“YOU WOULDN’T WANT ANY MONEY, WOULD YOU?” 45 Years Ago:The Beginnings of 2MBS/Fine Music
AUSTRALIA’S LEADING CELLO TEACHER Nelson Cooke’s Centenary
CLAIMED BY TWO COUNTRIES Alfred Hill,The ‘Grand Old Man’
A MASTER OF THE THEATRE The Brilliance of Noël Coward
TO W N S V I L L E 3 1 J U LY T O 9 AUGUST 2020
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Throughout 2019 we have continued to focus on our goal to promote Australian musicians and composers, with a deeper focus on young and emerging artists, encouraging them in their ambitions to become professional musicians or broadcasters. None of these projects would have been possible without the support and generosity of our valued stakeholders including you, our loyal subscribers.
VOL 46 No 12
“You Wouldn’t Want any Money, Would You?” The Genesis of a Program: Contemporary Music Collective and Music That’s Band Celebrating Fine Music Recordings Australia’s Leading Cello Teacher Brilliant Wit, Sparkling Satire 150 Years of Don Quixote Claimed by Two Countries Program Guide and Composer List Operas for the Festive Season The ‘Creole Chopin’ Mieczyslaw Weinberg Centenary Musical Families What’s On in Music CD Reviews A Master of the Theatre A Founder of Fine Music: David James Notes from the Editor
As we celebrate our 45th anniversary this month, I want to take this opportunity to thank the passionately loyal community surrounding the listener-funded radio station created by music lovers for lovers of music. It is an honour to have been embraced over the last two years by this community which is responsible for both the birth of FM and community radio in Australia.
More support has come from our two most recent patrons: new Artistic Patron, Brett Weymark, and Vice Regal Patron, Her Excellency the Honorable Margaret Beazley, AO QC, who will host our 45th anniversary celebration this month at Government House. We welcome David James as Chair of Music Broadcasting Society of NSW Co-Operative Limited. This is a moment of serendipity! Some may be aware that David James is a founding member and was the first Station Manager in 1974 serving twice, in the 1970s and the 1980s. David’s long-standing historical knowledge of the station will serve us well as we embrace the next year of celebration of our achievements. We also welcome Sue Ping Kee and Robert Gilchrist to the Board of Directors. Sue, a volunteer for seven years, has a wealth of education and professional IT knowledge. Robert has detailed and corporate IT knowledge and has been a volunteer for seven years. As we prepare for the holiday season, I want to take this opportunity to wish you and your family a wonderful Christmas. May prosperity and happiness be with you throughout the coming year.
Registered Offices & Studios: 72-76 Chandos Street, St Leonards 2065 Tel: 02 9439 4777 Email: firstname.lastname@example.org Web: finemusicfm.com Facebook, Twitter and YouTube: finemusicfm Frequency: 102.5 Transmitter: Governor Phillip Tower, Circular Quay. ABN 64 379 540 010 Advertising Enquiries: email@example.com Editor: Elaine Siversen Assistant Editors: Paul Cooke, Elizabeth Hill Subeditors and Proof readers: Chris Blower, Di Cox, Elizabeth Hill, Sue Jowell, Pamela Newling Contributors: Rebecca Beare, Max Benyon, Chris Blower, Lloyd Capps, Angela Cockburn, Paul Cooke, Owen Fisher, Robert Gilchrist, Nicky Gluch, Elizabeth Hill, David James, David Ogilvie, Barry O’Sullivan, Derek Parker, Elaine Siversen, Robert Small, Christopher Waterhouse, Stephen Wilson, Tom Zelinka The views expressed by contributors to this magazine do not necessarily reflect or represent the views of the publisher, Fine Music 102.5 Images: Editor, Designer, Angela Cockburn, Paul Cooke, Jeannie McInnes, Alamy Program Logos: Simon Moore Distribution Coordinator: Sissi Stewart Art Direction: David James Printing: Megacolour, Unit 6, 1 Hordern Place, Camperdown, NSW, 2050 Subscribe to Fine Music Magazine: visit www.finemusicfm.com or email firstname.lastname@example.org Cover image: Fine Music volunteers celebrating 45 Years Photo: Jeannie McInnes
Rebecca Beare General Manager MUSIC BROADCASTING SOCIETY OF NEW SOUTH WALES CO-OPERATIVE LTD Our Mission is to be Sydney’s preferred fine music broadcaster, broadcasting classical, jazz and other fine music genres for the enjoyment and encouragement of music. We currently broadcast on FM and DAB+, streaming both from www.finemusicfm.com. Another aim is to be part of Sydney’s cultural landscape networking with musical and arts communities to support and encourage local musicians and music education and to use our technical and broadcast resources to further this aim. Contents and concept of Fine Music Magazine Copyright © 1975-2019 Music Broadcasting Society of NSW Co-operative Ltd trading as Fine Music 102.5 ABN 64 379 540 010 Vice Regal Patron: H er Excellency the Honourable Margaret Beazley AO QC, Governor of New South Wales Honorary Patron: P rofessor The Honourable Dame Marie Bashir AD CVO Artistic Patrons: Elena Kats-Chernin, Simon Tedeschi, Richard Tognetti AO, Brett Weymark Emerging Artists Patron: Toby Thatcher Young Composer Award 2019: Callum O’Reilly Young Virtuoso Award 2019: Justinn Lu Kruger Scholar 2020: Harry Sdraulig Ken Weatherley Jazz Scholar 2020: Kate Wadey DECEMBER 2019
“YOU WOULDN’T WANT A
DAVID JAMES COLLABORATES WIT This was the question asked of the fledgling broadcasters 2MBS-FM and 3MBS-FM by Miles Wright (then chair of the Australian Broadcasting Control Board) when offering licences to broadcast under the cutely named Wireless Telegraphy Act 1905-1973.
