since then they have both gone on to have international careers in their own right and in 2011 they decided to form a piano duo but never imagined it would take them all around the world performing.

In August the duo are travelling to Sydney to perform at The Joan Sutherland Performing Arts Centre in Penrith to present a concert like audiences have never seen before, and will be joined by didjeridu player Russell Smith.

The program of Elements features some gems of the piano duo repertoire and most importantly two Australian works; the last piece that Peter Sculthorpe composed before he died, Island Songs as well as a world premiere, Bird Morning, by Ross Edwards. The latter two works are composed for piano duo and didjeridu, in a world first combination.

When Brown and Breen commissioned Peter Sculthorpe to compose a work for them it turned into a very special project and friendship. He would often consult with them about writing for two pianos as this was the first time he had composed such a piece.

Russell is a founding member of the Mantra Trio which fuses Indigenous, classical and folk traditions with didjeridu, acoustic guitar and classical cello.

“When Russell came on board with us he did a huge amount of work learning the music. It’s not notated music… it was very interesting, but I think he also enjoyed the process,” Brown says.

“I think you can hear almost the size of Australia in the music. In Australia the horizon is never ending, there are expanses of incredible space and colour and the Australian landscape is quite brutal, and that comes through, very hot or dry and we all know what that’s like being from this country,” she says.

World firsts The performance of Elements will also include the world premiere of Ross Edwards Bird Morning, scored for piano duo and didjeridu.

“For me there is a completely different take on Australia. It’s dancing with these great jerky rhythms that he always puts in and there is a certain ‘freshness’ to it,” said Brown.

“In a lot of Ross’ music there is a youthful kind of music… In short, you can hear this sense of Australian-ess but it’s not the same as Peter’s at all.”

So how do audiences, particularly those overseas, react to Australian music that they may not have heard before? “They love it and that’s why we continue do it,” said Brown.

“They say things like ‘it’s so imaginative, it’s so colourful’ and not really like anything else we have heard.

“Some audiences do have difficulty with ‘modern’ music and they have already pigeon-holed it into a certain category. But, with the Australian music they find it very refreshing and so because of this positive response we thought it would be incredible to tour with a program that was largely Australian music,” says Brown.

As well as the two Australian works their program also includes some iconic pieces from the piano duo repertoire including Ravel’s La Valse, Rachmaninoff’s Symphonic Dances and selected tangos of Piazzolla.

“We wanted to include the Australian works within the context of a program that reflects the diversity of the music for two pianos but also the kinds of characteristics of it that transcend country or time or whatever it happens to be,” says Brown.

“It is essential that we recognise our own talent at home and that we have a musical solidarity. I make it my mission, when I am performing, to include Australian music,” said Brown.

“However, it’s by no means arbitrary. It is music that I love and Louisa and I have always been like this; we love good music that we enjoy playing and we want to share this with audiences.”

- Samuel Cottell

EVENT ELEMENTS Richard Bonynge Piano Series 13 August, 8pm Joan Sutherland Performing Arts Centre Bonnie Brown and Louisa Breen along with didjeridu player Russell Smith www.thejoan.com.au August 2016

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THE BOLLIGER EFFECT FINE MUSIC’S ARTIST IN RESIDENCE

Australian flautist Bridget Bolliger has been championing the flute and the wonderful array of music written for it since she was very young. She is currently recording some works for broadcast at Fine Music studios (where she is currently an Artist in Residence).

These include Gaubert’s Trio for Flute Piano and Cello, as well as Debussy’s iconic solo flute piece Syrinx and Australian works, which will be broadcast on Fine Music.

As Fine Music’s 2016 Artist-in-Residence, Bolliger hopes to record more Australian compositions: “I believe I could achieve a lot with the support of Fine Music. My artistic goal is, as always, to inspire and educate the next generation of musicians and music lovers”.

In 2014 Bolliger recorded Dancing Shadows: The Music of Miriam Hyde for Flute and Piano with pianist Andrew West. She has become a supporter of these works, which are now starting to become part of the standard flute repertoire. “They are wonderful pieces. You can’t hide in them when you play them as you are so exposed and they require you to be a good artist in order to play them well,” says Bolliger.

In August Bolliger is once again teaming up with pianist Andrew West to perform at the iconic Utzon Room with a program that includes J.S Bach’s Flute Sonata in E Major.

“We love playing Bach together,” says Bolliger. Also included is Australian composer Paul Stanhope’s phoSpheric Variations and Carl Vines’ Flute Sonata, as well as selected works for flute and piano by Miriam Hyde and Frank Martin’s Ballade.

“I feel it is my duty not only to play the great works of the flute repertoire but also

to showcase the great Australian works for flute alongside these as well as in their own right,” says Bolliger, adding that she is also presenting Stanhope’s work at the Townsville Chamber Music Festival.

“I am excited to play this work by Paul Stanhope and I hope that he will be inspired to write more works for flute,” she says.

With a busy performance schedule head, Bolliger will be undertaking further recordings at Fine Music studios, for broadcast, with clarinettist Dimitri Ashkenazy, including Miriam Hyde’s Trio for Flute, Clarinet and Piano and new works by her brother, Phillip Bolliger, for guitar and piano, which will also be presented in a program called The Bolliger Effect in this year’s Sydney Chamber Music Festival.

-Samuel Cottell

EVENT

Bridget Bolliger & Andrew West 20 August, 11am & 4pm Sydney Opera House, Utzon Room www.sydneyoperahouse.com

EXPERIENCE THE BRILLIANCE OF AUSTRALIA’S FINEST

CO-PRESENTED BY SYDNEY OPERA HOUSE CO-PRESENTED BY SYDNEY OPERA HOUSE

28 2016 28 SEPTEMBER SEPTEMBER 2016 28 SEPTEMBER 2016 CONDUCTOR: SYDNEY OPERA HOUSE

29 SEPTEMBER 2016 SYDNEY OPERA HOUSE

CONDUCTOR:

CONDUCTOR:

ALEXANDER 28 SEPTEMBER 2016 BRIGER ALEXANDER BRIGER RAVEL: BOLÉRO SYDNEY OPERA HOUSE RAVEL: BOLÉRO CONDUCTOR:

29 SEPTEMBER 2016 SYDNEY OPERA HOUSE

ALEXANDER STANLEY DODDS BRIGER AO STANLEY ALEXANDER BEETHOVEN: RAVEL: BOLÉRO 7TH SYMPHONY ELENA KATS-CHERNIN: AO STANLEY DODDS DODDS BRIGER STANLEY DODDS DVORÁK: CONCERTO FOR 8 AND THE WORLD PREMIERE OF AND THE WORLD PREMIERE OF

ELENA KATS-CHERNIN: CONCERTO FOR 8 DOUBLE BASSES ELENA KATS-CHERNIN: CONCERTO FOR 8 DOUBLE BASSES TCHAIKOVSKY: 5TH SYMPHONY CONDUCTOR: CONDUCTOR: TCHAIKOVSKY: 5TH SYMPHONY

29 SEPTEMBER 2016 29 SEPTEMBER 2016 CONDUCTOR:

AND THE WORLD PREMIERE OF CONDUCTOR:

BEETHOVEN: 7TH SYMPHONY BEETHOVEN: SYMPHONY DVORÁK: 9TH7TH SYMPHONY DVORÁK: 9TH SYMPHONY

BEETHOVEN: RAVEL: 9TH SYMPHONY DOUBLE BOLÉRO BASSES ELENA KATS-CHERNIN: 7TH SYMPHONY DVORÁK: CONCERTO FOR 8 9TH SYMPHONY AND THE WORLD PREMIERE OF

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YOUNG VIRTUOSI

Unearthing musical talent and diversity or Mozart) and a song for voice and piano (such as a lied, art song, or chanson). The adjudicators hear any or all of these pieces in the private adjudication session held the day before the concert.

Christopher Nazarian

At the concert, each singer presents two pieces, one of which must be an art song.

This requirement is intended to encourage young classical singers who want careers outside the operatic domain, and remains a distinctive element of the competition.

This month, Young Virtuosi presents a range of fascinating programs featuring music from the Australian Singing Competition, United Music Teachers Competition and more from Sydney Eisteddfod.

Five singers will then be selected as finalists for the 2016 Gala Finals Concert, to be held at 7pm on Thursday 18 August in the Concert Hall at The Concourse, Chatswood.

Fierce competition

We also feature the United Music Teachers competition which is held each year in Killara.

The Roger Woodward Award 2015 winner, pianist Leanne Jin is featured and from the 2016 competition, which was held on Sunday 19 June, we hear the first of the pianists Emily Mar. We also feature in our broadcast on 10 August, more from the Emerging Young Artists program, with a performance by violinist Phoebe Gardner.

This month we feature highlights from a number of music competitions, firstly the IFAC Australian Singing Competition’s Marianne Mathy Scholarship.

The IFAC Australian Singing Competition evolved from the Marianne Mathy Scholarship, which was established through a bequest made in the will of Marianne Mathy-Frisdane, an operatic soprano and distinguished teacher who trained many well-known Australian singers. For more than three decades the IFAC ASC has helped discover and deliver financial and career opportunities to some of our region’s finest talent in opera and classical singing. Semi-finals are a week-long process for the singers, encompassing a workshop, a private adjudication session and the semifinals concert.

As semi-finalists, the singers are required to prepare no less than four items of music that must include a work by a classical or baroque composer (such as Monteverdi, Handel, Bach

Highlights of Sydney Eisteddfod The Eisteddfod season is in full swing and selections from the finals follow in broadcasts in the coming months.

The Opera Award, originally known as The Sun Aria, was established with the first City of Sydney Eisteddfod in 1933 to discover fine voices throughout Australia and New Zealand. We feature excerpts from this competition in our broadcast on 17 August.

On August 24 you can hear Fine Music’s recording of the finals of the NSW Doctors Orchestra Sydney Eisteddfod Instrumental Scholarship (16-25 years). This Award endeavours to discover and encourage an outstanding instrumentalist in the fields of strings (bowed and plucked), woodwind or brass instruments.

The final broadcast for this month will feature the Australian Choral Grand Prix, which is being held Sunday 21 August at Sydney Grammar School and presented by Sydney Eisteddfod and Rotary Club of Sydney Cove.

Emily Mar

- Judy Deacon

Don’t miss the final of the Young Virtuoso Award 2016 On Sunday 28 August at 2pm, the finals of Fine Music’s Young Virtuoso Award for 2016 will take place in the Verbrugghen Hall at the Sydney Conservatorium of Music. As well as hearing the finalists, guests will be entertained by alumni guest artists, organists Edith Yam and Samuel Giddy and inaugural Pat Bell Bequest Prize recipient, bass Christopher Nazarian.

Former semi-finalist in the Young Virtuoso Awards, Nazarian will sing Ambroise Thomas’ Le Tambour Major (Michel) from Le Caïd and a George Gershwin piece Just Another Rhumbah.

This concert will be broadcast on Fine Music during October.

ON AIR Wednesdays, 1pm 3 August: Australian Singing Competition, Marianne Mathy Award Presenter: Camille Mercép Audio Engineers: Conan Tran, Peter Truong 10 August: Roger Woodward and Emerging Artists Presenter: Alison Zhou Audio Engineer: Greg Ghavalas 17 August: Sydney Eisteddfod, Opera Award Presenter: Camille Mercép Audio Engineer: Conan Tran, Peter Truong 24 August: Sydney Eisteddfod, Instrumental Award Presenter: Harry Godber Audio Engineer: Greg Ghavalas 31 August: Sydney Eisteddfod, Choral Grand Prix Presenter: Solly Frank Audio Engineers: Peter Truong, Will Ryan Co-ordinator: Judy Deacon yv@finemusicfm.com August 2016

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What’s On EISTEDDFOD Allison/Henderson Sydney Eisteddfod Piano Scholarship Final 26 August, 7:30pm Venue: Recital Hall West, Sydney Conservatorium of Music

Tickets: $25-$30 Bookings/information: sydneyeisteddfod.com.au

Piano competitions have ranked importantly in the Sydney Eisteddfod program ever since it began in 1933. Many great talents have risen from its stages: Richard Bonynge, Geoffrey Parsons, Roger Woodward, Kathryn Selby and SimonTedeschi among them. The Allison/Henderson Piano Scholarship was established by the late B. M. Henderson in 1982, who wished to discover a promising young pianist of the level required for a professional career. Four finalists, aged 16 to 25 years, will present a complete major work of up to 35 minutes on which they will be judged.

NSW Drs Orchestra Sydney Eisteddfod Instrumental Scholarship Final 19 August, 7:30pm Venue: Recital Hall West, Sydney Conservatorium of Music Tickets: $25-$30 Bookings/information: sydneyeisteddfod.com.au The NSW Drs Orchestra Sydney Eisteddfod Instrumental Scholarship attracts the finest players from across the nation. The final is always an inspiring occasion that no devotee of classical music should miss. Each of the six finalists, aged between 16 and 25 years, will perform a concert program of major works accompanied by acoustic piano at the Sydney Conservatorium of Music for a total of 20 minutes.

The Scholarship itself endeavours to discover and encourage an outstanding instrumentalist in the fields of strings (bowed and plucked), woodwind or brass instruments.

Australian Choral Grand Prix 21 August, 2:30pm Venue: New Hall, Sydney Grammar School Tickets: $33-$99 Bookings/information: sydneyeisteddfod.com.au First presented to audiences back in 2013, the Australian Choral Grand Prix is one of the most diverse and engaging events held annually by Sydney Eisteddfod. Hosted this year by the Andrew O’Keefe, audiences can delight in this amazing showcase of some of Australia’s best choral performers, as choirs compete for top honours in both the People’s Choice and Jury Vote categories. Finalists will present a program that includes a work by an Australian composer or arranger. AlI finalists are strongly encouraged to give thought to choralography and entertainment aspects in their chosen program. The event will be recorded

by Fine Music.

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ORCHESTRAL Leonskaja & Mozart Elisabeth Leonskaja, Piano Roman Simović, Guest Leader Australian Chamber Orchestra 26 Aug 1.30pm; 30 Aug 8pm; 31 Aug 7pm; 3 Sep 7pm Venue: City Recital Hall Tickets: $54-$149 Bookings: aco.com.au/leonskaja or 1800 444 444 This is the Australian debut of the grand dame of the piano, Elisabeth Leonskaja, featuring music

by Strauss, Mozart and Beethoven. Leonskaja has a distinguished reputation as a pianist who interprets with warmth, sensitivity and formidable technical facility. Her profound performances of core repertoire and dedication to music’s heritage place her firmly in the tradition of Russian greats, such as her mentor Sviatoslav Richter. Here Leonskaja plays Mozart’s Jeunehomme Piano Concerto, perhaps his first genuine masterpiece, a bold and elegant work that sparkles with wit and vigour, yet also evokes heartbreaking anguish with the first minorkey slow movement he ever composed. Beethoven’s Op.127 quartet, the first of his late quartets, was written at the same time as his Ninth Symphony, and shares much of its sublime gravity, yet there’s delicacy and intimacy too in this transformative work. A perfect conclusion to an exquisite concert, guest directed by Roman Simović, concertmaster of the London Symphony Orchestra.

ENSEMBLE Elgar’s Cello Concerto Omega Ensemble with guest artist Teije Hylkema 5 September 7:30pm Venue: City Recital Hall Tickets: $29-$94 Bookings: cityrecitalhall.com or 8256 2222 Information: omegaensemble.com.au In 1919, in the aftermath of the Great War and as Elgar’s health began to fail, the composer poured his feelings into this haunting lament for a lost world. Poignant and restrained, the Cello Concerto is interpreted with maturity by Dutch cellist Teije Hylkema. The Concerto is set against the assured sophistication of fellow Englishman Benjamin Britten’s Sinfonietta, a work that belies the age of its creator – for Britten was just 18 when it was composed. Mozart’s Fantasia in F minor showcases Omega Ensemble’s musical precision, while contemporary works

by French composer Guillaume Connesson and Australia’s own Mark Grandison are delivered with characteristic flair.

CHORAL Saxon Baroque Music of CPE Bach & JD Heinichen Sydney University Graduate Choir and Orchestra Christopher Bowen OAM, Music Director Soloists: Anita Kyle (soprano), Ashlyn Tymms (alto), Richard Butler (tenor), Simon Lobelson (bass) 21 August, 3pm, Great Hall, University of Sydney Tickets: $25-$45 Bookings: 9351 7940 or seymourcentre.com Information: https://singon.wordpress.com/hear-us This concert features two exceptional works from Saxony’s Baroque era. Carl Philipp Emanuel Bach’s triumphant Magnificat was composed in 1749 while Bach was resident in Berlin in the post of Kammermusikus to King Frederick the Great of Prussia. The

VOCAL The Song Company In collaboration with Hollis Taylor 6 August, 3pm Venue: Blackheath Uniting Church 13 August, 3pm Glebe Town Hall 7 August, 3pm Independent Theatre North Sydney Tickets: $40 Bookings: songcompany.com.au “They fly because they think they can”, and birds also sing like “the greatest musicians on the planet” – which composer Olivier Messiaen believed them to be.

Hollis Taylor has also found direct inspiration in their dazzling and ever-varied song, and her revolutionary suite of dialogues with the Australian Butcherbird forms the backbone of this unusual contemporary vocal program, augmented by digital field recordings. The singers of The Song Company take off in style with songs of flight and freedom, including the Pauline Oliveros classic Sound Patterns, The Beatles’ Blackbird, and a piece of participatory sound art by A.M. Self, in which even the audience is free to take flight.

work shows Bach’s mastery of both the ‘modern’ galant style and strict counterpoint. Johann David Heinichen was the most important musical representative of the Catholic Court of Dresden, besides Hasse and Zelenka. He spent several years in Italy, particularly in Venice, before being appointed Kapellmeister to the Elector of Saxony in Dresden in 1716. Heinichen’s Mass No.9 is characterised by elaborate brass sections, giving it a truly majestic sound, well suited for the Saxon Court. It also features powerful choruses and solos, and some remarkable fugal writing.

ORCHESTRAL Mosman Concert Series’ 70th Anniversary With Sydney Youth Orchestra Brian Buggy, conductor Venue: Blessed Sacrament Church Bradley’s Head Road, Mosman 21 August, 2.30pm Tickets: $20-$25 Bookings: mosmanconcertseries.org.au Mosman Concert Series is celebrating its 70th anniversary with a special concert on 21 August, featuring Sydney Youth Orchestra’s fantastic Philharmonic - 75 immensely talented musicians from as young as 14 to HSC level – directed by celebrated conductor and music educator, Brian Buggy OAM. They are currently rehearsing for a magnificent program, including Tchaikovsky’s Marche Slav, Hamlet Overture, ENSEMBLE Thirteen Ways of Looking at a Blackbird Australia Ensemble Guest artists: Sara Macliver, soprano; Andrew Barnes, bassoon; Robert Johnson, horn; and Andrew Meisel, double bass August 13, 8pm Venue: Sir John Clancy Auditorium UNSW Tickets: $15-$50 Bookings: 9385 4874 or australia.ensemble@unsw.edu.au Wallace Steven’s poem Thirteen Ways of Looking at a Blackbird is set to music in a new work for voice and ensemble by Ian Munro, commissioned by subscriber Norma Hawkins to the memory of her husband Bruce Hawkins.

We are delighted to welcome soprano Sara Macliver to perform Ian’s new work, and

Sibelius’ Finlandia, movements from Dvorak’s 8th Symphony, and more. This is an event definitely not to be missed.

Schubert’s charming showpiece Der Hirt auf dem Felsen (The Shepherd on the Rock).

Messiaen’s fascination with birdsong is evident in his impression of a blackbird in Le Merle Noir for flute and piano. In this light, CPE Bach’s D Major quartet for flute, viola, cello and piano may also strike audience members as being similarly avian in its sonic palette. The program is crowned by Beethoven’s grand Septet, in which the composer was inspired by Mozart to fashion an absorbing exploration of colour and form.

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CD Reviews Equal Beethoven: Violin Concerto In D Op 61; Schumann: Fantasia for Violin and Orchestra Op 131; Mozart-Francaix: Nonetto Sebastian Bohren (violin), Chaarts Chamber Artists RCA Gold Seal

✶✶✶✶ This version of Beethoven’s Violin Concerto is very recommendable. Sebastian Bohren’s performance is very classical; his tone is more French in style than the often heard thicker Russian style. He phrases elegantly and coaxes a beautiful tone from his instrument. His soft, pure phrasing is very welcome in the quieter passages. The BUTTERFLYING

PIANO MUSIC BY ELENA KATS-CHERNIN

Tamara-Anna Cislowska | Elena Kats-Chernin

Butterflying – Piano Music by Elena KatsChernin ABC Classics

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Tamara-Anna Cislowska joins Elena KatsChernin on this CD, performing music inspired by varying styles, some dedicated to various friends and some straightforward The Truly Unforgettable Voice Of Florence Foster Jenkins Sony Music

✶✶✶ If we ever thought and worried about the competence of a singer especially when that singer is considered a distinguished and competent musician we would probably be drawn towards Florence Foster Jenkins and you wouldn’t believe what you were hearing.

An American, she declined to appear in New York more often than once a year and rarely anywhere else except such favoured centres as Washington and Newport. For years her annual recital at the Ritz Carlton was a private ceremonial for the select few. Finally, on 25 October, 1944, Florence Foster Jenkins took the big step. Forsaking 16

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orchestra (apparently conducted by Bohrens as no other conductor is mentioned) plays beautifully and the balance between the soloist and the orchestra is good. Not so much can be said for the other items on this disc. Schumann’s Fantasia, written at the request of the famous violinist Joachim, dates from a time late in his career when inspiration was at a low ebb. It has some moments of beauty and interest but is one of the world’s justly neglected scores.

Bohrens and the orchestra do all they can to recommend the work, but it fails to make much of an impression. The MozartFrancaix Nonetto is an arrangement by Francaix of Mozart’s Quintet for Piano and Winds K. 452. In view of the fact that, at the

time it was written, Mozart considered this his finest work, Francaix’s intrusion is unwelcome. The delight of Mozart’s score lies in the contrast between the sound of the piano and that of the winds. Francaix adds a string quartet and eliminates the piano which destroys Mozart’s original effect and is itself distracting.

commissions. Whilst the playing easily captures the moods, the music itself is not always sufficiently continually exciting and interesting but often meanders without a sense of climax giving a feeling of aimlessness, particularly harmonically speaking. As Kats-Chernin says: “When I am at the piano I try and let my hands travel wherever they will. Stravinsky said the fingers are much quicker than the brain and I find that true for me. I sit for hours sifting and drafting through material until I find something that I like”. This certainly provides a strong indication of how she conceives the music. Most of it has been written for individuals and lots for particular occasions whilst some are extracted from

larger scale works particularly The Three Dancers and Butterflying, the opening work on the CD which was written for the 2003 Rugby World Cup opening ceremony in a version for full orchestra. Plenty of world premieres are there, including The Rain Puzzle where the performer chooses the articulation, dynamics and tempo, Vocalise, Conversations in addition to the Russian Rag, a very captivating and a most attractive work. Lots of works feature dances – tangos, waltzes, dance of the Paper Umbrellas written for the HUSH CD project.

Russian Toccata produces plenty of energy and excitement from nimble fingers.

the brocade atmosphere of a fashionable hotel ballroom, she braved Carnegie Hall.

There are those who claim that her death one month and a day later was the result of a broken heart – as unlikely is the story that her career was all a huge joke at the public’s expense, a pretty expensive joke, incidentally, since Carnegie Hall was sold out weeks in advance and grossed something like $6,000. Neither her parents nor her husband gave any encouragement whatsoever to her musical ambitions, but with her divorce and the money inherited from her father she was free to turn her sights on New York where she showed an abundance of her largesse. After a taxicab crash in 1943 she found she could sing a higher top F than ever before. Instead of a lawsuit against the taxicab company, she

sent the driver a box of expensive cigars. Although high coloratura was Madame Jenkins’ particular province, she also ventured into the quieter realm of lieder. She opened her 1934 program with Die Mainacht of Brahms. Under the title was this quote: “O, singer, if thou canst not dream, leave this song unsung.” Nobody will ever say Florence Foster Jenkins couldn’t dream.

– Richard Gate

- Emyr Evans

- EE

CD Reviews World Music Joseph and James Tawadros MGM JT 2016

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Joseph Tawadros is a virtuoso oud player, but here he assays an additional 50 instruments (plus vocals) - and his brother James, another 11! World Music is his 13th album (in as many years) and explores multiple styles/moods/tone-colours/ instrumentation. But 29 pieces in 79’ is where I stumble… my reaction is similar to the man reading the dictionary who said it was ‘fascinating’ but complained ‘it kept changing the subject’; it’s a bit like a

Sing Me Home Yo-Yo Ma and the Silk Road Ensemble Sony Music

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If you haven’t heard of the Silk Road Ensemble, it is an ensemble made up of performers and composers from more than 20 countries and directed by cellist, Yo-Yo Ma. The success of this ensemble is due to the wonderful mix of music from Holding the Stage Sonny Rollins Sony Music

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Rather than making any kind of unified statement, Holding the Stage seems content to collect and celebrate the 85-year-old’s recent live work, drawing on performances recorded between 1979 and 2012. Though Rollins’ control on the saxophone is not what it used to be, his ideas have never been more focused or engaging. The ballads – Ellington’s In a Sentimental Mood and Johnny Green’s You’re Mine You – are raw rather than sentimental, leaving room for Rollins to explore every corner of these harmonically rich songs. Rollins swings

sketchbook with multiple interesting ideas that seem to cry out for further development: involving - certainly, but slightly mystifying all the same. Tawadros’ music often reminds me of the improvisatory Moorish element in Spanish music where time seems to stand still as the instrument(s) ‘circle’ a theme or motif (cf. the mid-section of Asturias

by Albeniz); also his use of long drones (pedal points) adds to a feeling of ‘static’ contemplation. There’s also a very ancient quality to his music; he’s a bit like the sphinx smiling indefinably at the passing fads and fancies of humankind (and its music) while gazing steadfastly into eternity. Apart from virtuosity, I admire his restlessness;

as a means to achievement, it seems to be more a conscious, courageous choice than a divine gift: Haydn, Beethoven, Stravinsky, Miles Davis, Jimi Hendrix …all eager to progress their music; whether Tawadros’ questing spirit will produce something to rival those illustrious gentlemen, only a lifetime’s work will fully reveal. In the meantime, expect to be entertained, moved and enthralled – as here on World Music.

different cultures. O’Neill’s Cavalry March is an innovative amalgamation of Chinese Pipa music along with Traditional Irish tunes. It is done beautifully with neither of the musical traditions overriding the other. The intertwining of the melodies and the blending of the two parts is worth the listen. Shingashi Song is another mix of traditional Japanese Shakuhachi music with accompanying strings. The texture and the sound quality is moving, beautiful without the need for electronic music or sound effects to boost the drive of the music. Sadila Jana is a beautiful acoustic vocal work, and the beautiful Macedonian melodies really shine through the accompanying string parts. In addition, Wedding is another exotic track from the album which contains melodies from

the Arabic culture. The imitation of the instruments using the voice is exciting, along with the exotic flavours coming from the improvisation parts. As a listener you will imagine yourself in an Arabian desert, surrounded by musicians and dancers with flair. Going Home is an extremely serene string work with words sung in Mandarin.

This is a cleverly arranged work containing elements from Western classical music and Chinese popular music. This is an interesting album for those who appreciate and enjoy fusions of different cultures of musics. However, if you are a traditionalist then I would not recommend this album to you.

confidently on the bluesy Sweet Leilana and his dedication to Horace Silver H.S. The changing sidemen, recording dates and sound quality from track to track makes for a bumpy ride, but creates some truly interesting paradoxes: Rollins’ tone is at its best on the 1979 track Disco Monk’ despite a rather ill-conceived composition (the name says it all!); whilst on the 2012 duet Mixed Emotions Rollins manages to woo the listener with a technically flawed, fragmented performance that is nonetheless the most poignant, human moment of the album. Some brilliant contributions from the various sidemen are littered throughout – especially pianist Stephen Scott whose solo lifts the energy to breaking point on Keep Hold of Yourself, setting Rollins up

- Michael Muir

- Leslie Khang

for his most visceral solo on the record.

It’s not essential Rollins by any means, but an excellent reminder that he’s still here, and still making music with his trademark sincerity and passion.

– David Groves

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Jazz CD Reviews Blues and Ballads Brad Mehldau Nonesuch Records

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The Brad Mehldau Trio’s Blues and Ballads album is their first new release since 2012’s Where Do You Start. Featuring Mehldau on piano, Larry Grenadier on bass, and Jeff Ballard on drums, this recording similarly comprises interpretations of songs by other composers, this time with the focus on blues and ballads implied by the album’s title. The opening and closing tracks Since I Fell For You and My Valentine get down and dirty in the bluesiest style. They are prime examples of what a superb jazz pianist like Mehldau

Maybe September Ken Peplowski Capri 74125-2

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A Beautiful Friendship Alexis Cole and Bucky Pizzarelli Venus VHCD 1154

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can produce in the 4/5 rhythm style with two sidemen that seem to know exactly when and when not to play and contribute. Cole Porter’s I Concentrate on You receives a classy Latin treatment and an inspired improvisational extension. It might just be the star piece of the whole album and was certainly the track I immediately engaged with amongst a plentitude of other stylish musical treatments.

Charlie Parker’s Cheryl is handled extremely well in the blues style but it’s the bands inventive interpretations of Maschwitz and Strachey’s These Foolish Things and Lennon and McCartney’s And I Love Her, with their peerless technique and lavish extensions, that contribute largely to the album’s star status.

Think rainy days, late nights, hanging out and

this intimate acoustic jazz album immediately provides the elixir for musical satisfaction.

- Barry O’Sullivan

It is only appropriate that Edward Hopper’s famous painting Gas hanging in the Museum of Modern Art In New York City graces the cover for this is not only one of the finest of Ken Peplowski’s albums but also a work of art. But what is amazing is that this 2012 session was recorded in three hours on twotrack using a historic 1954 BBC microphone with the musicians, pianist Ted Rosenthal, bassist Martin Wind, drummer Matt Wilson and Peplowski, arranged in the studio as they would in a jazz club. Peplowski may have described it as a “warts and all” effort but the level of musicianship is extraordinary, not surprising in this reunion of his New York working group. Peplowski described most of the number of “heartbreakers”; their subdued mood showing the beautiful tone

of his clarinet: the duets with Wind’s bass on Lennon and McCartney’s For No One and Harry Nillson’s Without Her. Rosenthal proves an accomplished accompanist on the contemplative Romanza from one of the clarinet sonatas by 20th century French composer Francis Poulenc, another highlight.

But there are many others as Peplowski unfolds his tenor saxophone on the best instrumental version of the title track I have heard (nothing will equal Tony Bennett’s version with the great Bill Evans) and the tender treatment of Brian Wilson’s Caroline.

In contrast he swings easily through Artie Shaw’s Moon Ray and blows lustily on Duke Ellington’s classic 1942 blues Main Stem. Not to be missed.

- Kevin Jones

I have been impressed with Alexis Cole since first hearing the smooth, velvet vocals of this refreshing stylist on the 2013 release Close Your Eyes on the Japanese Venus label. Her latest on the label recorded the following year, which pairs her with the octogenarian guitar master Bucky Pizzarelli, is a smorgasbord of delights from The Great American Songbook. Cole is not one to over decorate lyrics and her unforced, and at times sophisticated, delivery allows the listener to savour the results. She swings naturally and some of the tracks have the rhythmic flow of the Hot Club of France, especially when Pizzarelli’s timeless style is coupled with Frank Vignola who takes some Djangoinspired solos, most notably on East Of The Sun, and the bass of Nicki Parrott. This is just

one of several guitar duo highlights. There is a delightful vocal duet by Cole and Parrott on Blue Moon and Moonglow, the latter’s hushed style a pleasant contrast to the more upbeat Cole. Anat Cohen’s clarinet is featured on four tracks: she plays a dazzling solo on the up tempo Stompin’ At The Savoy and flows easily through Just Friends. After claiming that Warren Vache was the best thing to happen to the jazz cornet since Ruby Braff, it was satisfying to hear his prowess on the trumpet. He brightens If I Were A Bell but is even better on the Ellington classic Mood Indigo where his melancholy muted interludes are a perfect foil to Cole’s enchanting rendition of the lyric.

- KJ

SWINGING ON THE VINE

A Master Of Subtlety

As I get closer to that great turntable in the sky, I often sit in my Hunter Valley hideaway meditating on the meaning of life, its many mysteries and what it all means. Like today, with a glass of shiraz in my hand and the sound of Bobby Hackett and the Glen Osser Strings from the 1962 album Night Love in the background, I recall my early years with a nostalgic Dave Tough affection; memories which had lain dormant for longer than I care to remember brought to my attention by the power of music.

To put it simply, music has provided the soundtrack of my life: For many years when leaving for school as a boy the local radio station would close down at 8am soon after the ABC News with the same theme. It was not until my teenage years that I found out it was Gershwin’s Lady Be Good played by the original Benny Goodman Trio with Teddy Wilson and Gene Krupa. Or at the local theatre listening to two scratchy 78s before the movie started. The records: Tommy Dorsey’s Song Of India and Artie Shaw’s Frenesi, the biggest selling instrumental of the fabled Swing Era. The siren song of jazz was entering my subconscious without me realising it.

And the excitement of buying my first jazz book while holidaying in Melbourne - the 1956 edition of Jazz Americana by Woody Woodward. Liberally illustrated with photos, one of the many was of bandleader Woody Herman with Dave Tough, his drummer in the legendary First Herd. At that time we were still dancing to The Golden Wedding, surprisingly a bigger hit for Herman in Australia than in the United States. In my youthful ignorance I thought Tough was the drummer on the original recording. He wasn’t. It was Frank Carlson who with pianist Tommy Lineham, guitarist Hy White and bassist Walt Yoder gave Herman a first-class rhythm section in the early 1940s.

Tough may not have been a showman like Krupa or as dynamic as Buddy Rich but he had no peer as a drummer in a big band - all 100lb of him - setting a cymbal shimmer behind every band he played in, especially three of the biggest “name” bands of the Swing Era, Goodman, Artie Shaw and Tommy Dorsey, giving them excitement and energy without putting himself first.

But he could never control his drinking - he was an alcoholic! (I gaze with affection at Big J lying in a drunken stupor beside a bowl of red wine but I digress …). Dorsey, who hired Tough in 1936, helping him to some sort of normality and curbing his erratic behaviour but in 1938 he joined Goodman which led to more heavy drinking.

When he was with Shaw’s Navy band, The Rangers, in the South Pacific in 1943, the clarinettist that knew Tough was an alcoholic who would always find things to drink, assigned a seaman to watch over him all day so he wouldn’t get drunk and fall off the bandstand. Tough, who along with Shaw and trumpeter Max Kaminsky was invalided out of the Navy in 1944 with battle fatigue, rejoined Herman with whom

he had played briefly in 1942. His verve and brilliance proved the foundation of Herman’s great First Herd, one of the hardest swinging of all big bands. Many years later, Herman would recall that Tough “inspired a whole screaming big band with his subtleties and strong feeling for time” as on the Herman classics Apple Honey and The Good Earth.

Tough controlled his drinking with Herman until it forced him to leave the band in 1945. The following year he helped Eddie Condon open his night club in Greenwich Village; worked on 52nd Street with Charlie Ventura and Bill Harris; and in 1947 went to Chicago with his old friend Muggsy Spanier. But he was deteriorating physically and spent the final four months of his life in and out of a New York veterans’ hospital. Late on the afternoon of December 8, 1948 in the gathering dusk, he slipped on a street while heading home to the apartment he shared with his wife, hitting his head on a curb and fracturing his skull. He was drunk. He died in hospital the next day. He was 41. His wife did not find him for three days.

Dave Dexter, former associate editor of Down Beat magazine, called Tough “one of the three greatest drummers of all time. A sad guy, such a little sad guy.”

- Patrick D.Maguire

Sydney Jazz Club Co-op Ltd Presents Live Jazz Sydney Flying Squadron 76 MacDougall Street, Milsons Point 10 August From 12.30 until 3.30pm (Doors open 11.45am) Captain Bob’s Station House Seven $10.00 Entry Fee NEW VENUE Waverton Bowling Club Woolcott Street, Waverton 28 August The New Orleans Connection 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

August 2016

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

Weekdays

Saturday

Sunday

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

Contemporary Collective

Contemporary Collective

General classical Saturday Morning Music General classical Small forces

General classical Sunday Morning Music

The Classical era General classical Jazz General classical

Opera

Magic of stage and screen General classical

General classical

Repeat of Saturday night at home

Repeat of Sunday night concert

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

General classical

Jazz classic & traditional Repeat of Sunday special

In a sentimental mood Young virtuosi In conversation General classical

Jazz after hours

Ultima thule

Bequests - a lasting legacy Why a bequest to Fine Music 102.5 will really make a difference!

Fine Music 102.5 is the radio station of choice for some 200,000 Sydney-siders and a worldwide audience tune in every week for a vibrant mix of classical, jazz and contemporary music.

As a not-for-profit organisation, we receive no government funding. The station is operated by hundreds of volunteers who give generously of their time and talents. Despite this, the costs of running a radio station are significant. As a result, we depend upon the generosity of our listeners, in the form of subscriptions and donations.

If you enjoy Fine Music 102.5, please consider leaving a bequest to us in your will. Your legacy will help to ensure the beauty of Fine Music continues to be broadcast for future generations.

Wills and Bequests Over the years, bequests have enabled Fine Music 102.5 to continue and expand its mission. Here are a few examples: • $100,000 enabled the station to purchase a new concert grand piano for our performance studio,

enabling live and recorded performances by young pianists and other visiting musicians • $40,000 purchased a mixing desk for our recording studio, enabling professional standard recordings

to be made for broadcast • $5,000 allowed a new set of high quality CD players to be bought for our main broadcasting studio How do I leave a Bequest?

We recommend that you seek legal advice on the structure of your Will from your solicitor, trustee company or the Public Trustee and inform your family of your intentions. If you are considering leaving a bequest to Fine Music 102.5 and would like to discuss your wishes and ideas, please call the station on 9439 4777. Or visit our website at www.finemusicfm.com and click on the Donations tab. All discussions concerning donations and bequests are treated in confidence.

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If you already have a Will, then it is possible to simply make a a low cost addition to the Will, in the form of a Codicil. This alters the terms of the Will to take account of the the new gifting intentions. If you have not yet made a Will, we would be grateful if you would consider a bequest to Fine Music 102.5.

fineMusic 102.5 Contact us today at 9439 4777 to discuss how your bequest can help your favourite radio station.

August program highlights It was perhaps inevitable that the pride in community represented by the brass band should also have produced a spirit of rivalry that drove these bands to prodigies of competitive effort and produced, among players who, let it be remembered, were holding down 66 hour a week jobs at the mill, some astonishing virtuosity.