on the fridge and the studio nearing completion there was great anticipation at testing time: 2am Sunday 15 December 1974. Ten hours to go. “I heard that,” someone called our single telephone line in response to an open-mic expletive. Great! We were ready to broadcast on our allocated frequency at that time of 92.1 MHz.
In 1971 The Australian Broadcasting Control Board recommended the introduction of frequency modulation broadcasting on the UHF (ultra high frequency) band, a spectrum unfamiliar in other countries. The international FM band was 88 to 108 MHz and that’s where almost all receivers were set at manufacture. To adopt any other would be akin to installing an odd-gauge railway system. Just as well we persevered in promoting the international band rather than one that would make the government’s ‘mates’ happy. I’m sure other FM broadcasters were grateful to the Music Broadcasting Society! The MBS core committee of Trevor Jarvie, Michael Law, Max Benyon and Grahame Wilson were instrumental in convincing the government that Australia should have FM in line with the rest of the world and to not put it on an inaccessible part of the broadcast spectrum. Our formal licence was offered on 27 September 1974. We were on air five weeks later. One might suggest that ‘string and sealing wax’ contributed to the hasty assembly of a broadcast studio. USB, Bluetooth, CDs and anything remotely ‘digital’ was still far in the future. It was all ‘plug and pray’, according to Founder and station technical ‘wiz’ Max Benyon. Max was one of a handful of enthusiasts who assembled the first transmitter and the early broadcast studio. The transmitter was a modest affair, placed atop the all-important fridge along the wall of our ‘donated’ premises adjacent to Alexander Lane in Crows Nest. The site for the fridge and transmitter was important because the transmitting antenna was mounted on the roof peak directly above with the cable dangling out the window. Assembly of a ‘studio’ began quite late. In fact it wasn’t until the day before planned on-air broadcasts that we started to think seriously about how it would all work. We had some donated equipment: turntables that were so highly ‘sprung’ that they shook in any breeze, a mixer borrowed (from me), a microphone and stand borrowed (from me), a chair and tables, purloined from somewhere, some rudimentary sound insulation and acoustic treatment. Wall mounted egg-cartons were not acceptable; too ‘common’. 2
In a parallel universe (the programming room next door) David Rumsey, Vincent Plush and a small team were working to create the iconic first broadcast of a modern FM radio station. We had acquired a few handfuls of vinyl from the record companies who were only too glad to have their classical repertoire publicised for free. This content was augmented by more specialised material from private collections. Where else would one find Le jeu de Robin et Marion by Adam de la Halle? The opening work was Overture to a momentous occasion (1957) by John Antill and the first voice on air was David Rumsey. Max Benyon changing the antenna polarisation high above the city Photo: Grahame Wilson
Our first challenge was to wire the microphone circuit so that the studio monitor speakers would ‘mute’ when the microphone was ‘live’. Yes, we had two speakers because we knew that soon we would be ‘radio for both ears’ and that the drought of good quality FM broadcasts would soon be broken by a bunch of ‘amateurs’. Several of the early ‘techies’ had broadcast experience. Three stalwarts, with the unknowing help of large institutions, would design and assemble a low-power transmitter, later to be used as the ‘exciter’ for a larger transmitter, both purpose-built because the market in Australia for FM transmitters was pretty slim. Other assistants were drawn on for their specific expertise, mostly incognito because their employers might have objected to their involvement.