In the 1850s this rivalry was formalised, when John Jennison, who owned the Belle Vue Zoological Gardens in Manchester, staged the first British open band championships.

Over 16,000 people attended the event, and it continued annually until 1982.

Paul Wittgenstein Liquorice Allsorts 2 August, 9am Diversions in Fine Music Artist of choice: Thea King, clarinet, programmed by Paul Cooke The clarinet has had a number of illustrious devotees. Mozart thought its timbre the purest of all the winds – a judgement which modern acoustic science has confirmed. Brahms, after officially renouncing composing, heard Richard Muhlfeld play the Weber concertos and the Mozart quintet. He was smitten

by Fraulein klarinette as he nicknamed the instrument, and struck up a productive friendship with Muhlfeld. In particular he produced the trio which is one of the items in this focus on the clarinettist Thea King, prepared by Paul Cooke.

Thea King (1925-2007) was a British clarinettist who through a long career occupied not just one professorial chair but two; at the Royal College of Music and, from 1988 until her death at the Guildhall School of Music and Drama. As well as making a close study of the music written for the early clarinet, particularly that of Bernhard Crusell, she was the dedicatee of several important compositions and commissioned several new works. One of these was the Irish composer Elizabeth Maconchy’s Fantasia, so it’s appropriate that Maconchy is represented here by her Concertino No 2 for clarinet and chamber orchestra.

Mozart is not represented, except perhaps vicariously by his friend and copyist Franz Süssmayr. Given that Süssmayr was the man responsible for the posthumous completion of the Requiem, it’s apt that the clarinet concerto movement chosen by Paul was itself completed by another hand. And we

hear from Beethoven, in the form of one of the many harmoniemusik pieces he wrote in the 1790s to earn a living as a young musician in Vienna, and to cut his teeth as a composer. For many, though, the highlight of the program will be to hear Thea King supply the clarinet obbligato to Schubert’s Shepherd on the Rock, sung by Heather Harper and accompanied by Benjamin Britten.

Where There’s Muck, There’s Brass Music That’s Band 6 & 20 August, 11:30am Programmed by Owen Fisher The rise of the British Brass Band is inextricable from, and was a consequence of the Industrial Revolution that it accompanied.

Rapid urbanisation brought together villagers who had played in the small bands that had served the chapels and provided the entertainment of their vanished way of life. At the same time, mass-production was bringing down the cost of brass instruments, and the development of effective piston valves spawned a whole tribe of cornets, tubas and euphoniums which were capable, in the right hands, of great agility.

The new urban communities that were manning the British mills hankered for the fellowship they had left behind in their native villages. Having, and playing in, a brass band proved an excellent crucible in which to forge a sense of community and solidarity.

They were strongly encouraged by the millowning classes, who were only slightly less worried by proletarian insurrection than their Continental counterparts, and saw “making their own entertainment” as a healthy alternative to dangerous dissidence.

The Fingers of One Hand For Piano Left Hand 2 August, 1pm Programmed by Anne Irish The name Wittgenstein is most readily associated with philosophy, and with possibly the most gloomily arid enquiry into the human condition ever written. Ludwig Wittgenstein was a true scion of a wealthy but depressive Austrian family of whom Brahms, who knew them well, said: “They seemed to act towards one another as if they were at court.” There were four girls and five boys, but a family tradition of suicide drastically thinned their ranks. They shared a rather joyless passion for music, and the family mansion contained no fewer than seven pianos. Ludwig himself had perfect pitch and was an accomplished pianist. But it was Paul Wittgenstein who made a career out of playing the piano, only to lose his right arm in the First World War. He was to use his wealth to commission a considerable body of work for the left hand from a galaxy of composers that included Britten, Hindemith, Prokofiev and Richard Strauss. The most famous, though, is the Ravel concerto, which is the highlight of Anne Irish’s program. Despite its jazz influences, which ran counter to Wittgenstein’s austere musical tastes, he eventually came to love the work.

The Ravel concerto was a genuine and successful attempt to write fine music for the piano left hand. Much other music has been written for pedagogical purposes, and Camille Saint-Saens’ Etudes for the Left Hand Alone, the third item in this program, perhaps serves both purposes.

- Tom Forrester-Paton August 2016

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Monday 1 August

Tuesday 2 August 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: Thea King, clarinet Prepared by Paul Cooke Süssmayr, F. Concerto movement in D (1792; compl. Freyhan). 10 Beethoven, L. Quintet in E flat for piano and winds, op 16 (1796). 27 Schubert, F. Der Hirt auf dem Felsen, D965 (1828). 13

Paul Lewis. Image - Jack Liebeck - 2pm Musica Viva presents Paul Lewis

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

German, E. Theme and six diversions (1919). 17

9:00 DIVERSIONS IN FINE MUSIC A year in retrospect: 1904 Prepared by Di Cox

Kodály, Z. String quartet no 2, op 10 (191618). 18

Elgar, E. Pomp and circumstance march in C minor, op 39 no 3 (1904). 6

14:00 MUSICA VIVA PRESENTS PAUL LEWIS Recorded by Greg Simmons for FINE MUSIC

Stanford, C. Villiers Clarinet concerto in A minor, op 80 (1904). 21 Puccini, G. Flower duet, from Madama Butterfly (1904). 8 Saint-Saëns, C. Caprice andalou in G, op 122 (1904). 10 Ravel, M. Miroirs for piano (1904-05). 27 Debussy, C. L’isle joyeuse (1904; orch.

Molinari). 6 10:30 MORNING CONCERT Prepared by Gerald Holder

Dukas, P. Ballet: La péri (1912). 19

Brahms, J. Ballades, op 10 (1854): no 1 in D minor; no 2 in D; no 3 in B minor, Intermezzo; no 4 in B. 23 Intermezzi, op 117 (c1892): no 1 in E flat; no 2 in B flat minor; no 3 in C sharp minor. 16 Beethoven, L. Piano sonata no 32 in C minor, op 111 (c1821). 28 15:25 PAUL LEWIS CONTINUES Prepared by Elaine Siversen Beethoven, L. Piano concerto no 4 in G, op 58 (1806). 33

Maconchy, E. Clarinet concertino no 2 (1984). 9 Brahms, J. Clarinet sonata in E flat, op 120 no 2 (1894). 21 10:30 MORNING CONCERT Prepared by Frank Morrison Schumann, R. Overture to Genoveva, op 81 (1850). 8 Prokofiev, S. Piano concerto no 5 in G, op 55 (1931-32). 25 Elgar, E. Symphony no 1 in A flat, op 55 (1907). 49 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 FOR PIANO LEFT HAND Prepared by Anne Irish Alkan, C-V. Fantasy in A flat, op 76 (c1838). 9 Hamelin, M-A. Study no 7 in E flat minor, after Tchaikovsky (2006). 5

Wagner, R. Overture to Rienzi (1838-40). 12

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

Mendelssohn, F. Concerto in D minor for violin, piano and orchestra (1823). 37

19:00 JAZZ NICE ‘N EASY with Ken Weatherley

Skryabin, A. Prelude in C sharp minor, op 9 no 1 (1894). 3

20:00 STORMY MONDAY with Austin Harrison and Garth Sundberg

Ravel, M. Concerto for the left hand (1931). 19

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

Godowsky, L. Prelude and fugue BACH. 6

Mozart, W. Symphony no 40 in G minor, K550 (1788). 35 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 22

13:00 EARLY 20TH CENTURY COMPOSITIONS Prepared by Frank Morrison

Saint-Saëns, C. Six études, op 135 (1912). 18

Ponce, M. Malgré tout, dance. 4 Godowsky, L. Symphonic metamorphoses of the Schatz-Walzer themes from The Gypsy Baron by J. Strauss (pub. 1941; ed.

Saperton). 13

FOR FULL PROGRAM GUIDES TO FM AND DIGITAL VISIT: WWW.FINEMUSICFM.COM

Tuesday 2 August

Wednesday 3 August 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 Composers of the 18th century Prepared by Rex Burgess Couperin, F. Eighth concert, In the theatrical style (1724). 20 Clérambault, L-N. Cantata: Leander and Hero (1713). 15 Sonata III: L’abondance. 8

Adrian Boult - 10.30am Morning Concert

14:30 MUSIC OF BRAZIL Prepared by Gael Golla Gnattali, R. Corta Jaca; Schottisch, from Portraits (1957). 8 Gomes, C. Intenditi con Dio, from Fosca (1871). 5 Medaglia, J. Suite: Belle époque in SudAmerica (1994-97). 9 Machado, C. Musiques populaires brésiliennes (1973). 15 Nazareth, E. Plangente, tango brasileiro (c1925); Labirinto, tango (1917). 10 Bonfà, L. A day in the life of a fool, from Black Orpheus (arr. Richardson). 3 Jobim, A. Luiza. 5 Villa-Lobos, H. Bachianas brasileiras no 2 (1930). 22 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Andrew Dziedzic 19:00 THE JAZZ BEAT with Lloyd Capps Smooth small group jazz from the 50s on, and with a visit from Miles Davis each week 20:00 RECENT RELEASES with Michael Field 22:00 CHAMBER SOIRÉE Prepared by Phil Vendy Bax, A. Fantasy sonata for viola and harp (1917). 23 Pierné, G. Piano quintet in E minor, op 41 (1917). 35 Lajtha, L. Cello sonata, op 31 (1940). 21 Ligeti, G. String quartet no 1, Métamorphoses nocturnes (1953-54). 20 Mozart, W. Flute quartet no 4 in A, K298 (c1786). 12

Leclair, J-M. Violin sonata in B flat (pub.

1723). 15 Rameau, J-P. Suite from Platée (1745). 22 10:30 MORNING CONCERT Prepared by Angela Bell Grieg, E. Lyric suite, op 54 (1889-91/1904). 18 Mozart, W. Violin concerto no 5 in A, K219, Turkish (1775). 28 Mendelssohn, F. Symphony no 3 in A minor, op 56, Scottish (1842) 37 12:00 JAZZ SKETCHES with Robert Vale Jazz of many colours, some old, some new and all designed to inform and stimulate the senses 13:00 YOUNG VIRTUOSI 14:00 IN CONVERSATION Graeme Koehne’s 60th birthday special Prepared by Michael Morton-Evans Koehne, G. To his servant Bach, God grants a final glimpse: The morning star (1977). 4 Rain forest (1982). 15 Gothic toccata (1983). 7 Sentimentale, from Palm Court suite (1984). 8 Excerpt from ballet The selfish giant (1983). 5 A closed world of fine feelings. 7 Santa Ana Freeway, from Tivoli dances (2005). 5 15:00 OFFENBACH EXPLORED Prepared by Michael Morton-Evans Offenbach, J. Introduction et valse mélancolique op 14 (1839; arr Geese). 6 Deux âmes au ciel, élégie, op 25 (1844; arr.

Geese). 9

Claudio Abbado - 10.30am Morning Concert

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 The Parisian painter Prepared by Elaine Siversen Cimarosa, D. Il pittor parigino. Opera in two acts. Libretto by Giuseppe Petrosellini. First performed Rome, 1781. 2:20 22:30 GARDEN TOURS Prepared by Madilina Tresca Martinu, B. Window onto the garden (1938). 8 Strauss, J. II Waltz: Where the lemons bloom, op 364 (1875). 9 Brumby, C. Gardens of the Villa Taranto (1991). 10 Ketèlbey, A. In a Chinese temple garden (1923). 6 Falla, M. de Nights in the gardens of Spain (1909-15). 24 Trad. Cascading waterfall. 9 Grainger, P. Country gardens (1908). 2 Anon. Eve’s garden (arr. Koch). 3 Tchaikovsky, P. Legend: Christ had a garden, op 54 no 5 (1883). 3

Cello duet in B minor, op 51 no 2 (c1847). 13 La course en traîneau étude-caprice (1849; arr. Geese). 4 Concerto rondo (1851). 20 August 2016

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Thursday 4 August 14:00 PIANO: SOLO AND IN TRIO Prepared by Elaine Siversen Schubert, F. Fantasie in C, D760, Wanderer (1822). 23 Poulence, F. Suite française after Claude Gervaise (1935). 12 Mendelssohn, F. Piano trio no 1 in D minor, op 49 (1839). 28 Brahms, J. Variations and fugue on a theme

by Handel, op 24 (1861). 29 Beethoven, L. Variations in E flat on Ich bin der Schneider Kakadu, op 121a for piano trio (c1823). 18 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Debbie Scholem

Martin Yates - 9.30pm Eastern Inspiration

0:00 CONTEMPORARY COLLECTIVE

19:00 THE NEW JAZZ STANDARD with Frank Presley

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

20:00 LIVE AND LOCAL Part 1: Coro Innominata: The Doors of Perception

9:00 DIVERSIONS IN FINE MUSIC Two’s company Prepared by Michael Morton-Evans

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 Herzogenberg, H. String trio in F, op 27 no 2 (1879). 24 Albéniz, I. Asturias. 7 Gross, E. Mandigar 2 (1993). 9 Sculthorpe, P. Night pieces (1971). 8 Dvorák, A. String quintet in E flat, op 97 (1893). 32 10:30 MORNING CONCERT Prepared by Elaine Siversen Britten, B. Four sea interludes, from Peter Grimes, op 33a (1944-45). 17

Czerny, C. Concerto in C for piano duet and orchestra, op 153. 31

This concert is a blending of selected motets and madrigals of Gesualdo and Britten’s Songs and Proverbs of William Blake, op 74 with readings from The Doors of Perception

by Aldous Huxley. The Gesulado works are: Exaudi Deus, O vos omnes, Illumina faciem tuam, Tu m’uccidi, o crudele, Ardo per te, Violan quasi farfalle, Al mio gioir il ciel si fa sereno and Quando ridente e bella. 1:03

Offenbach, J. Cello duet in E, op 54 no 3 (1847). 22

Part 2: Horn Quintet

10:30 MORNING CONCERT Prepared by Michael Morton-Evans

Mozart, W. Horn quintet in E flat, K407 (1782). 17

Telemann, G. Overture in B flat, Völker Ouverture, for strings and continuo. 20

21:30 EASTERN INSPIRATION

Salieri, A. Concerto in D for oboe, violin, cello and orchestra (c1770). 25

Godard, B. Oriental symphony, op 84 (1884). 28

Geminiani, F. Concerto grosso in D minor, op 5 no 12, La follia (pub. 1726). 14

22:00 DIFFERING PATHS OF THE 20TH CENTURY Prepared by Calogero Panvino

Eberl, A. Variations on a Russian theme. 15

Mozart, W. String duo no 1 in G, K423 (1783). 17 Thomas, J. Grand duet in E flat for two harps. 13

Kiel, F. Piano concerto in B flat, op 30 (1864). 27 d’Indy, V. Symphonie italienne in A minor. 37 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

Messiaen, O. Theme and variations (1932). 7 Poèmes pour Mi, bks 1 and 2 (1936). 28 Chronochromie (1959-60). 24 Boulez, P. Flute sonatine (1946). 13

13:00 THE WOODS Prepared by Stephen Wilson Dvorák, A. From the Bohemian woods, op 68 (1884). 25

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Friday 5 August

Piano sonata no 2 (1948). 28 Éclat (1965). 10

Prokofiev, S. Piano concerto no 4 in B flat, op 53 (1931). 23 Dvorák, A. Symphony no 4 in D minor, op 13 (1874). 40 12:00 A JAZZ HOUR with Barry O’Sullivan 13:00 18TH CENTURY COMPOSITIONS Prepared by Frank Morrison

14:00 MIDNIGHT Prepared by Phil Vendy Britten, B. Midnight on the Great Western, op 52 (1953). 5 Brumby, C. Softly, O midnight hours! from Four romantic choruses. 3 Heuberger, R. Midnight bells, from The opera ball (1898; arr. Kreisler). 3

Bax, A. November woods (1917). 20

Glinka, M. The midnight review (1836). 6

Ireland, J. We’ll to the woods no more (1927).

Mahler, G. At midnight, from Rückert songs (1902). 6

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FOR FULL PROGRAM GUIDES TO FM AND DIGITAL VISIT: WWW.FINEMUSICFM.COM

Friday 5 August 14:30 CONTINENTAL MUSICAL ROUND-UP Dresden Prepared by Francis Frank Strauss, R. Till Eulenspiegel’s merry pranks, op 28 (1895). 15 Martinu, B. Concertino for piano trio and string orchestra (1933). 19 Wagner, R. Prelude to Act I, from Tristan and Isolde (1857-59). 11

Saturday 6 August 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SATURDAY MORNING MUSIC with Stephen Wilson 9:00 ORCHESTRAS AROUND THE WORLD Dresden Staatskapelle Prepared by Brian Drummond Weber, C.M. Overture to Abu Hassan (1811). 4

Mozart, W. Symphony no 41 in C, K551, Jupiter (1788). 35

Mozart, W. Clarinet concerto in A, K622 (1791). 30

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

Bruckner, A. Symphony no 1 in C minor (1866). 47

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

10:30 MUSIC FOR SMALL FORCES Martini, G. Largo for trumpet and organ. 5

15:00 OPERETTA IN THE AFTERNOON Prepared by Elaine Siversen Sullivan, A. The pirates of Penzance.

Operetta in two acts. Libretto by W.S. Gilbert.

First performed London, 1879. 1:22 Sullivan, A. Excerpts from Trial by jury (1866). 31 Excerpts from Ruddigore (1887). 12 17:30 STAGING MUSIC with Angela Cockburn 18:00 SOCIETY SPOT Folk Federation of NSW 19:00 THE MAGIC OF STAGE AND SCREEN with Annabelle Drumm

Haydn, J. Divertimento in B flat for winds, Hob.II:46, St Antoni (bef. 1784). 10

20:00 INFLUENCES AND CONNECTIONS Alexander Skryabin Prepared by Katy Rogers-Davies

Paganini, N. Sonata in A minor for violin and guitar, Centone di sonate. 10

Chopin, F. Preludes, op 28: no 2 in B flat; no 22 in G minor; no 23 in F; no 24 in D minor. 6

Tchaikovsky, P. Fantasy overture: Romeo and Juliet (1869/80). 20

Mozart, W. Overture to The magic flute, K620 (1791; arr. Binkley for mandolins). 7

Skryabin, A. 24 Préludes, op 11 (1888-96). 34

Liszt, F. Piano concerto no 1 in E flat (1849/53-56). 19

Glinka, M. Trio pathétique in D minor (1832). 17

Rimsky-Korsakov, N. Symphony no 3 in C, op 32 (1886). 35

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

20:00 THE ROMANTIC CENTURY Prepared by Robert Small

Tchaikovsky, P. String serenade in C, op 48 (1880). 31 22:00 BAROQUE AND BEFORE Music from Venice Prepared by Robert Small Luzzaschi, L. Aura ch’ errando intorno; Itene a volo; Lungi da te cor mio; Se la mia vita sete. 10

Anderson, L. Serenata. 4

Skryabin, A. Five preludes, op 74 (1914). 7

Vivaldi, A. Largo, from Violin concerto in F minor, Winter. 2

22:00 SATURDAY NIGHT AT HOME Prepared by Rex Burgess

Sousa, J.P. Under the Cuban flag, from Cubaland suite. 5

Salieri, A. Ballet: Pafio and Mirra (1778). 24

Monteverdi, C. Il ballo delle ingrate (1638). 32

12:00 JAZZ SATURDAY @ STUDIO A with Leita Hutchings

Albinoni, T. Concerto in D minor for oboe, strings and continuo, op 9 no 2. 12 Luzzaschi, L. Credete a me; Cor mio, benché lontana; Gioite voi canto. 7

Prokofiev, S. Cello sonata, op 119. 24 Roslavets, N. In the hours of the new moon (c1910). 12

Arnold, D. Theme from Independence Day (arr. Rocky). 7

Gabrieli, A. Missa Pater peccavi. 28

Sorabji, K. Pastiche on Rimsky-Korsakov’s Hindu merchant’s song from Sadko. 4

Chaplin, C. Smile. 3

Vivaldi, A. Concerto in D minor for two violins and cello, RV565 (pub. 1711). 9

Vivaldi, A. Concerto in B minor for four violins and cello, RV580 (pub. 1711). 9

Taneyev, S. Overture to Oresteia, op 6 (1889). 21

13:00 ROMANTIC CHAMBER MUSIC Prepared by Phil Vendy

Neukomm, S. Clarinet quintet in B flat, op 8 (c1804). 27 Carulli, F. Concerto in G for flute, guitar and orchestra. 22 Haydn, J. Concerto in F for violin, organ and orchestra, Hob.XVIII:6 (bef. 1766). 20 Paganini, N. String quartet no 1 (c1815). 19

Chausson, E. Piano trio in G minor, op 3 (1881). 32 Coleridge-Taylor, S. Clarinet quintet in F sharp minor, op 10 (1895). 30 Doppler, F. Idylle: Birds of the woods, op 21. 6 Nin, J. Seguida española. 10 Herzogenberg, H. String quintet in C minor, op 77 (1892). 30

August 2016

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Sunday 7 August 12:00 SYDNEY JAZZ CLUB PRESENTS Speak easy, swing hard with Richard Hughes The Golden Era of jazz, as seen through the knowledge and experience of one of Australia’s leading exponents

13:00 WORLD MUSIC: Whirled Wide Showcases diverse music from cultures around the world, both traditional and modern, featuring musicians from all corners of the globe, including Australia 14:00 SWEDISH CHAMBER Prepared by Maureen Meers Iván Fischer - 3pm Sunday Special

0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SUNDAY MORNING MUSIC with Terry McMullen 9:00 MUSICA SACRA Prepared by Barrie Brockwell Bach, J.S. Cantata, BWV174: Ich liebe den Hoechsten von ganzen Gemüte (1729). 6 Zelenka, J. Magnificat anima mea Dominum in C (1727). 11 Liszt, F. Litanei auf das Fest aller Seelen, from Geistliche Lieder by Schubert (transcr.

1840). 4 Heinichen, J. Beatus vir. 4 Haydn, J. It is finished, from The seven last words of our Saviour from the cross, Hob. III:50-56 (1787). 6 Haydn, M. Timete Dominum, offertory (1777; rest. Baude-Delhommais). 8 Franck, C. Alleluia, from Choeur de Pâques. 10 10:00 THE CLASSICAL ERA Prepared by Barrie Brockwell Philidor, F-A. Symphony no 27 in G, (Overture to Le maréchal ferrant) (1761). 13 Martini, J. Plaisir d’amour (1780). 4 Grétry, A-E-M. Flute concerto in C. 15 Gluck, C. Divinités du Styx, from Alceste (1776). 4 Field, J. Piano concerto no 5 in C, Fire by lightning (1815). 27 Wind octet no 2 in E flat. 10 Mozart, W. String quartet no 19 in C, K465, Dissonance (1785). 31 26

Peterson-Berger, W. Slumber song, from Suite for violin and piano, op 15 (1896). 4 Pettersson, A. Elegy no 1 (1934); Romance (1942), 4 Berwald, F. Piano trio no 2 in F minor (1851). 21 Andrée, E. Piano quartet in A minor (1865). 23

Ola Rudner - 8.30pm New Horizons

18:00 THE BRENDEL LEGACY Prepared by Meg Matthews Mozart, W. Piano sonata no 3 in B flat, K281 (1775). 15 Adagio in B minor, K540. 10 Piano sonata no 13 in B flat, K333. 22

15:00 SUNDAY SPECIAL THE ZODIAC: Born under Leo Prepared by Ron Walledge

19:00 SUNDAY NIGHT CONCERT Prepared by Stephen Matthews

Berwald, F. Concert piece in F, op 2 (1820). 11

Dussek, F. Sinfonia in B flat. 21

Debussy, C. Images, bk I (1905). 16 Glazunov, A. Violin concerto in A minor, op 82 (1904). 20

Brixi, F. Harpsichord concerto in G. 14 Zelenka, J. Sinfonia concertante in A minor. 24 Bach, C.P.E. Oboe concerto in E flat. 23

Granados, E. La maja y el ruiseñor, from Goyescas (1911). 10

20:30 NEW HORIZONS Prepared by Paul Cooke

Dohnányi, E. Variations on a nursery song, op 25. 23

Greenaway, S. The feud suite (2014). 7

Bliss, A. Ballet suite from Checkmate (1937). 25 17:00 HOSANNA Prepared by Stephen Matthews

Tally, M. Winter island (2009). 16 Bruun, P. Letters to the ocean (2006). 17 Clements, D. Groaning oceans. 6

Hymns: Guide me O thou great Jehovah. 4

Beamish, S. Viola concerto no 2, The seafarer (2001). 28

Hymns: Let all mortal flesh; My song is love unknown. 4

Sculthorpe, P. Harbour dreaming: Between five bells (2000). 7

Ryba, J. Missa in B, Litaniae lauretanae. 9

22:00 AFTER HOURS JAZZ with Kevin Jones

Bach, J.S. Magnificat, BWV733. 5 Grechaninov, A. Our Father. 5 Bach, J.S. Jesu, meine Freude. 12 Britten, B. Anthem: A hymn to the Virgin. 4 Tavener, J. Anthem: A hymn to the Mother of God. 2 Tallis, T. Hymn: Glory to my God this night. 3

FOR FULL PROGRAM GUIDES TO FM AND DIGITAL VISIT: WWW.FINEMUSICFM.COM

Monday 8 August

Tuesday 9 August

Tadaaki Otaka - 10.30am Morning Concert

Jonathan Carney. Image - Chris Lee - 1pm Chamber Greats

Rafael Frühbeck de Burgos - 9am Diversions in Fine Music

0:00 CLASSIC-ALL THROUGH THE NIGHT

13:00 CHAMBER GREATS Prepared by Gabi Goddard

0:00 CONTEMPORARY COLLECTIVE

6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with James Hunter 9:00 DIVERSIONS IN FINE MUSIC A year in retrospect: 1709 Prepared by Francis Frank Torelli, G. Concerto grosso in E minor, op 8 no 9 (pub. 1709). 14 Croft, W. Jubilate in D (1709). 12 Rossi, C. de Sinfonia, from Il sacrifizio di Abramo (1709; ed. Jackson). 7 Montéclair, M. de The death of Dido (1709). 13 Dornel, L-A. Suite in E minor, from Six suites en trio (1709). 13 Zelenka, J. Immisit Dominus pestilentiam, ZWV58 (1709). 20 10:30 MORNING CONCERT Prepared by Derek Parker Rossini, G. Overture to Ricciardo e Zoriade (1818). 9 Vaughan Williams, R. Tuba concerto in F minor (1954). 13 Rachmaninov, S. Symphony no 2 in E minor, op 27 (1906-09). 1:02 12:00 SWING SESSIONS with John Buchanan

Mozart, W. Divertimento in B flat, K137 (1772). 11 Beethoven, L. Grosse Fuge in B flat, op 133 (1826). 14 Schubert, F. Piano quintet in A, D667, The trout (1819). 34 Bartók, B. String quintet no 4 (1928). 23 14:30 A CAPPELLA Prepared by Susan Briedis Dunstaple, J. Quam pulchra es. 3 Sweelinck, J. Hodie Christus natus est. 3 Messiaen, O. O sacrum convivium. 5 Ravel, M. Nicolette (1915); Trois beaux oiseaux du paradis (1915); Ronde (1915). 8 Kodály, Z. Esti dal (1904). 3

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: Yehudi Menuhin, violin Prepared by Anne Irish Saint-Saëns, C. Havanaise (1887). 10 Beethoven, L. Violin sonata in F, op 24, Spring (1805). 26 Berlioz, H. Serenade, from Harold in Italy, op 16 (1834). 6 Beethoven, L. Faithful Johnie, op 108 no 20 (1818). 4

15:00 FROM THE 19TH CENTURY Prepared by Frank Morrison

Mendelssohn, F. Violin concerto in E minor, op 64 (1844). 27

Spohr, L. Violin concerto in A, WoO12 (1804). 20

Elgar, E. Pomp and circumstance march in D, op 39 no 1 (1901). 6

Berwald, F. Play of the elves (1842). 8 Gounod, C. Il se fait tard … O nuit d’amour, from Faust (1859). 9 Glinka, M. Trio pathétique in D minor (1832). 16 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with David Brett 19:00 JAZZ NICE ‘N EASY with Ken Weatherley

10:30 MORNING CONCERT Prepared by Elaine Siversen Grétry, A-E-M. Overture to Le Magnifique (1773). 10 Jongen, J. Symphonie concertante for organ and orchestra (1926). 35 Franck, C. Symphony in D minor, op 48 (1887-88). 37

20:00 STORMY MONDAY with Austin Harrison and Garth Sundberg

12:00 JAZZ RHYTHM with Jeannie McInnes

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

13:00 LEGENDARY SINGERS with Randolph Magri-Overend August 2016

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Tuesday 9 August

Wednesday 10 August 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 Composers of the 18th century Prepared by Richard Verco Kozeluch, L. Clarinet concerto in E flat (bef.

1790). 22 Dauvergne, A. Concert de simphonies in F, op 3 no 2 (1751). 21 Haydn, J. Piano sonata no 19 in E minor, Hob.XVI:47bis (c1765). 14

Jésus López-Coboz - 2pm Classical Jukebox

14:00 CLASSICAL JUKEBOX Prepared by Randolph Magri-Overend Beethoven, L. Overture no 3 to Leonore, op 72a (1806). 16 Respighi, O. La boutique fantasque, op 40 (1919). 42 Vivaldi, A. Violin concerto no 3 in F, RV293, Autumn, from The four seasons (pub. 1725). 13 Mendelssohn, F. Symphony no 3 in A minor, op 56, Scottish (1842). 41 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Derek Parker 18:00 Sydney Symphony Orchestra 2017 Season Launch Produced by Andrew Bukenya 19:00 THE JAZZ BEAT with Lloyd Capps 20:00 RECENT RELEASES with David Ogilvie 22:00 CHAMBER SOIRÉE Prepared by Paul Cooke

Dittersdorf, C. Double bass concerto in E. 24 10:30 MORNING CONCERT Prepared by Frank Morrison Gade, N. Overture: Echoes from Ossian, op 1 (1840). 15

Kalinnikov, Vasily. Symphony no 2 in A (1897). 40

Humperdinck, E. Königskinder. Opera in three acts. Libretto by Ernst Rosmer. First performed New York,1910. 2:44

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

23:00 ROMANTIC PIANO: CHOPIN Prepared by Emyr Evans Chopin, F. Piano sonata no 2 in B flat minor, op 35 (1839). 22 Piano concerto no 2 in F minor, op 21 (1829). 33

15:00 OFFENBACH EXPLORED Prepared by Michael Morton-Evans Offenbach, J. Suite for two cellos, op 54 no 1. 20

Berwald, F. Grand septet in B flat for winds and strings (1842). 23

Can-can, from Orpheus in the Underworld (arr. Pearce). 2

Vieuxtemps, H. Viola sonata, op posth. no 14, Unfinished. 25

Fly duet, from Orpheus in the Underworld. 6 Valse tyrolienne, from Un mari à la porte (1859). 4 Symphonie de l’avenir: Marche des fiancés, from Le carnaval des révues. 4 Réverie au bord de la mer (1848; arr.

Geese). 6

28

19:00 JAZZ STARS AND STRIPES with Peter Mitchell 20:00 AT THE OPERA Prepared by Annabel Drumm

Overture to Orpheus in the Underworld (1858/74). 9

Rheinberger, J. Six pieces for violin and organ, op 150. 30

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

Shostakovich, D. Cello concerto no 1, op 107 (1959). 29

Avison, C. Bassoon sonata in F. 7

Clarke, R. Piano trio (1921). 25

Theodore Kucha - 9am Diversions in Fine Music

Fine Music Presenter: Michael Morton-Evans

FOR FULL PROGRAM GUIDES TO FM AND DIGITAL VISIT: WWW.FINEMUSICFM.COM

Thursday 11 August

Friday 12 August

0:00 CONTEMPORARY COLLECTIVE

0:00 CONTEMPORARY COLLECTIVE

3:00 CLASSICAL TILL DAWN

3:00 CLASSICAL TILL DAWN

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

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

9:00 DIVERSIONS IN FINE MUSIC Two’s company Prepared by Elaine Siversen

9:00 DIVERSIONS IN FINE MUSIC Only strings Prepared by Di Cox

Albinoni, T. Sinfonia in G for two oboes and orchestra (arr. Camden). 8

Bach, J.S. Prelude, fugue and allegro in E flat, BWV998 (1735-45). 13

Giuliani, M. Grand duo concertante for flute and guitar, op 85 (pub. 1817). 21

Haydn, J. String duo no 1 in F, Hob.VI:1 (bef.

1777). 9

Bruch, M. Fantasy for two pianos, op 11 (1860). 10 Damase, J-M. Sonatina for two harps. 15 Kodály, Z. Duo for violin and cello, op 7 (1914). 26 10:30 MORNING CONCERT Prepared by Paul Hopwood Arensky, A. Suite from ballet Egyptian nights, op 50a (1902). 20 Haydn, J. Trumpet concerto in E flat, Hob. VIIe:1 (1796). 15 Tchaikovsky, P. Symphony no 1 in G minor, op 13 (1866). 45 12:00 JAZZ, PURE AND SIMPLE with Maureen Meers 13:00 MUSICAL ROUNDABOUT Amsterdam Prepared by Francis Frank Wassenaer, U. Concerto no 3 in A, from Sei concerti armonici. 9 Blankenburg, Q. Cantata: L’apologie des femmes (1715). 12 Tollius, J. Zefiro torna. 6 Boetzelaer, J. Tornate sereni, from Achille in Sciro. 6 Fesch, W. de Concerto in 7 parts, op 10 no 5 (1741). 6

Mozart, W. Serenade no 13 in G, K525, Eine kleine Nachtmusik (1787). 20 Mstislav Rostropovich - 9am Diversions in Fine Music

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: Alicia Crossley and the Australian Art Quartet Kats-Chernin, E. Reinventions 1, 2 and 3 (2004). 12

Nielsen, C. Symphony no 1, op 7 (1889-94). 34

Smetana, B. The Moldau, from My country (1872-79). 11

Beethoven, L. Symphony no 6 in F, op 68, Pastoral (1808). 40

Part 2: Baroque Guitars

12:00 A JAZZ HOUR with Barry O’Sullivan

Bach, J.S. Chaconne, from Violin partita no 2 in D minor, BWV1004 (1720; transcr. for guitar). 15 Murcia, S. de Two guitar pieces. 6 Bach, J.S. Lute suite no 3 in E, BWV1006a (1720; arr. Bach from Violin partita no 3, BWV1006; transcr. for guitar). 19 21:30 CHORAL SCHUMANN

Jagdlieder, op 137 (1849). 11

Schumann, C. Piano concerto in A minor, op 7 (1835-36). 22

10:30 MORNING CONCERT Prepared by Anne Irish

Telemann, G. Recorder concerto in C, TWV51:C1. 17

14:00 OPUS 7 Prepared by Randolph Magri-Overend

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

Borodin, A. String sextet in D minor (1860-61). 8

Dvorák, A. Violin concerto in A minor, op 53 (1879). 31

Schumann, R. Romances and ballads, bk II, op 75 nos 1-5 (1849). 14

Handel, G. Organ concerto in D minor, HWV309. 14

Haydn, J. String quartet no 4 in B flat, op 76 no 4, Sunrise (1799). 23

Meale, R. Cantilena pacifica (1980), 9

Wassenaer, U. Concerto no 1 in G, from Sei concerti armonici. 12

Rachmaninov, S. The Rock, fantasy, op 7 (1893). 13

Debussy, C. The girl with the flaxen hair; The interrupted serenade, from Preludes bk 1 (1910) . 5

22:00 DIFFERING PATHS OF THE 20TH CENTURY Prepared by Phil Vendy Ornstein, L. Piano sonata no 4 (1924). 20

13:00 MUSICAL ROUNDABOUT Mannheim Prepared by Francis Frank Salieri, A. Overture to Daliso and Delmita (1776). 3 Bruch, M. String quartet in E, op 10 (pub.

1860). 29 Mozart, W. Laudate Dominum, from Vesperae solennes de confessore, K339 (1780). 5 Burgmüller, N. String quartet no 1 in D minor, op 4 (1825). 29 Telemann, G. Concerto for trumpet, two oboes and continuo. 12

Piston, W. Flute quintet (1942). 18

14:30 ON THE PROMENADE Prepared by Frank Morrison

Ibert, J. Suite from Golgotha (1935). 35

Martinu, B. Promenades (1939). 8

Lemba, A. Symphony in C sharp minor (1908). 40

Gershwin, G. Promenade (c1937). 3 Elgar, E. Six promenades (1878). 14 August 2016

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Friday 12 August

Saturday 13 August 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SATURDAY MORNING MUSIC with David Garrett 9:00 ORCHESTRAS AROUND THE WORLD New York Philharmonic Orchestra and Leonard Bernstein Prepared by Randolph Magri-Overend Rossini, G. Overture to The Italian girl in Algiers (1816). 7 Gershwin, G. An American in Paris (1928). 18 Ives, C. The unanswered question, from Two contemplations (1906). 5 Bernstein, L. Symphonic dances, from West Side story (1960). 21

The Lindsays - 9am Diversions in Fine Music

15:00 MELTING AND MOVING MOMENTS Prepared by Robin Mitchell

22:00 BAROQUE AND BEFORE Prepared by Andrew Dziedzic

Shostakovich, D. Youth (Romance), from The Gadfly, op 97. 3

Bach, J.S. Schübler chorales, BWV645-650: Wachet auf, ruft uns die stimme (1731); Wo soll ich fliehen hin, (1747); Wer nur den lieben Gott lässt walten (1747); Meine Seele erhebet den Herren (1747); Ach bleib bei uns, Herr Jesu Christ (1747); Kommst du nun, Jesu, vom Himmel herunter (1747). 17

Vaughan Williams, R. Fantasia on a theme

by Thomas Tallis (1910). 15 Bruch, M. Kol nidrei, op 47 (1881). 10 Saint-Saëns, C. Introduction and rondo capriccioso, op 28 (1870). 9 Mascagni, P. Intermezzo, from Cavalleria rusticana (1890). 3 Ravel, M. Tzigane, concert rhapsody (1924). 10 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Lloyd Capps

Telemann, G. Heroic music, TWV50:31-42 (1728). 19 Buxtehude, D. Jubilate Domino, BuxWV64 (c1667). 9 Vivaldi, A. Trio in G minor, RV82 (c1730). 9

19:00 FRIDAY JAZZ SESSION with Sally Cameron

Tartini, G. Violin concerto no 2 in E minor, D55 (arr. for organ). 15

20:00 THE ROMANTIC CENTURY Prepared by Katy Rogers-Davies

Stanley, J. Organ voluntaries: in D minor, op 6 no 5 (pub. 1752); in G, op 7 no 9 (pub.