A momentous occasion it was indeed! The first opera we broadcast was Claudio Monteverdi’s L’Orfeo. All we had to do now was to assemble programs for the rest of our days. Easy? We encouraged music lovers to become programmers and presenters to share their knowledge and enthusiasm. There were fewer other avenues for people to listen to classical music and certainly no other radio station encouraged such participation. Our volunteer force was born and was most likely the model used by other community radio stations. The rest of December and January (1975) was ad hoc. On 16 January 1975 we enabled ‘stereo’, the first such licensed transmissions in Australia. Listeners phoned in great excitement when they saw the stereo light come on their radios.
With the low-power transmitter humming away David Rumsey in the original Alexander Street studio 1974
ANY MONEY, WOULD YOU?”
TH MAX BENYON ON GETTING TO AIR On 1 February the official opening took place with goodwill messages from Prime Minister Gough Whitlam and the Premier of New South Wales, Tom Lewis, which were arranged by Foundation Chair Professor Neil Runcie. This was the start of itemised programs that were printed in our new ‘Guide’.
squeeze in the commercials? Our volunteer base has been steady ever since that first influx. We have always maintained that we are a radio station run by volunteers and supported by a small team of staff. Early in December 1975 we commenced a move to larger premises at 76 Chandos Street, a former film-sound studio. It took three weeks to establish a temporary studio and move office administration. In 1976 we started construction of our two on-air studios which were finally commissioned and officially opened by Jill and Neville Wran in May 1977.
February programs didn’t go down well with many listeners, nor the hifi industry who saw us as the means by which they could flog receivers, amplifiers, speakers to enthusiasts. They expected ‘light’ classical music Max Benyon, Michael Law, Grahame Wilson, Trevor Jarvie after as the best way to demonstrate the giving evidence to the Senate Standing Inquiry into FM Broadcasting ‘oomph’ of their wares. The Board in July 1973 ABC-FM began broadcasting on of the day decided a part-time paid and an invitation for people to subscribe to Australia Day 1976, closely emulating our programmer would be an asset to the ‘balance’ the station bore fruit in the form of cheques, style (printed program guide detailing works of the programming so a young upstart by cheques and more cheques. The hi-fi industry as we have done since 1975) and we greeted the name of Philip Scott (later famous for was somewhat appeased. The audience grew them with mixed emotions. Were they a collaboration in The Gillies Report, The to realise that we were here to stay and 2MBS- complement, or a competitor? We were Republic of Myopia, and the Wharf Revue) FM was a radio station for music lovers. always the ‘music lovers’ station’. was engaged to ‘fix’ the balance; and indeed he did. Our music balance improved rapidly The need arose for jazz and contemporary We moved our transmission site to the AMP music to be Centre, and changed to 102.5MHz on 30 r e p r e s e n t e d . March 1978 thereby giving greater coverage We were a bit of the Sydney area. surprised when a ‘DJ’ asked us 2MBS-FM can be credited with launching or for air-time from sustaining the careers of many household midnight. Andrew names. Of course we kicked off with David Davies arrived Rumsey and Vincent Plush assisted by Martin with his bundles of Wesley-Smith and Wesley Want. Martin well-cared-for LPs Hibble was dragged from behind the counter (in a milk crate) at Tarantella Records and was eventually and proceeded to poached by ABC Classic FM, as it was known wrest the ears of then. We also claim Mairi Nicolson, Belinda the post-midnight Webster and several recording engineers. listeners. Thence 2MBS-Fine Music is unashamedly a training followed Tom ground for music lovers who wish to kickZelinka and we start or advance their career. We’ve also gradually filled taken professionals under our wing who the midnight-to- have become disgruntled in the wide world of dawn ‘graveyard’ radioland. We don’t purposely push people to shift. I believe other radio stations, nor do we knowingly steal that Andrew’s them. relentless playing Fine Music has flourished for 45 years, kept of Autobahn by afloat by a steady band of dedicated and German electronic enthusiastic volunteers and donors: “The group Kraftwerk music-lovers’ station for lovers of fine music”. was the reason why they became Max Benyon is the station’s senior technical successful in adviser and one of the founders. Max will Australia at the be profiled in the January magazine. David time. No other James, also a founder, was the original station radio station manager from 1 October 1974. He is still would play it. hanging around as a volunteer and you can Any excuse for a party. A volunteer celebration in, on and around original building at 76 Chandos Street How would they read a short profile in this edition. DECEMBER 2019
THE GENESIS OF A PROGRAM TOM ZELINKA: CONTEMPORARY MUSIC COLLECTIVE At one minute past midnight on Tuesday morning, 18 February 1975, a contemporary music program went to air on 2MBS. The program ran Monday to Friday from midnight to anytime after 3am. I was the first DJ and remained the first and only for several months. Fortunately, help was on its way.
air were hell! I couldn’t speak. Finally, I managed to say ‘Hello, listeners’. Things got better. Later in the year, I began to encourage and train other young people as presenters for the Monday to Friday night timeslots. This group was the genesis of what is now known as the CMC: the Contemporary Music Collective.