1754), 10

Rachmaninov, S. Piano concerto no 2 in C minor, op 18 (1900-01). 33 Delibes, L. Flower duet: Beneath the dome heavy with Jasmine, from Lakmé (1883). 4 Tchaikovsky, P. The black swan, from Swan Lake (1875). 9 Wagner, R. The ride of the Valkyries, from Die Walküre. 5

30

Handel, G. Organ concerto no 1 in G minor, HWV289 (1735-36). 16

Scarlatti, D. Te Deum. 6 Bach, J.S. Fugue in D minor, BWV680, Great (1739) 4

Bizet, G. Symphony no 1 in C (1855). 28 10:30 MUSIC FOR SMALL FORCES Prepared by Paul Hopwood Telemann, G. Trio sonata in F for recorder, violin and harpsichord (pub. 1715). 7 Brahms, J. Piano quartet no 2 in A, op 26 (1861-62). 48 11:30 ON PARADE Military and Cavalry Bands Prepared by Robert Small Gossez, A. Sur l’esplanade march. 3 Arnold, M. Excerpts from The United Nations. 5 Anon. La Saint Louis retour de croisade, et Scène de chasse. 6 Alford, K. Colonel Bogey march 4 Rauski, J. March of the Sambre et Meuée Regiment (1915). 5 Strauss, J. I Radetsky march. 2 12:00 JAZZ SATURDAY @ STUDIO A with Leita Hutchings 13:00 IN A SENTIMENTAL MOOD with Maureen Meers Nostalgic music and artists from the 30s, 40s and 50s and occasionally beyond, in a trip down many memory lanes 14:00 ROAMING AROUND Prepared by Frank Morrison

Bizet, G. Suite from Carmen (1875). 12

Bach, J. Christian Sinfonia in E for double orchestra, op 18 no 5 (c1781). 15

Puccini, G. Con onor muore, from Madama Butterfly (1904). 3

Brahms, J. Scherzo in E flat minor, op 4 (1851). 9

Verdi, G. Dies irae, from Messa da Requiem (1874). 4

Debussy, C. Prélude à l’après-midi d’un faune (1894). 12

Strauss, R. Also sprach Zarathustra, op 30 (1896). 32

Glière, R. Eight pieces for violin and cello, op 39 (1909). 17

FOR FULL PROGRAM GUIDES TO FM AND DIGITAL VISIT: WWW.FINEMUSICFM.COM

Sunday 14 August

Saturday 13 August 15:00 THE RED POPPY Prepared by Di Cox

0:00 CLASSIC-ALL THROUGH THE NIGHT

Glière, R. Ballet: The red poppy (1926-27). 1:48

6:00 SUNDAY MORNING MUSIC with Robert Small

Tchaikovsky, P. 50 Russian folksongs for piano duet (1868-69). 33

9:00 MUSICA SACRA Prepared by Francis Frank

17:30 ARTS IN FOCUS

Charpentier, M-A. Sur la naissance de Notre Seigneur Jesus Christ (1683-85). 19

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 Leigh, M. Excerpts from The man of La Mancha (1965). 17 Arnold, M. Orchestral suite: Inn of the Sixth Happiness (1958). 14 Rodgers, R. Excerpts from The flower drum song (1958). 18 20:00 INFLUENCES AND CONNECTIONS Ottorino Respighi Prepared by Rex Burgess Respighi, O. Three chorales of J.S. Bach (orch. Respighi). 12 Pastorale for violin and strings after Pastorale

by Tartini (1908). 12 Molinaro, S. Ballo detto il Conte Orlando. 2 Caroso, F. Improvisation on La Monica. 7 Respighi, O. Ancient airs and dances, suite no 2 (1924). 19

Gounod, C. Requiem in C (1893). 36 10:00 THE CLASSICAL ERA Prepared by Di Cox Weber, C.M. Overture to Der Freischütz (1821). 10 Mozart, W. Sinfonia concertante no 2 in E flat, K364 for violin, viola and orchestra (1779). 29 Krommer, F. Clarinet quartet in B flat, op posth. 19 Beethoven, L. Adelaïde, op 46 (1794-95). 7 Haydn, J. Andante and variations in F minor, Hob.XVII:6 (1793). 13 Sor, F. Memories of an evening in Berlin, op 56 (pub. c1834). 11 Dittersdorf, C. Sinfonia in A minor (c1770). 19 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

Martucci, G. Andante, op 69 no 2. 11 Respighi, O. Brazilian impressions (1928). 20

13:00 WORLD MUSIC: Whirled Wide

Rossiniana (1925). 26

14:00 ROAMING AROUND Prepared by Frank Morrison

22:00 SATURDAY NIGHT AT HOME From concerts recorded by Fjne Music Prepared by Elaine Siversen Rojas, D. Chamber concerto for marimba and orchestra (c2013). 24 Strauss, R. Violin sonata in E flat, op 18 (1887-88). 29 Dvorák, A. Piano trio in E minor, op 90, Dumky (1891). 32 Vivaldi, A. Psalm 110: Dixit Dominus, RV594. 28

Locatelli, P. Violin concerto in D, op 3 no 1, from The art of the violin (pub. 1733). 17 Dvorák, A. Slavonic rhapsody in G minor, op 45 no 2 (1878). 12 Grainger, P. Green bushes for six hands on two pianos (1905-06). 8 Milhaud, D. Le boeuf sur le toit, op 58 (1919). 16 15:00 SUNDAY SPECIAL A tribute to Elsie Morison Prepared by Elaine Siversen

17:00 HOSANNA Prepared by Meg Matthews Hymns: God that madeth earth and Heaven; Angel voices; Thou whose almighty word. 7 Alfonso X, El Sabio. The pilgrim of St James. 9 Tabart, P. Te Deum. 11 Psalms: no 84, O how amiable are thy dwellings; no 81, Sing we merrily unto God. 8 Mendelssohn, F. A Lutheran creed: Wir glauben all an einen Gott. 6 The guardian angel; Hymn in praise of the Lord. 5 Rachmaninov, S. Virgin, mother of God, from Vespers, op 37 (1915). 2 18:00 THE BRENDEL LEGACY Prepared by Meg Matthews Mozart, W. Piano concerto no 9 in E flat, K271, Jeunehomme. 34 Piano sonata no 12 in F, K332. 20 19:00 SUNDAY NIGHT CONCERT Prepared by Frank Morrison Kraus, J.M. Overture to Olympie (c1785). 6 Rimsky-Korsakov, N. Suite from The golden cockerel (1909). 27 Dohnányi, E. Symphony no 2 in E, op 40 (1943-44). 50 20:30 NEW HORIZONS Prepared by James Nightingale Peterson, J. Impressions of Shanghai (2010). 5 Ford, A. Willow songs (2009). 18 Thomas, Augusta. In my sky at twilight (2002). 19 Gotkovsky, I. Incandescence. 19 Birtwistle, H. The moth requiem (2012). 19 22:00 AFTER HOURS JAZZ with Kevin Jones

Sullivan, A. Excerpts from The Gondoliers (1889). 8 None shall part us, from Iolanthe (1882). 3 Berlioz, H. The childhood of Christ, op 25 (1850-54). 1:37

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Monday 15 August

Tuesday 16 August 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: Stephanie McCallum, piano Prepared by Elaine Siversen d’Indy, V. Poem of the mountains, op 15 (1881). 20 Saint-Saëns, C. Romance, op 37 (1871). 6 Alkan, C-V. Étude in G flat, op 35 no 10, Song of love - song of death (1847). 10

Hector Berlioz - 10.30am Morning Concert

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: 1892 Prepared by Paul Cooke Saint-Saëns, C. Breton rhapsody, op 7bis (1892). 11 Reinecke, C. Wind octet in B flat, op 216 (1892). 23 Beach, A. Dreaming, op 15 (1892). 6 Rachmaninov, S. Prelude in C sharp minor, op 3 no 2 (1892). 4

d’Indy, V. Summer day in the mountains, op 61 (1905). 30

Weber, C.M. Piano sonata no 4 in E minor, op 70 (1819-22). 24

Boyd, A. Cloudy mountain (1981). 9

10:30 MORNING CONCERT Prepared by Maureen Meers

Daverne, G. Symphonic poem: The Southern Alps (1981). 14

Rimsky-Korsakov, N. Suite from The snow maiden (1880-81). 13

15:00 FROM THE 19TH CENTURY Seldom heard composers Prepared by Frank Morrison

Mozart, W. Concerto for flute, harp and orchestra, K299 (1778). 31

Volkmann, R. Serenade no 2 in F, op 63 (1870). 12

Atterberg, K. Symphony no 3 in D, op 10, West Coast pictures (1914-16). 37

Holmès, A. Trois petites pièces (1897). 7

12:00 JAZZ RHYTHM with Jeannie McInnes

Czerny, C. Capriccio à la fuga, op 89 (1826). 5

13:00 FEATURING STUART CHALLENDER Prepared by Denis Patterson

Suk, J. String serenade in E flat, op 6 (1892). 24

Loewe, C. The innkeeper’s daughter, op 1 no 2 (1824). 4

Marshall-Hall, G. Adagio sostenuto, from Symphony in C minor (1892). 10

Bache, F. Piano concerto in E, op 18 (1856). 25

10:30 MORNING CONCERT Prepared by Rex Burgess

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

Debussy, C. La mer (1905). 24

19:00 JAZZ NICE ‘N EASY with Ken Weatherley

Berlioz, H. Les nuits d’été, op 7 (1840-41). 32

32

14:00 MOUNTAIN SCENES Prepared by Elaine Siversen

Beethoven, L. Cello sonata no 4 in C, op 102 no 2 (1815). 20

Ravel, M. Ballet: Mother Goose (1908-11). 28

20:00 STORMY MONDAY with Austin Harrison and Garth Sundberg

12:00 SWING SESSIONS with John Buchanan

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

Sculthorpe, P. Irkanda IV (1961). 11 Vine, C. Symphony no 2 (1988). 19 Bracanin, P. Violin concerto (1983). 23 Ravel, M. Boléro (1928). 15 Strauss, R. Transformation scene, from Daphne, op 82 (1937). 11 Mozart, W. Symphony no 41 in C, K551, Jupiter (1788). 29 15:00 MUSICAL ROUND-UP Prague Prepared by Francis Frank

13:00 SYDNEY SYMPHONY ORCHESTRA 2017 SEASON SPECIAL

Dvorák, A. Five Prague waltzes (1879). 9

Including an interview with Chief Conductor, David Robertson and announcement of the lucky winner of our SSO subscription competition

Suk, J. Symphonic poem: Prague, op 26 (1904). 25

Smetana, B. Prague carnival (1883). 6

Kabalevsky, D. Piano concerto no 4, op 99, Prague. 12

FOR FULL PROGRAM GUIDES TO FM AND DIGITAL VISIT: WWW.FINEMUSICFM.COM

Tuesday 16 August

Wednesday 17 August

Ari Rasilainen - 10.30am Morning Concert

Bénédicte Tauran - 8pm At The Opera

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

0:00 CONTEMPORARY COLLECTIVE

19:00 THE JAZZ BEAT with Lloyd Capps

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

20:00 RECENT RELEASES with Charles Barton 22:00 CHAMBER SOIRÉE Prepared by Sheila Catzel Herzogenberg, H. Trio in D, op 61 (1889). 22 Blanc, A. Septet, op 40. 27 Ravel, M. String quartet in F (1902-03). 28 Turina, J. Piano trio no 1, op 35 (1927). 22 Bridge, F. Three idylls for string quartet (1906). 13 Klatzow, P. Chamber concerto for seven (1979). 20

3:00 CLASSICAL TILL DAWN

9:00 DIVERSIONS IN FINE MUSIC Composers of the 18th century Prepared by Jennifer Foong Hummel, J. Introduction, theme and variations in F, op 102 (1805). 13 Schumann, R. Toccata in C, op 7 (182932). 7

Offenbach, J. Excerpts from Le papillon. 9 Overture to La belle Hélène (1864). 9 Amours divins, from La belle Hélène. 4 Overture to: Monsieur et madame Denis; Die Rheinnixen. 11 Allegro; Polonaise, from Suite for two cellos, op 54 no 2. 18 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Tom Forrester-Paton

Pleyel, I. Trio concertant in F, op 11 no 3. 10

19:00 JAZZ STARS AND STRIPES with Peter Mitchell

Schubert, F. Gesang de Geister über den Wassern, D714 (1821). 10

20:00 AT THE OPERA Prepared by Colleen Chesterman

Weber, C.M. Grand duet for clarinet and piano, op 48 (1815-16). 17

Pergolesi, G. La serva padrona. Opera in two acts. Libretto by Gennaro Federico. First performed Naples, 1733. 46

Mendelssohn, F. Piano quartet no 2 in F minor, op 2 (1823). 22 10:30 MORNING CONCERT Prepared by Michael Field

Rebel - Francoeur. Zélindor, roi des sylphes.

Opera in two acts. Libretto by FrançoisAugustin de Paradis de Moncrif. First performed Versailles, 1745. 51

Stravinsky, I. Suite from Pulcinella (191920). 23

22:00 HIGHLY STRUNG Prepared by Randolph Magri-Overend

Finzi, G. Clarinet concerto, op 31 (1949). 29 Borodin, A. Symphony no 2 in B minor (1869-76). 30 12:00 JAZZ SKETCHES with Robert Vale

Fine Music Presenter: Lloyd Capps

15:00 OFFENBACH EXPLORED Prepared by Michael Morton-Evans

Barber, S. Adagio for strings, op 11 (1938). 9 Elgar, E. String serenade in E minor, op 20 (1892). 12 Respighi, O. Suite for strings ( 1902; rev. di Vittorio). 28

13:00 YOUNG VIRTUOSI

Bernstein, L. Serenade for violin, strings, harp and percussion (1954). 31

14:00 IN CONVERSATION with Michael Morton-Evans

Tchaikovsky, P. String serenade in C, op 48 (1880). 32 August 2016

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Thursday 18 August 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 Two’s company Prepared by Michael Morton-Evans

Lyapunov, S. Polonaise, op 16 (1902). 7 Medtner, N. Nocturne no 1 in D, op 16 no 1 (1904-08). 5 Skryabin, A. Piano sonata no 9, op 68, Black mass (1912-13). 8 Mosolov, A. Legend, op 5 (1924). 6

Mozart, W. String duo no 2 in B flat, K424 (1783). 20

Glière, R. Suite from The red poppy, op 70 (1927). 26

Mendelssohn, F. Concert piece no 1 in F minor for clarinet, basset horn and orchestra, op 113 (1832). 7

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

Rheinberger, J. Six pieces, from Suite for violin and organ no 1, op 150. 38

19:00 THE NEW JAZZ STANDARD with Frank Presley

Vivaldi, A. Concerto in C for two trumpets and orchestra, RV537. 9

20:00 LIVE AND LOCAL Voices of Bohemia Recorded by Doug Jones for FINE MUSIC

Crusell, B. Clarinet duo in C, op 6 (1805). 10

Biber, H. Sonata no 4 in C. 5

10:30 MORNING CONCERT Prepared by Michael Morton-Evans

Dvorák, A. Four movements, from Cypresses (1887). 11

Maconchy, E. Overture: Proud Thames (1952). 6

Janácek, L. Youth (1924). 18

Arne, T. Symphony no 2 in F (1767). 10 Britten, B. Double concerto in B minor (1932). 22 Stanford, C. Villiers Symphony no 4 in F, op 31 (1889). 44 12:00 JAZZ, PURE AND SIMPLE with Maureen Meers 13:00 CLASSICAL FAVOURITES Prepared by Rex Burgess Mendelssohn, F. Overture: The Hebrides, op 26 (1830). 11 Beethoven, L. 15 Variations and a fugue on an original theme, op 35, Eroica (1802). 22 Schubert, F. The shepherd on the rock, D965 (1828). 12 Weber, C.M. Invitation to the dance, op 65 (1819). 9 14:00 COUPERIN REVISITED Prepared by Stephen Wilson Ravel, M. Le tombeau de Couperin (191317). 26 Strauss, R. Dance suite for small orchestra after François Couperin’s keyboard works, op 107 (1923). 28 34

15:00 RUSSIAN COMPOSITIONS 1900-1930 Prepared by Frank Morrison

Biber, H. Sonata à 3. 7 Salomen, E-P. Catch and release. 21

Friday 19 August 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 Carulli, F. Guitar concerto in A. 9 Eller, H. Elegia for harp and strings (1931). 13 Elgar, E. String serenade in E minor, op 20 (1892). 12 Brumby, C. Three guitar pieces (1978). 8 Blake, H. Suite for strings: A month in the country (1986-93). 13 Malipiero, G. Sesta sinfonia for strings (1947). 23 10:30 MORNING CONCERT Liszt, F. Symphonic poem no 6: Mazeppa (1851). 16 Glière, R. Harp concerto, op 74 (1938). 26 Beethoven, L. Incidental music to The ruins of Athens, op 113 (1811). 38

Martinu, B. Nonet (1959). 17

12:00 A JAZZ HOUR with Barry O’Sullivan

21:30 TCHAIKOVSKY IN SONG Prepared by Elaine Siversen

13:00 18TH CENTURY SELECTIONS Prepared by Frank Morrison

Tchaikovsky, P. Let my prayer arise (1885). 7

Abel, C. String quartet in A, op 8 no 5 (1769). 12

Evening, op 46 no 1 (1880). 8 The pure bright flame of truth; Hymn in honor of Cyril and Mefodi; The golden cloud had slept (1885-87). 10 22:00 DIFFERING PATHS OF THE 20TH CENTURY Prepared by Robert Small Bernstein, L. Symphony no 2, The age of anxiety (1948). 36 Ives, C. Violin sonata no 3 (1914-17). 30 Martinu, B. Symphony no 1 (1942). 37 Barber, S. Canzonetta for oboe and strings. 9

Manfredini, F. Concerto grosso no 11 in C minor, op 3. 7 Goldberg, J. Trio sonata in C for two violins and basso continuo. 11 Stanley, J. Organ concerto in B flat, op 16 no 6 (pub. 1775). 8 Zelenka, J. Capriccio no 2 in G. 14 14:00 CAPRICCIO BRITTANICA Prepared by Randolph Magri-Overend Vaughan Williams, R. The lark ascending (1914/20). 14 Quilter, R. Seven Elizabethan lyrics, op 12 (1908). 13 Tavener, J. Song for Athene (1993). 7 Parry, H. English suite (1921). 21 Walton, W. Suites from Façade: no 1 (1926); no 2 (1938). 21 Elgar, E. Variations on an original theme, op 36, Enigma (1899). 31

FOR FULL PROGRAM GUIDES TO FM AND DIGITAL VISIT: WWW.FINEMUSICFM.COM

Friday 19 August

Saturday 20 August 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SATURDAY MORNING MUSIC with Stephen Wilson 9:00 ORCHESTRAS AROUND THE WORLD Czech Philharmonic Orchestra Prepared by Frank Morrison Dvorák, A. Overture: In nature’s realm, op 91 (1891). 13 Smetana, B. Symphonic poem: Hakon Jarl, op 16 (1860-61). 16 Mozart, W. Piano concerto no 25 in C, K503 (1786). 30

Jiri Bélohlávek - 8pm The Romantic Century

16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Brendan Walsh 19:00 FRIDAY JAZZ SESSION with Sally Cameron

Janácek, L. Prelude, from The house of the dead (1927-28; arr. Chlubna, Bakala). 6 Prokofiev, S. Symphony no 1 in D, op 25, Classical (1916-17). 14 10:30 MUSIC FOR SMALL FORCES Prepared by Francis Frank

20:00 THE ROMANTIC CENTURY Prepared by Frank Morrison

Weber, C.M. Grand duet for clarinet and piano, op 48 (1815-16). 17

Arriaga, J. String quartet no 1 in D minor (1824). 23

Boccherini, L. Guitar quintet no 3 in B flat (1798). 23

Albéniz, I. Suite española (1886; orch.

Frühbeck de Burgos). 38

Boismortier, J. de Sonata no 5 in A, op 91 (pub. 1742). 13

Smetana, B. String quartet no 2 in D minor (1882-83). 17 Suk, J. Fairy tale, op 16 (1899-1900). 30 22:00 BAROQUE AND BEFORE Prepared by Elaine Siversen Part 1: Biagio Marini’s Italian contemporaries Banchieri, A. La pazzia senile (1598). 46 Frescobaldi, G. Toccata and partite: Variations on La romanesca (pub.1614/16/28). 14 Part 2: The glory of Venice: Biagio Marini

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

15:00 OPERETTA IN THE AFTERNOON Prepared by Elaine Siversen Offenbach, J. Les bavards. Operetta in two acts. Libretto by Charles-LouisÉtienne Nuittier, based on a story by Miguel Cervantes. First performed Paris, 1863. 58 Portez armes; Oui, Général, quelqu’un vous aime; Ah! C’est un fameux régiment, from La Grande Duchesse de Gérolstein (1867). 15 Les brigands. Operetta in three acts. Libretto

by Henri Meilhac and Ludovic Halévy. First performed Paris, 1869. 48 Overture; Couplets de pomme; J’en prendrai un, deux, trois, from Pomme d’api (1873). 11 17:30 THE VOICES, THE ROLES Prepared by Angela Cockburn 18:00 SOCIETY SPOT Classical Guitar Society Prepared by Sue McCreadie 19:00 THE MAGIC OF STAGE AND SCREEN with Sue Jowell 20:00 INFLUENCES AND CONNECTIONS Zoltan Kodály Prepared by Paul Cooke Bach, J.S. Gavottes 1 and 2, from Cello suite no 6 in D, BWV1012 (transcr. Bauer). 4 Debussy, C. String quartet in G minor, op 10 (1893). 25

Jenkins, K. For the fallen. 5

Kodàly, Z. Cello sonata, op 4 (1910/21). 18

Anderson, L. The wearing of the green. 4

Bartók, B. Dance suite (1923). 15

Graham, P. Celtic dream, from Windows of the world. 5 Sousa, J.P. Mother Hubbard march. 2 Lloyd Webber, A. Aspects of Andrew Lloyd Webber. 7

Kodály, Z. Intermezzo, from Suite from Háry János, op 15 (1927). 5 Dances of Marosszék (1930). 12 Rózsa, M. Variations on a Hungarian peasant song, op 4 (1929). 9 Doráti, A. Duo concertante for oboe and piano (1983). 13

Sinfonias, op 1: La Orlandina, La Gardana; La Ponte (1617-18). 6

12:00 JAZZ SATURDAY @ STUDIO A with Leita Hutchings

Echo sonata for three violins, op 8; Sonata no 3 for three violins, op 22 (Pub. 1626). 9

13:00 WACKY WORLD OF CLASSICS with Randolph Magri-Overend

Passacaglia and sonata, op 22; Ito ho mal aspri guai; Mirate nel cielo notturno; Con le stelle in ciel che mai (1622). 11

14:00 ALPHABETICAL CONDUCTORS The Bs Prepared by Randolph Magri-Overend

Mozart, W. Horn quintet in E flat, K407 (1782). 16

Hérold, F. Overture to Zampa (1831). 9

Mendelssohn, F. String octet in E flat, op 20 (1825). 34

Sinfonia grave: La Zorzi; Sonata à 6. 5 Canzonetta, Allegrezza de nuovo maggio; Canzonetta, Le Rugiade. 7 Capriccio for two violins and continuo. 5

Sibelius, J. Karelia suite (1893). 16 Wagner, R. Prelude, from The mastersingers of Nuremberg (1866-67). 10 Bernstein, L. Chichester psalms (1965). 19

Kodály, Z. Gavotte (1952). 3 22:00 SATURDAY NIGHT AT HOME

Vivaldi, A. Beatus vir in C, RV597. 26

Bizet, G. Symphony in C (1855). 36

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Sunday 21 August 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SUNDAY MORNING MUSIC with Terry McMullen 9:00 MUSICA SACRA Prepared by Paul Cooke Charpentier, M-A. Psalm no 126: Nisi Dominus (1670-90). 6

Telemann, G. Overture-suite in G for strings and continuo, des nations anciens et modernes TWV55:G4. 15 Kelly, T. O’Carolan’s suite in Baroque style (1978). 14 Stokowski, L. Two ancient liturgical melodies (1934). 6

Fauré, G. Requiem, op 48 (1893). 39

Foulds, J. Hellas, a suite of ancient Greece, op 45 (1932). 18

Pugnani, G. Overture no 1 in D. 13 Kozeluch, L. Octet: Parthia in F. 18

Respighi, O. Violin concerto gregoriano (1921). 32 Glazunov, A. Suite in E: From the Middle Ages, op 79 (1903). 23

Hummel, J. Concertino in G, op 73 (c1816). 16

17:00 HOSANNA Prepared by Richard Munge

Clementi, M. Sonata in C for piano four hands, op 14 no 1 (1786/1815). 18

Hymns: Angel voices ever singing; The church’s one foundation. 7

Viotti, G. Sinfonia concertante no 2 in B flat for two violins and orchestra (1786). 19

Psalm no 108, O God, my heart is ready. 3

Haydn, J. Symphony in A, Hob.I:87 (1785). 25 12:00 SYDNEY JAZZ CLUB PRESENTS Speak easy, swing hard with Richard Hughes

13:00 WORLD MUSIC: Whirled Wide 14:00 DRAMATIC OPERATIC DEATHS Prepared by Yola Center Mozart, W. Don Giovanni, you invited me to dine with you, from Don Giovanni, K527 (1787). 5 Puccini, G. Sola, perduta, abbandonata, from Manon Lescaut (1893). 7 Wagner, R. Love-death, from Tristan und Isolde (1857-59). 7 Purcell, H. But death, alas! ... When I am laid in earth ... With drooping wings, from Dido and Aeneas (1689). 9 Puccini, G. Sono andati, from La bohème (1896). 6 Verdi, G. Teneste la promessa ... ... Attendo, nè a me giungon mai ... Addio del passato, from La traviata (1853). 7 Wagner, R. Brunhilde’s immolation, from Götterdämmerung, (1869-74). 8 36

15:00 SUNDAY SPECIAL From Ancient Times Prepared by Elaine Siversen

Elgar, E. Great is the Lord, op 67 (1910). 10

10:00 THE CLASSICAL ERA Prepared by Sheila Catzel

Monday 22 August

Psalm no 143, Hear my prayer, O Lord. 4 Murrill, H. Magnificat; Nunc dimittis in E. 7 Stanford, C. Villiers Beati quorum via; Ye choirs of New Jerusalem. 8 Vaughan Williams, R. Lord, thou has been our refuge. 7

Jukka-Pekka Saraste - 3pm For Chamber Orchestra

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: 1864 Prepared by Derek Parker Tchaikovsky, P. Overture: The storm, op 76 (1864). 12

Rutter, J. Gloria, mvt 1. 5

Vieuxtemps, H. Three pieces for violin and piano, op 40 (1864). 16

Hymns: All creatures of our God and King; Now thank we all our God. 14

Brahms, J. Waltzes for piano, op 39 (1864). 18

18:00 FEATURING TWO PIANOS Prepared by Frank Morrison

Sullivan, A. Kenilworth (1864). 38

Mendelssohn, F. Concerto in E for two pianos and orchestra (1823). 29

10:30 MORNING CONCERT Prepared by Derek Parker

Martin, F. Étude no 4, from Études for two pianos (1956). 4

Bach, J.S. Overture no 3 in D, BWV1068 (bef. 1732). 24

Poulenc, F. Concerto in D minor for two pianos and orchestra (1932). 21 19:00 SUNDAY NIGHT CONCERT Prepared by Rex Burgess Britten, B. Four sea interludes, from Peter Grimes, op 33a (1944-45). 16

Mendelssohn, F. Violin concerto in E minor, op 64 (1844). 28 Saint-Saëns, C. Symphony no 3 in C minor, op 78, Organ (1886). 34

Berlioz, H. The death of Cleopatra (1829). 23

12:00 SWING SESSIONS with John Buchanan

Walton, W. Symphony no 1 in B flat minor (1931-35). 45

13:00 ROAMING AROUND Prepared by Frank Morrison

20:30 NEW HORIZONS Prepared by Nev Dorrington

Handel, G. Concerto grosso no 6 in G minor, HWV325 (1739). 17

Johannsson, J. Copenhagen dreams (2012). 41 Prisoners suite (2013). 31 Frahm, N. Solo remains (2016). 16 22:00 AFTER HOURS JAZZ with Kevin Jones

Beethoven, L. Six variations in F on an original theme, op 34 (1804). 12 Holst, G. Wind quintet in A flat, op 14 (1903). 15 Bartók, B. Rhapsody no 1 (1928). 9

FOR FULL PROGRAM GUIDES TO FM AND DIGITAL VISIT: WWW.FINEMUSICFM.COM

Monday 22 August

Tuesday 23 August 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: Stephen Hough, piano Prepared by Jennifer Foong Franck, C. Prelude, chorale and fugue (1884). 18 Longas, F. Aragón (pub 1935). 5 Mendelssohn, F. Variations sérieuses in D minor, op 54 (1841). 11

Paul Paray - 10.30am Morning Concert

14:00 A SPIRITUAL SOJOURN Prepared by Susan Briedis Josquin Desprez. Ave Maria ... Virgo serena. 5 Handel, G. Chandos anthem no 4: O sing unto the Lord a new song, HWV249 (171718). 15 Mozart, W. Laudate Dominum, from Solemn vespers, K339 (1780). 5

Bowen, Y. Romance no 2, op 45 (pub.

1917). 7 Liszt, F. Fantasia on themes from Mozart’s The marriage of Figaro (1842; arr Busoni). 15 Grieg, E. Cello sonata in A minor, op 36 (1883). 25 10:30 MORNING CONCERT Prepared by Michael Field Rachmaninov, S. The Rock, op 7 (1893). 14

Lily Laskine - 2.30pm Arranged & Original

14:30 ARRANGED AND ORIGINAL Prepared by Denis Patterson Rossini, G. Fantasia concertante on The Italian girl in Algiers (1813: arr for winds by Triebert, Jancourt). 10 Schubert, F. Sonata in A minor, D821, Arpeggione (1823; arr. Duka for double bass and piano). 22 Benjamin, A. Viola sonata (1942). 17

Brahms, J. Sacred song, op 30 (1856). 5

Spohr, L. Violin concerto no 8 in A minor, op 47 (1816). 18

Handel, G. Let the bright seraphim, from Samson, HWV57 (1743). 5

Beethoven, L. Symphony no 3 in E flat, op 55, Eroica (1803). 51

Tchaikovsky, P. Hymn to the Mother of God, op 41 (1878). 3

12:00 JAZZ RHYTHM with Jeannie McInnes

Tippett, M. Five negro spirituals, from A child of our time (1939-41). 11

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

13:00 ROMANTIC GERMAN CHAMBER Prepared by Gael Golla

15:00 FOR CHAMBER ORCHESTRA Prepared by Brian Drummond

19:00 THE JAZZ BEAT with Lloyd Capps

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

20:00 RECENT RELEASES with David Garrett

Schumann, R. Violin sonata no 3 in A minor, WoO27 (1853; arr. Isserlis for cello). 20

22:00 CHAMBER SOIRÉE

Mozart, W. Symphony no 35 in D, K385, Haffner (1782). 23 Respighi, O. Ancient airs and dances, suite no 1 (1917). 17 Prokofiev, S. Symphony no 1 in D, op 25, Classical (1916-17). 14 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Stephen Wilson

Bruch, M. Piece in D, op 83 no 4 (pub.1910). 4 Brahms, J. Piano trio no 3 in C minor, op 101 (1886). 21

Mozart, W. Concerto in C for flute, harp and orchestra, K299 (1778). 31

Debussy, C. Suite for piano: Children’s corner (1908). 16 Szymanowski, K. String quartet no 2, op 56 (1927). 18

14:00 FAMOUS ITALIAN ARIAS Prepared by Gabi Goddard

Schumann, R. Morning songs for piano, op 133 (1853). 14

19:00 JAZZ NICE ‘N EASY with Ken Weatherley

Rossini, G. Largo al factotum, from Il barbiere di Siviglia (1816). 5

Telemann, G. Deuxième suite in B minor (1730). 12

20:00 STORMY MONDAY with Austin Harrison and Garth Sundberg

Verdi, G. La donna è mobile, from Rigoletto (1851). 3

Hummel, J. Piano quintet in E flat minor, op 87 (1802). 23

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

Puccini, G. Nessun dorma, from Turandot (1920-24; compl. Alfano 1926). 3

Reichardt, J. Sextet for glass harp, string quartet and double bass. 8

Bellini, V. Sediziose voci ... Casta diva ... Ah! bello me ritorna, from Norma (1831). 13

Mozart, W. Horn quintet in E flat, K407 (1782). 17 August 2016

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Wednesday 24 August

Thursday 25 August

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 Composers of the 18th century Prepared by Madilena Tresca Mozart, W. Flute quartet no 3 in C, K285b (1777). 16 Kreutzer, R. Grand oboe quintet in C (179099). 15 Beethoven, L. String quartet in F, op 18 no 1 (1800). 30 Schubert, F. Notturno in E flat for piano trio, D897 (c1828). 9 Boccherini, L. Oboe quintet in G, op 45 no 1 (1797). 10 10:30 MORNING CONCERT Prepared by Paul Cooke MacCunn, H. The ship o’ the fiend, op 5 (fp.1888). 12 Mozart, W. Violin concerto no 4 in D, K218 (1775). 21

Vladimir Ashkenazy - 10.30am Morning Concert

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

0:00 CONTEMPORARY COLLECTIVE

19:00 JAZZ STARS AND STRIPES with Peter Mitchell

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

20:00 AT THE OPERA Prepared by Elaine Siversen Berlioz, H. The damnation of Faust, op 24.

Opera in four acts. Libretto by the composer after Goethe. First performed Paris, 1846. 2:10

3:00 CLASSICAL TILL DAWN

9:00 DIVERSIONS IN FINE MUSIC Two’s company Prepared by Elaine Siversen

Schmidt, F. Symphony no 4 in C (1933). 49

22:30 TRAVELLING BY TRAIN Prepared by Emyr Evans

Vivaldi, A. Concerto in C for two trumpets and strings, RV537 (arr. Leppard). 7

12:00 JAZZ SKETCHES with Robert Vale

Dreyfus, G. Suite fom A steam train passes (1974). 10

13:00 YOUNG VIRTUOSI

Choong, K-W. Logic in transit (1996). 5

Bach, J.S. Sonata in C for two violins and continuo, BWV1037. 15

14:00 IN CONVERSATION with Michael Morton-Evans

Theodorakis, M. The train leaves at eight. 4

Kuhlau, F. Concertino in F minor for two horns and orchestra, op 45 (1821). 23

Villa-Lobos, H. The little train of the Caipira, from Bachianas brasileiras no 2 (1930). 5

Clementi, M. Sonata for two organs. 11

Grainger, P. Train music (1901; arr.

Rathburn). 2

Beach, A. Suite on Irish melodies for two pianos, op 104 (c1920). 24

Southern Crossings. Nullabor train. 4

10:30 MORNING CONCERT Prepared by Yuan Ren

15:00 OFFENBACH EXPLORED Prepared by Michael Morton-Evans Offenbach, J. Overture to La vie parisienne (1866; arr. Dorati). 5 Nous entrons dans cette demeure, from La vie parisienne. 6

Glass, P. Night train, from Einstein on the beach (1975). 20

Overture for large orchestra. 13

Reich, S. Different trains (1988). 27

Overture; Couplets de Boulette, from Bluebeard (1866). 6 Overture; Ah! que j’aime les militaires!, from La Grande-Duchesse de Gérolstein (1867). 8 Gendarmes’ duet, from Geneviève de Brabant (1859). 2 Overture; Ariette de la griserie; Entr’acte, from La périchole (1868). 8 J’en prendrai un, deux, trois, from Pomme d’api (1873). 2 38

Jacques Offenbach - 3pm Offenbach Explored

Bach, J. Christian Symphony in D, op 18 no 4 (1772; ed. Maunder). 11 Lully, J-B. Excerpts from L’Amour médecin, comédie-ballet (1665). 11 Mozart, W. Symphony in B flat, K74g (c1771). 15 Dvorák, A. Cello concerto in B minor, op 104 (1895). 42 12:00 JAZZ, PURE AND SIMPLE with Maureen Meers

FOR FULL PROGRAM GUIDES TO FM AND DIGITAL VISIT: WWW.FINEMUSICFM.COM

Friday 26 August

Thursday 25 August 13:00 MUSICAL ROUND-UP Iceland Prepared by Francis Frank Isolfsson, P. Festival overture (1950). 13 Tveitt, G. Hardanger ale, from A hundred Hardanger tunes, op 151 (1955). 3 Leifs, J. Elegy, op 53. 9 Madetoja, L. Suite from Okon Fuoko, op 58a (1930). 14 Valen, F. The churchyard by the sea, op 20 (1933-34). 11 14:00 100 NOT OUT, IN 120 MINUTES Prepared by Phil Vendy Kuhlau, F. Suite from Elverhøj, op 100 (1828). 33 Schumann, R. Overture to The bride of Messina, op 100 (1851). 9 Sibelius, J. Suite charactéristique, op 100 (1922). 5 Rubinstein, A. Sonata no 4 in A minor, op 100 (1877). 41 Glazunov, A. Piano concerto no 2 in B, op 100 (1917). 21 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Marilyn Schock

0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Janine Burrus 9:00 DIVERSIONS IN FINE MUSIC Only strings Prepared by Sheila Catzel Boccherini, L. String sextet in F, op 23 no 6 (1776). 16 Herzogenberg, H. String trio in F, op 27 no 2 (1879). 24 Larsson, L-E. Little serenade for strings, op 12. 11 Mozart, W. String duo no 1 in G, K423 (1783). 15 Vivaldi, A. Concerto in A for violin, three echo violins and strings, RV552 (1740). 15 10:30 MORNING CONCERT Prepared by Giovanna Grech

19:00 FRIDAY JAZZ SESSION with Sally Cameron

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

20:00 THE ROMANTIC CENTURY Prepared by Phil Vendy

Sibelius, J. Symphony no 5 in E flat, op 82 (1915). 30

Paderewski, I. Piano concerto in A minor, op 17 (1883-84). 33

12:00 A JAZZ HOUR with Barry O’Sullivan

20:00 LIVE AND LOCAL Guests of the ACO

13:00 IN COLLABORATION Prepared by Stephen Wilson

Handel, G. Organ concerto no 2 in B flat, HXV290 (?1735). 10

Glazunov, A. Variations on a Russian theme (1901). 13

Telemann, G. Musique de table III (1733). 27

Liszt, F. Hexaméron, after Bellin’s The Puritans (1837). 20

Beethoven, L. Symphony no 8 in F, op 93 (1812). 26 21:30 OPERA FANTASIES Prepared by Elaine Siversen Lovreglio, D. Fantasy on themes from Verdi’s La traviata (1865). 12 Sarasate, P. de Carmen fantasy, op 25 (c1883). 15

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

Dvorák, A. Overture: Othello, op 93 (1891). 15

19:00 THE NEW JAZZ STANDARD with Frank Presley

Tchaikovsky, P. Variations on a rococo theme, op 33 (1889). 16

Colin Davis - 10.30am Morning Concert

Delibes, L. Excerpts from La source (1866).

12 Chopin, F. Grand duo concertant in E on themes from Meyerbeer’s Robert le Diable (1831). 13 Menter - Liszt. Concerto in Hungarian style, S714, Hungarian gypsy airs (1885; orch.

Tchaikovsky 1892). 18

Zarebski, J. Piano quintet in G minor, op 34 (1885). 35 Doppler, F. Concerto in D minor for two flutes and orchestra. 19 Gade, N. Symphony no 5 in D minor, op 25 (1852). 26 22:00 BAROQUE AND BEFORE Prepared by Rex Burgess Locke, M. Music for His Majestys sagbutts and cornetts (1661). 11 Anon. Adoramus te Christe; Vergene madre pia; Quasi cedrus. 11 Schenk, J. Sonata in B minor for two viole da gamba, op 8 no 1 (1700). 15

Strauss, J. II - Strauss, Josef. Pizzicato polka (1870). 3

Scarlatti, A. Pastoral cantata for the birth of our Saviour (1716). 19

14:30 CONTINENTAL MUSICAL ROUND-UP Britain Prepared by Francis Frank

Leclair, J-M. Suite for two violins and continuo, op 7 (1776). 26

d’Albert, E. Overture to Esther (1888). 13

Vitry, P. de Gratissima virginis. 3

Maconchy, E. String quartet no 2 (1936). 20

Cello concerto in C (1899). 23

Pierre des Molins. De ce que fol pense. 2

Bacewicz, G. Music for strings, trumpets and percussion (1958). 19

MacKenzie, A. Benedictus, op 37 no 3. 9

Pycard, T. Gloria. 4

Carver, R. Magnificat anima mea Dominum. 14

Power, L. Sanctus. 3

22:00 DIFFERING PATHS OF THE 20TH CENTURY Prepared by Paul Cooke Torke, M. Javelin. 8 Szymanowski, K. Sonata no 2 in A, op 21 (1910-11). 26

Panufnik, A. Sinfonia votiva (1981). 22 Nyman, M. Where the bee dances (1991). 16

Wallace, W. Symphonic poem no 3: Sister Helen (1898). 19

Anon. Singularis laudis digne. 5

Anon. Lulley, lulley; The Agincourt carol. 8 August 2016

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Saturday 27 August

Thomas Beecham - 10pm Saturday Night at Home

Kodály Quartet - 10.30am Music For Small Forces

0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SATURDAY MORNING MUSIC with Peter Bell 9:00 ORCHESTRAS AROUND THE WORLD Royal Concertgebouw Orchestra Prepared by Di Cox Tchaikovsky, P. Fantasy overture: Romeo and Juliet (1869/80). 21 Rachmaninov, S. Rhapsody on a theme of Paganini, op 43 (1934). 23 Hindemith, P. Symphonic metamorphosis on themes by Carl Maria von Weber (1904). 22

Bartók, B. Rumanian folk dances (1915; arr.

Flinders Quartet). 12 Zamfir, G. Rumanian rhapsody for panpipes and orchestra. 30 Bruch, M. Eight pieces, op 83 (pub. 1910): no 5, Rumanian melody, Andante; no 8, Moderato. 10 15:00 IBSEN’S PEER GYNT Prepared by Di Cox

Ravel, M. Boléro (1928). 15

Grieg, E. Incidental music to Peer Gynt, op 23 (1874-75). 1:40

10:30 MUSIC FOR SMALL FORCES Prepared by Frank Morrison

Stenhammar, W. Three fantasies, op 11 (1895). 16

Devienne, F. Bassoon sonata in G, op 24 no 2 (c1785). 9

Berwald, F. Piano quintet no 1 in C minor (1853). 26

Bliss, A. Piano quartet (1915). 16

17:30 ARTS IN FOCUS

Moscheles, I. Introduction and rondeau écossais for horn and piano, op 63. 8 Haydn, J. String quartet in C, Hob.III:65 (1790). 20 11:30 ON PARADE Black Dyke Mills Band and the overture Prepared by Katy Rogers-Davies Handel, G. Overture in D minor, from Chandos anthem no 2 (1717-18; arr. Elgar, Langford). 6 Sullivan, A. Overture to Iolanthe. 8 Rossini, G. Overture to William Tell (arr.

Grant). 11 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 40

14:00 RUMANIAN ROMANCE Prepared by Stephen Wilson

18:00 SYDNEY SCHUBERT SOCIETY Prepared by Ross Hayes

20:00 INFLUENCES AND CONNECTIONS Sofia Gubaidulina Prepared by James Nightingale Gubaidulina, S. Allegro rustico (1963). 5 Hildegard of Bingen. O ignis spiritus. 7 Bach, J.S. Vor deinen Thron tret’ich, BWV668 (c1713-17). 4 Shebalin, V. Piano trio in A, op 39 (1947). 8 Shostakovich, D. String quartet no 7 in F sharp minor, op 108 (1960). 12 Schnittke, A. Soundtrack: The waltz (1969). 10 Knaifel, A. O comforter (2005). 4 Bach, J.S. Herr, unser Herrscher, dessen Ruhm in allen Landen herrlich ist!, from St John Passion, BWV245 (1724). 8 Denisov, E. Sonata for alto saxophone and piano, mvt 1. 3

Schubert, F. Fantasie in C minor, D2e, after Mozart’s Fantasie K475 (1811). 6

Bach, J.S. Fugue ricercata à 6 voci, from A musical offering, BWV1079 (1747; arr.

Webern). 7

Adagio in E flat, D897, Notturno (c1828). 13

Gubaidulina, S. Offertorium concerto (1980). 36

Ten variations in F, D156 (1815). 16

22:00 SATURDAY NIGHT AT HOME Prepared by Paul Cooke

Overture in C minor for string quintet. 9 Hungarian melody, D817 (1824). 4

Hindemith, P. Suite of French dances (1958). 9

Menuet in C sharp minor, D600; Trio in E, D610 (1815). 3

Mozart, W. String quintet in A (1789; arr. from Clarinet quintet, K581). 33

19:00 THE MAGIC OF STAGE AND SCREEN Prepared by Maureen Meers

Schumann, C. Piano concerto in A minor, op 7 (1835-36). 24

Kander, J. Excerpts from Cabaret (1972). 18

Handel, G. Love in Bath (arr. Beecham). 48

Cohan, G. Excerpts from George M (1966). 13 Strouse, C. Excerpts from Bye, bye birdie (1963). 18

FOR FULL PROGRAM GUIDES TO FM AND DIGITAL VISIT: WWW.FINEMUSICFM.COM

Sunday 28 August

Howard Shelley - 10am The Classical Era

0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SUNDAY MORNING MUSIC with David Garrett 9:00 MUSICA SACRA Prepared by Elaine Siversen Schütz, H. Da pacem, Domine, in diebus nostris, SWV465. 6 Sweelinck, J. Da pacem, Domine, in diebus nostris. 9 Mozart, W. Exsultate, jubilate, K165 (1773). 16 Gabrieli, G. Jubilate Deo à 8 voci. 5 Handel, G. Jubilate for the peace of Utrecht, 7 July 1713, HWV279. 16 10:00 THE CLASSICAL ERA Prepared by Frank Morrison

Aram Khachaturian - 3pm Sunday Special

14:00 CLASSICAL WINDS Prepared by Elaine Siversen

18:00 MARCHES Prepared by Randolph Magri-Overend

Haydn, J. Divertimento in G, Hob.II:9 (c1767). 18

Elgar, E. Coronation march, op 65 (1911). 10

Bach, W.F. Trio in D for two flutes and continuo, F48 (bef. 1762). 16 Beethoven, L. Octet in E flat, op 103 (1792-93). 19

Mendelssohn, F. Scherzo; Intermezzo; Nocturne; Wedding march, from A midsummer night’s dream, op 61 (1842). 20

15:00 SUNDAY SPECIAL David Oistrakh Prepared by Paolo Hooke

19:00 SUNDAY NIGHT CONCERT

Beethoven, L. Romance no 2 in F, op 50 (1798). 9

Pergolesi, G. Stabat Mater (1736). 39

Khachaturian, A. Violin concerto in D minor (1940). 37 Brahms, J. Hungarian dances: nos 8, 9, 20, 5 (1869). 10

Carvalho, J. de Sousa Overture to L’amore industrioso (1769). 9

Shostakovich, D. Violin concerto no 1 in A minor, op 77 (1948). 34

Bach, C.P.E. Flute quartet no 1 in A minor, Wq93 (1788). 15

Vitali, T. Ciacone in G minor. 10

Stamitz, C. Cello concerto in G (c1786). 19

17:00 HOSANNA Prepared by Jeremy Hall

Boccherini, L. String quartet in C, op 32 no 4 (pub. 1781). 16

Hymns: Be thou my vision; O Jesus I have promised. 7

Wagenseil, G. Symphony in B flat (c1764). 16

Howells, H. Psalm 122. 3

Hummel, J. Piano concerto no 4 in E, op 110 (1825). 31

Dyson, G. Magnificat and Nunc dimittis in F. 6

12:00 SYDNEY JAZZ CLUB PRESENTS Classic jazz and ragtime With John Buchanan

Schubert, F. Three heroic marches, D602 (1816-18). 23

Sammartini, G.B. Sinfonia in A. 8 Lalo, E. Symphonie espagnole, op 21 (1873). 33 20:30 NEW HORIZONS Across the top Prepared by Robert Small Cutlan, P. Suite: Across the top (2012). 32 Hindson, M. Violin concerto. 29 Ford, A. Willow songs (2009). 18 Hindson, M. Flash (2010). 5 22:00 AFTER HOURS JAZZ with Kevin Jones

Bairstow, E. Save us, O Lord. 5 Pärt, A. Da pacem Domine. 6 Tavener, J. Mother of God, here I stand. 3 Haydn, J. Missa brevis Sancti Joannis de Deo, Little organ Mass. 16

13:00 WORLD MUSIC: Whirled Wide

Rheinberger, J. Abendlied, op 69 no 3. 4

Fine Music Presenter: Annabelle Drumm August 2016

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Monday 29 August

Stephen Gunzenhauser - 1pm Butterflies & Birds

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: 1716 Prepared by Jennifer Foong Veracini, F. Ouverture no 4 in F (1716). 13 Steffani, A. Morirò fra strazi e scempi, from Henrico Leone (1716). 3 Fesch, W. de Concerto grosso in C, op 3 no 4 (1716). 7 Handel, G. Sento prima le procelle, from Pirro e Demetrio (1716). 6 Geminiani, F. Trio sonata in D, The last time I came o’er the moor, from Treatise of good taste in The art of musick, op 1 (1716/29). 4 Vivaldi, A. Concerto in D for violin, two oboes, two horns and strings (1716). 15 Bach, J.S. Christen, aetzet diesen Tag, BWV 63. 30 10:30 MORNING CONCERT Prepared by Paul Hopwood

13:00 BUTTERFLIES AND BIRDS Prepared by Emyr Evans Berkeley, L. Serenade for strings, op 12 (1938-39). 13 Edwards, R. Ecstatic dances (1990). 9 Martinu, B. Butterflies and birds of paradise (1920). 6 Copland, A. Appalachian Spring (1938). 23 14:00 HEIR RAISING Prepared by Randolph Magri-Overend Borodin, A. Overture to Prince Igor (1887). 10 Lully, J-B. La princesse d’Élide, from Les plaisirs de l’île enchantée (1664). 8 Ravel, M. Pavane for a dead princess (1899). 6 Stravinsky, I. Excerpts from The firebird (1919). 15 Sullivan, A. If you give me your attention, from Princess Ida (1884). 12 Korngold, E. Suite from The Prince and the pauper (1937). 22 Britten, B. Prelude and dances from The prince of the pagodas (1957). 32

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

Arbós). 33 Parish Alvars, E. Harp concerto in G minor, op 81. 29

19:00 JAZZ NICE ‘N EASY with Ken Weatherley

12:00 SWING SESSIONS with John Buchanan 42

Richard Rodney Bennett - 1pm Focus on Bennett

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

Mozart, W. Symphony no 21 in A, K134 (1772). 19

Tuesday 30 August

20:00 STORMY MONDAY with Austin Harrison and Garth Sundberg 22:00 THE AUSTRALIAN JAZZ SCENE with Susan Gai Dowling and Peter Nelson

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: Richard Bonynge, pianist, music editor, conductor Prepared by Elaine Siversen Mozart, W. Ch’io mi scordi di te ... Non temer, K505 (1786). 11 Popper, D. Cello concerto no 2 in E minor, op 24 (pub. 1880; orch. Gamley). 20 Bononcini, G. Per la gloria d’adorarvi, from Griselda (1722; ed. Bonynge). 5 Paisiello, G. Nel cor più non mi sento, from L’amor contrastato (1789; ed. Bonynge). 4 Wallace, V. Variations from Donizetti’s L’elisir d’amore. 8 Hook, J. The lass o’ Richmond Hill; The nightingale (ed. Bonynge). 5 Horn, C. Cherry ripe (ed. Bonynge). 2 Donizetti, G. Ballet music from La favorita (1840). 9 Eccola! ... l dolce suono, from Lucia di Lammermoor (1835). 14 10:30 MORNING CONCERT Prepared by Gerald Holder Rimsky-Korsakov, N. Capriccio espagnol, op 34 (1887). 15 Hummel, J. Piano concerto no 5 in A flat, op 113 (1827). 30 Franck, C. Symphony in D minor (188788). 37

FOR FULL PROGRAM GUIDES TO FM AND DIGITAL VISIT: WWW.FINEMUSICFM.COM

Tuesday 30 August

Wednesday 31 August 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 Composers of the 18th century Prepared by Frank Morrison Vogler, G. Overture to Athalie (1786); Overture to Hamlet (1778-79). 14 Handel, G. Incidental music, from The alchymist, HWV43 (1710). 19

Hans Graf - 2pm Continental Musical Round-up

12:00 JAZZ RHYTHM with Jeannie McInnes

Neefe, C. Sechs leichte Stücke, from Mozart’s Die Zauberflöte (1793). 15 Gluck, C. Suite from Don Juan (1761). 19

Alexander Scriabin - 10.30am Morning Concert

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

13:00 FOCUS ON RICHARD RODNEY BENNETT Prepared by Emyr Evans

Pasculli, A. Concerto on motifs from the opera La favorita by Donizetti. 14

with Derek Parker

Bennett, Richard. Theme and waltz, from Murder on the Orient Express (1974). 6

10:30 MORNING CONCERT Prepared by James Nightingale

with Peter Mitchell

Haydn, J. Overture to II mondo della luna, Hob.XVIII:7 (1777). 4

Opera oscura: The women’s revenge

14:00 MUSICAL ROUND-UP Salzburg Prepared by Francis Frank

Edwards, R. Full moon dances: concerto for alto saxophone and orchestra (2012). 29

in two parts. Libretto after Carlo Goldoni. First

Bach, W.F. Sinfonia in F. 11

Skryabin, A. Symphony no 2 in C minor, op 29 (1901). 48

Leo, L. Se mi dai morte, from Farnace (1737), 4

12:00 JAZZ SKETCHES with Robert Vale

Prepared by Madilina Tresca

Concerto for piano and wind instruments (c1971). 24 Violin concerto (1975). 24

Mozart, W. Flute concerto no 2 in D, K314 (1778). 31 Biber, H. Balletti lamentabili (1670). 10 Mozart, W. Se tutti i mali miei, K83 (1770). 7 Monn, M. Cello concerto in G minor. 19

13:00 YOUNG VIRTUOSI

Neukomm, S. Clarinet quintet in B flat, op 8 (c1804). 27

14:00 IN CONVERSATION with Michael Morton-Evans

16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm with Michael Morton-Evans

15:00 OFFENBACH EXPLORED Prepared by Michael Morton-Evans

19:00 THE JAZZ BEAT with Lloyd Capps

Offenbach, J. Ballet: Le voyage dans la lune. 18

20:00 RECENT RELEASES with Robert Small 22:00 CHAMBER SOIRÉE Prepared by Francis Frank Crusell, B. Clarinet duet in C, op 6 (1805). 10 Bennett, W. Sterndale Piano sextet in F sharp minor, op 8 (1835). 38 Bach, W.F. Trio in D (c1762). 16 Boccherini, L. String quintet in C, op 60 no 1 (pub. 1801). 21 Spohr, L. Octet in E flat for winds and strings, op 32 (1814). 27

Overture to La fille du tambour-major (1879). 7 Chanson de la fille du tambour-major, from La fille du tambour-major. 3 Les oiseaux dans la chamille, from The tales of Hoffmann (1881). 6

19:00 JAZZ STARS AND STRIPES 20:00 AT THE OPERA Piccinni, N. Le donne vendicat. Intermezzo performed Rome, 1763 1:43

22:00 GIRL POWER! Martines, M. Sinfonia in C (1770). 15 Boulanger, L. Nocturne (1911); Cortège (1914); D’un matin de printemps (1918). 10 Jacquet de la Guerre, E-C. Suite no 1 in D minor, from Pieces for harpsichord (1687). 24 Holmès, A. Trois petites pièces (1897). 7 Sirmen, M. Violin concerto no 5 in B flat. 22 Hyde, M. Clarinet sonata in F minor (1949). 16 Tailleferre, G. Harp sonata. 11 Carr-Boyd, A. Foxtrot (1993). 7

Scintille, diamant, from The tales of Hoffmann. 3 Il était une fois a la cour d’Eisenach, from The tales of Hoffman. 5 Doll song, from The tales of Hoffmann. 5 Barcarolle, from The tales of Hoffmann. 5

August 2016

fineMusic 102.5

43

The following composers have works of at least five minutes on the August dates listed Abel, C. 1723-1787 19 Albéniz, I. 1860-1909 5,19,29 Albinoni, T. 1671-1751 5,11 Alfonso X, El Sabio. 12211284 14 Alkan,C-V. 1813-1888 2,16 Andrée, E. 1841-1929 7 Arensky, A. 1861-1906 11 Arne, T. 1710-1778 18 Arnold, D. b1963 6 Arnold, M. 1921-2006 13 Arriaga, J. 1806-1826 19 Atterberg, K. 1887-1974 16 Avison, C. 1709-1770 9 Bacewicz, G. 1909-1969 25 Bach, C.P.E. 1714-1788 7,28 Bach, J. Christian 17351782 13,25 Bach, J.S. 1685-1750 7,11,12,22,25,27,29 Bach, W.F. 1710-1784 28,30 Bairstow, E. 1874-1946 28 Banchieri, A. 1568-1634 19 Barber, S. 1910-1981 17,18 Bartók, B. 1881-1945 8,20,22,27 Bax, A. 1883-1953 2,4 Beach, A. 1867-1944 15,25 Beamish, S. b1956 7 Beethoven, L. 1770-1827 1, 2,4,8,9,12,14,16,18,19,22,2 3,24,25,28 Bellini, V. 1801-1835 23 Benjamin, A. 1893-1960 23 Bennett, Richard. b1936 30 Bennett, W. Sterndale 18161875 30 Berkeley, L. 1905-1989 29 Berlioz, H. 1803-1869 9,11,14,15,21,24 Bernstein, L. 1918-1990 13,17,18,20 Berwald, F. 1796-1868 7,8,9,27 Biber, H. 1644-1704 18,30 Birtwistle, H. b1934 14 Bizet, G. 1838-1875 12,13,20 Blake, H. b1938 19 Blanc, A. 1828-1885 16 Blankenburg, Q. 16541739 11 Bliss, A. 1891-1975 7,27 Boccherini, L. 1743-1805 20,24,26,28,30 Boetzelaer, J. 1733-1787 11 Boismortier, J. de 16891755 20 Bononcini, G. 1670-1747 30 Borodin, A. 1833-1887 12,17,29 Boulanger, L. 1893-1918 31 Boulez, P. b1925 4 Bowen, Y. 1884-1961 23 Bracanin, P. b1942 16 Brahms, J. 1833-1897 1,2,4,13,22,23,28 Bridge, F. 1879-1941 16 Britten, B. 1913-1976 5,18,21,29 Brixi, F. 1732-1771 7 Bruch, M. 1838-1920 11,12,27 Bruckner, A. 1824-1896 6

Brumby, C. b1933 3,19 Gershwin, G. 1898-1937 13 Bruun, P. b1968 7 Giuliani, M. 1781-1829 11 Burgmüller, N. 1810-1836 12 Glass, P. b1937 24 Buxtehude, D. 1637-1707 12 Glazunov, A. 1865-1936 7,21,25,26 Caroso, F. fl c1600 13 Glière, R. 1875-1976 Carr-Boyd, A. b1938 31 13,18,19 Carulli, F. 1770-1841 6,19 Glinka, M. 1804-1857 5,6,8 Carvalho, J. de Sousa Gluck, C. 1714-1787 31 1745-1798 28 Gnattali, R. 1906-1988 2 Carver, R. c1490-c1546 26 Godard, B. 1849-1895 4 Charpentier, M-A. 1635Godowsky, L. 1870-1938 2 1704 14,21 Goldberg, J. 1727-1756 19 Chausson, E. 1855-1899 6 Gotkovsky, I. b1933 14 Chopin, F. 1810-1849 Gounod, C. 1818-1893 8,14 6,10,26 Graham, P. b1958 20 Cimarosa, D. 1749-1801 3 Grainger, P. 1882-1961 14 Clarke, R. 1886-1979 9 Granados, E. 1867-1916 7 Clementi, M. 1752-1832 21,25 Greenaway, S. 20th c 7 Clements, D. b1964 7 Grétry, A-E-M. 1741-1813 Clérambault, L-N. 1676- 7,9 1749 3 Grieg, E. 1843-1907 Cohan, G. 1878-1942 27 3,23,27 Coleridge-Taylor, S. 1875- Gross, E. b1926 5 1912 6 Gubaidulina, S. b1931 27 Copland, A. 1900-1990 29 Couperin, F. 1668-1733 3 Hamelin, M-A. b1961 2 Croft, W. 1678-1727 8 Handel, G. 1685-1759 Crusell, B. 1775-1838 18,30 11,12,22,25,27,28,29,31 Cutlan, P. 20th c 28 Haydn, J. 1732-1809 Czerny, C. 1791-1857 4 6,7,10,11,12,14,21,27,28 d’Albert, E. 1864-1932 26 Haydn, M. 1737-1806 7 d’Indy, V. 1851-1931 4,16 Hérold, F. 1791-1833 20 Herzogenberg, H. 1843Damase, J-M. b1928 11 1900 5,6,16,26 Dauvergne, A. 1713-1797 10 Hildegard of Bingen. 1098Debussy, C. 1862-1918 1179 27 1,7,13,15,20,23 Hindemith, P. 1895-1963 27 Delibes, L. 1836-1891 26 Hindson, M. b1968 28 Devienne, F. 1759-1803 27 Holmès, A. 1847-1903 31 Dittersdorf, C. 1739-1799 Holst, G. 1874-1934 22 10,14 Hook, J. 1746-1827 30 Dohnányi, E. 1877-1960 Hummel, J. 1778-1837 7,14 17,21,23,28,30 Donizetti, G. 1797-1848 30 Humperdinck, E. 1854Doppler, F. 1821-1883 6, 26 1921 10 Doráti, A. 1906-1988 20 Hyde, M. 1913-2005 31 Dornel, L-A. c1680-c1756 8 Dreyfus, G. b1928 24 Ibert, J. 1890-1962 11 Dukas, P. 1865-1935 1 Ireland, J. 1879-1962 4 Dussek, F. 1766-1816 7 Isolfsson, P. 1893-1974 25 Dvorák, A. 1841-1904 Ives, C. 1874-1954 13,18 4,5,12,13,14,16,18,20,25,26 Dyson, G. 1883-1964 28 Jacquet de la Guerre, E-C. c1666-1729 31 Eberl, A. 1765-1807 5 Janácek, L. 1854-1928 Edwards, R. b1943 29,31 18,20 Elgar, E. 1857-1934 Jobim, A. 1927-1994 2 1,2,9,12,17,19,21,28 Johannsson, J. b1969 21 Eller, H. 1887-1970 19 Jongen, J. 1873-1953 9 Josquin Desprez. c1440Falla, M. de 1876-1946 3 1521 22 Fauré, G. 1845-1924 21 Fesch, W. de 1687-1757 11,29 Kabalevsky, D. 1904Field, J. 1782-1837 7 1987 16 Finzi, G. 1901-1956 17 Kalinnikov, Vasily. 1866Ford, A. b1957 14,28 1907 10 Foulds, J. 1880-1939 21 Kander, J. b1927 27 Frahm, N. b1982 21 Kats-Chernin, E. b1957 11 Franck, C. 1822-1890 Kelly, T. 1917-1985 21 7,9,23,30 Ketèlbey, A. 1875-1959 3 Frescobaldi, G. 1583-1643 19 Khachaturian, A. 19031978 28 Gabrieli, A. c1510-1586 5 Kiel, F. 1821-1885 4 Gade, N. 1817-1890 10,26 Klatzow, P. b1945 16 Geminiani, F. 1687-1762 5 Kodàly, Z. 1882-1967 German, E. 1862-1936 1 1,11,20

Korngold, E. 1897-1957 29 Kozeluch, L. 1747-1818 10,21 Kraus, J.M. 1756-1792 14 Kreutzer, R. 1766-1831 24 Krommer, F. 1759-1831 14 Kuhlau, F. 1786-1832 25 Lajtha, L. 1890-1963 2 Lalo, E. 1823-1892 28 Larsson, L-E. 1908-1986 26 Leclair, J-M. 1697-1764 3,26 Leifs, J. 1899-1968 25 Leigh, M. b1928 13 Lemba, A. 1885-1963 11 Ligeti, G. 1923-2006 2 Liszt, F. 1811-1886 5,19,23,26 Lloyd Webber, A. b1948 20 Locatelli, P. 1695-1764 14 Locke, M. c1621-1677 26 Lovreglio, D. 1841-1907 25 Lully, J-B. 1632-1687 25,29 Luzzaschi, L. c1545-1607 5 Lyapunov, S. 1859-1924 18 MacCunn, H. 1868-1916 24 Machado, C. b1953 2 MacKenzie, A. 1847-1935 26 Maconchy, E. 1907-1994 2,18,25 Madetoja, L. 1887-1947 25 Mahler, G. 1860-1911 5 Malipiero, G. 1882-1973 19 Manfredini, F. 1684-1762 19 Marshall-Hall, G. 18621915 15 Martines, M. 1744-1812 31 Martini, G. 1706-1784 6 Martinu, B. 1890-1959 3,5,12,18,29 Martucci, G. 1856-1909 13 Meale, R. b1932 11 Medaglia, J. b1938 2 Mendelssohn, F. 1809-1847 1,3,4,9,14,17,18,20,21,22 ,23,28 Messiaen, O. 1908-1992 4,8 Milhaud, D. 1892-1974 14 Monn, M. 1717-1750 30 Montéclair, M. de 16671737 8 Monteverdi, C. 15671643 5 Moscheles, I. 1794-1870 27 Mosolov, A. 1900-1973 18 Mozart, W. 1756-1791 1, 2,3,4,5,6,7,8,12,14,16,18, 20,21,22,23,24,25,26,27,2 8,29,30 Murcia, S. de c1682-1740 11 Murrill, H. 1909-1952 21 Myslivecek, J. 1737-1781 7

Paderewski, I. 18601941 26 Paganini, N. 1782-1840 6,26 Panufnik, A. 1914-1991 25 Parish Alvars, E. 18081849 29 Parry, H. 1848-1918 19 Pärt, A. b1935 28 Pasculli, A. 1842-1924 31 Pergolesi, G. 1710-1736 17,28 Peterson, J. b1921 14 Philidor, F-A. 1726-1795 7 Piccinni, N. 1728-1800 31 Pierné, G. 1863-1937 2 Piston, W. 1894-1976 11 Pleyel, I. 1757-1831 17 Popper, D. 1843-1913 30 Poulenc, F. 1899-1963 21 Prokofiev, S. 1891-1953 2,5,6,20,22 Puccini, G. 1858-1924 1,21 Pugnani, G. 1731-1798 21 Purcell, H. 1659-1695 21 Quilter, R. 1877-1953 19 Rachmaninov, S. 18731943 8,11,12,23,27 Rameau, J-P. 1683-1764 3 Ravel, M. 1875-1937 1,2,8,12,15,16,18,27,29 Reich, S. b1936 24 Reichardt, J. 1752-1814 23 Reinecke, C. 1824-1910 15 Respighi, O. 1879-1936 9,13,17,21,22 Rheinberger, J. 1839-1901 9,18 Rimsky-Korsakov, N. 18441908 5,14,16,30 Rodgers, R. 1902-1979 13 Rojas, D. b1974 13 Roslavets, N. 1881-1944 6 Rossi, C. de fl 1707-10 8 Rossini, G. 1792-1868 8,13,23,27 Rózsa, M. 1907-1995 20 Rubinstein, A. 1829-1894 25 Ryba, J. 1765-1815 7

Sibelius, J. 1865-1957 20,25,26 Sirmen, M. 1745-1818 31 Skryabin, A. 1872-1915 6,18,31 Smetana, B. 1824-1884 12,16,19,20 Sor, F. 1778-1839 14 Spohr, L. 1784-1859 8,23,30 Stamitz, C. 1745-1801 28 Stanford, C. Villiers 18521924 1,18,21 Stanley, J. 1712-1786 12,19 Stenhammar, W. 18711927 27 Stokowski, L. 1882-1977 21 Strauss, J. II 1825-1899 3 Strauss, R. 1864-1949 5,12,13,16,18 Stravinsky, I. 1882-1971 17,29 Strouse, C. b1928 27 Suk, J. 1874-1935 15,16,19 Sullivan, A. 1842-1900 6,14,22,27,29 Süssmayr, F. 1766-1803 2 Sweelinck, J. 1562-1621 28 Szymanowski, K. 18821937 23,25 Tabart, P. 1645-1716 14 Tailleferre, G. 1892-1983 31 Tally, M. b1976 7 Taneyev, S. 1856-1915 6 Tartini, G. 1692-1770 12 Tavener, J. b1944 19 Tchaikovsky, P. 1840-1893 5,11,12,13,17,18,22,25,27 Telemann, G. 1681-1767 4,11,12,13,21,23,25 Thomas, Augusta. b1964 14 Thomas, J. 1826-1913 4 Tippett, M. 1905-1998 22 Tollius, J. c1550-c1663 11 Torelli, G. 1658-1709 8 Torke, M. b1961 25 Turina, J. 1882-1949 16

Valen, F. 1887-1952 25 Vaughan Williams, R. 18721958 8,12,19,21 Veracini, F. 1690-1768 29 Verdi, G. 1813-1901 21 Vieuxtemps, H. 1820-1881 9,22 Saint-Saëns, C. 1835-1921 Villa-Lobos, H. 18871,2,9,12,15,16,22 1959 2 Salieri, A. 1750-1825 5,6 Vine, C. b1954 16 Salomen, E-P. b1958 18 Viotti, G. 1755-1824 21 Vitali, T. 1663-1745 28 Sammartini, G.B. 1700Vivaldi, A. 1678-1741 1775 28 5,9,12,13,18,20,25,26,29 Sarasate, P. de 1844Vogler, G. 1749-1814 31 1908 25 Scarlatti, A. 1659-1725 26 Scarlatti, D. 1685-1757 12 Wagenseil, G. 1715-1777 28 Schenk, J. 1660-c1712 26 Wagner, R. 1813-1883 1,5,12,20,21 Schmidt, F. 1874-1939 24 Wallace, V. 1812-1865 30 Schnittke, A. 1934-1998 27 Wallace, W. 1860-1940 26 Schubert, F. 1797-1828 Walton, W. 1902-1983 Nazareth, E. 1863-1934 2 2,4,8,17,18,23,24,27,28 19,21 Neefe, C. 1748-1798 31 Schumann, C. 1819-1896 Wassenaer, U. 1692-1766 11 Neukomm, S. 1778-1858 11,27 Weber, C.M. 1786-1826 6,30 Schumann, R. 1810-1856 14,16,17,18,20 Nielsen, C. 1865-1931 11 2,11,17,23,25 Nin, J. 1879-1949 6 Schütz, H. 1585-1672 28 Zamfir, G. b1941 27 Nyman, M. b1948 25 Sculthorpe, P. 1929-2014 Zarebski, J. 1854-1885 26 5,7,16 Zelenka, J. 1679-1745 Offenbach, J. 1819-1880 Shebalin, V. 1902-1963 27 7,8,19 3,4,10,17,20,24,31 Shostakovich, D. 1906-1975 Ornstein, L. c1895-2002 11 10,27,28

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Fine Music Learning Centre Donors ($250+) Mr Robert O Albert, Mr David W Allen, Dr H Bashir, Prof Dame Marie Bashir AD CVO, Mr Max Benyon OAM, Mr Lloyd Capps & Mrs Mary Jo Capps, Mr David Brett, Mrs Halina Brett, Ms Janine Burrus, Mr Robert E S Clark, Hon Mr Justice David Davies SC, Prof Michael Field AM & Mrs Gabrielle Field, Mr Francis Frank, Mrs C Fraser, Mr Robert M Gilchrist, Mrs Anna E Gillespie, Mr M F Madigan, Mrs Patricia McAlary, Ms Jeannie McInnes, Mrs Judith McKernan, Mr J S Milford, Dr Andrew Mitterdorfer, Mr Michael Morton-Evans OAM, Dr Robert A Osborn, Mr Michael Peck, Ms Susan Ping Kee, Ms Angela Raymond, Mr Gregory L Sachs, Mrs Yvonne Sebesfi, Mr John Selby, The Berg Family Foundation, Mr Ron Walledge, Mr P M Weate, Mr Alastair Wilson, Mrs Robin Yabsley August 2016

fineMusic 102.5

47

Crossword and Trivia

Compiled by Gwynn Roberts Name:_______________________________________________ Address: _____________________________________________ Tel: _________________________________________________

ACROSS

DOWN

1. Capital work of 8 down (6) 4. Log chair arrangement for ruling clique member (8) 10. Hoffmann’s doctor at No.96 (see 8 down) (7) 11. 8 down’s elemental god (7) 12. US trains forces (9) 13. naïve backwater (5) 14. 8 down’s timekeeper (5) 16. Victims of surf crashing on reefs (9) 19. Minstrel renders ear deranged (9) 21. The dance of Khatchaturian (5) 23. Tippett’s king and 23 down’s pa (5) 24. Unequivocally depressed and conservative (9) 26. See, mark, digest and show regurgitated films (7) 27. 8 down’s French queen (2,5) 28. 8 down’s shock tactics (8) 29. Saline mixture for extra- terrestrials (6)

1. Rhymes of an Irish city (9) 2. 3 down in combination for Yepes (7) 3. Trophy for A Masked Ball character (5) 5. Trees for miles on Linden Lea (5) 6. Diggers find dregs near compost (9) 7. Regular performance (7) 8. Handy work for a composer (5) 9. Spear-led attack fell back (8) 15. The power behind the throne perhaps (9) 17. 8 down’s exit strategy (8) 18. Honey taste often comes with light (9) 20. Von Zweter of the Wartburg (7) 22. Porter began Caribbean dance (7) 23. A six-pack from 8 down for French city (5) 24. Played on Fine Music...(5) 25. … country style (5)

Email: _______________________________________________ To go in the draw to win a copy of Butterflying – Piano Music by Elena Kats-Chernin, from ABC Classics, email your crossword answers to: by 23 August 2016 The Crossword 72-76 Chandos Street St Leonards NSW 2065

BUTTERFLYING

PIANO MUSIC BY ELENA KATS-CHERNIN

CROSSWORD SOLUTION - JULY 2016 Across: 5. GLIER, 6. FALSETTO, 10. EARDRUM, 11.

OBERON, 12. TEETH, 13. DITHERED, 15. FAUSTUS, 17.

UKELELE, 18. CLUYTENS, 20. VYING, 22. ZITHER, 24.

LOCKOUT, 25. ORATORIO, 26. HEINE

Down: 1. ALBERT HALL, 2. SEARLE, 3. ETHEREAL, 4.

NONO, 7. ARMED, 8. SHOSTAKOVICH, 9. ARCHDUKE TRIO, 14. ENLIGHTENS, 16. SCYTHIAN, 19. SOLTI, 21. IMOGEN, 23. IGOR Tamara-Anna Cislowska | Elena Kats-Chernin

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. Schubert’s Quintet in A major takes its nickname from which fish?

2. The sound of which animal dancing to bagpipes in the last movement gave Haydn’s Symphony No 82 its nickname?

3. We’re like them according to Handel, and Bach said they could safely graze.

4. Telemann’s Violin Concerto in A major was meant to depict which little aquatic animals?

5. Vaughan Williams wrote some incidental music for a Greek play about these annoying insects.

6. Saint-Saens composed a beautiful cello piece based on which graceful bird?

7. Rossini must have been kept awake all night by the singing of these animals.

8. Chopin’s Etude, Opus 25 No.9 in G flat major acquired a nickname from this insect.

Georg Philipp Telemann TRIVIA ANSWERS 1. The trout, 2. A bear, 3. Sheep, 4. Frogs, 5. Wasps, 6. The swan, 7. Cats, 8. Butterfly.

48

August 2016

fineMusic 102.5

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.

JOIN OUR EMAIL CLUB FOR SPECIAL OFFERS! ORPHEUM.COM.AU The Hayden Orpheum is delighted to announce the 2016/17 season of The New York Metropolitan Opera. Featuring 4 new productions, 2 productions captured live in high definition for the very first time, a New York Met premiere and the finest performers to be heard at Lincoln Centre, the greatest opera company in the world presents a new season that is not to be missed.

TRISTAN UND ISOLDE (WAGNER)

Simon Rattle conducts Nina Stemme and Australian Stuart Skelton.

Nov 5/6/10.

RUSALKA (Dvorak) Kristine Opolais and Brandon Jovanovich. New production.

April 22/23/27

DON GIOVANNI (MOZART) Simon Keenlyside stars with Hibla Gerzmava.

Dec 3/4/8.

LA TRAVIATA (Verdi) Sonya Voncheva with Michael Fabiano.

May 20/21/25

L’AMOUR DE LOIN (Saariaho)

IDOMENEO (Mozart)

NABUCCO (Verdi)

EUGENE ONEGIN (Tchaikovsky) Anna Netrebko with Dmitri Hvorostovsky.

July 15/16/20

Met premiere. Susanna Phillips, Eric Owens, Tamara Mumford.

Jan 28/29 & Feb 2 Placido Domingo stars with Liudmyla Monastyrska.

Feb 18/19/23

ROMÉO ET JULIETTE (Gounod)

Vittorio Grigola and Diana Damrau reunite in this new production.

March 18/19/23

RENEE FLEMING: DER ROSENKAVALIER

Matthew Polenzani with Elza van den Heever.

June 17/18/22

DER ROSENKAVALIER (R.Strauss) Renee Fleming with Elina Garanca.

August 5/6/10

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