In late 1974, I was involved with a committee convened to establish 2JJ and, at the same time, a number of our stalwart early members of 2MBS were knocking on the door of the Federal Government to get an FM radio station. When this eventuated, a friend recommended me to David Rumsey as a DJ in the area of popular music for this new station and I was enthusiastic about contributing to a community station. Luckily Tom Zelinka 1970s for me, David was enthusiastic about using the late night time slot for a youth audience was to do a short history of rock. My resources wanting rock music. My background was as a were seven-inch vinyls. As a beginner on music critic and previously as a record retailer radio, I found that cueing these records in London and Sydney. where the tracks lasted only two minutes My first broadcast at the Crow’s Nest studio was a challenge. Trying to do in-between began with the Lovin’ Spoonful’s Good time announcements added an almost insuperable music and my intention on that first evening degree of difficulty. The first 20 minutes on
Rock music of the 1970s began to change and the CMC presenters followed popular music fashions. The new technology of CDs and electronic instrumentation in the 80s and 90s dramatically expanded the spectrum of rock programming. Such rapid technological change scarcely affected classical music and jazz programming. Over the decades, the Collective welcomed a range of specialist music presenters who complemented the early ‘everything-goes’ rock presenters. Today, the CMC programs on Fine Music cover the spectrum of familiar and alternative contemporary rock music and now include styles known as groove, indy, soundtracks, reggae, prog, r&b, Americana, noise and eclectic. I’ve totally enjoyed the musical journey.
THE GENESIS OF A PROGRAM OWEN FISHER: MUSIC THAT’S BAND When Fine Music celebrates its 45th anniversary in December, Music That’s Band will be heard for the 596th time. My first band music program, broadcast on 6 August 1980, was called Banned Music for the Censors. I introduced it by saying that it was band music for the senses of hearing. After 22 programs, I decided to change the name to something less obscure, not that Music That’s Band is much of a grammatical improvement. Until July 2011 my programs were broadcast monthly and were of one-hour duration. I featured more than 20 famous bands playing transcriptions of classical music (opera excerpts, concerto and symphony movements, excerpts from tone Owen Fisher poems and some baroque music), plus the other weeks of the month. An overall title military marches, hymns, traditional national of On Parade bound the programs together songs, novelty numbers, German polkas, Latin but I retained Music That’s Band as a subtitle. American and Mexican pieces, and musical Since then, On Parade has been heard every comedy selections. Then, due to the popularity Saturday morning. of band music, the Programming Committee decided to broadcast band music every week Although half-hour programs have restricted in a 30-minute format. I was to program two my choice, I still succeed in presenting five of these, with other programmers attending to items per program and achieving a balanced 4
variety. I use all of my own recordings, selecting from my LPs and CDs, with new CDs being sent to me from various brass bands, from Australia and overseas, and my collection includes 32 CDs of the Allentown Band. I have never repeated a program, but sometimes requests from listeners have made me repeat certain popular items. I still have many tracks not yet played, enough for another 40 years! I have interviewed the conductors of the Allentown Band, the Black Dyke Mills Band, the Cory Band, Band of Yorkshire Imperial Metals and the Grimethorpe Colliery Band. I was very pleased when the Allentown Band from Pennsylvania accepted my request for them to record our Fine Music theme music for station identification. This is one of many versions recorded by musicians that are played at various times each day to identify the station. After my 400th and 500th band programs I received congratulatory messages, not only for the program but for Fine Music in supporting band music so well.
CELEBRATING FINE MUSIC RECORDINGS ELAINE SIVERSEN TRACES FROM TAPES TO COMPUTER Some of the unsung heroes of Fine Music are those volunteers who record the concerts that you hear on Fine Music. So much time and effort goes into producing the final result which involves many hours of work: setting up the recording equipment; placing the microphones to best advantage; and afterwards editing the recording ready for broadcast. Equipment these days is reasonably easy to handle, but in the early days much of it was very heavy and often had to be carried up flights of stairs. The first concerts were recorded soon after the station began operations, and concert recordings are still an important part of the work of the Technical Committee. These early concerts were recorded on reel-to-reel tape. An occasional hazard during a broadcast was the tape coming off the spool and ending up in a mess on the floor. Later VHS and Beta tapes were used, followed by DAT tapes and then CDs and computer. It was no easy task working with reel-to-reel tape. We had to become adept at editing the tape without splicing because they couldn’t be reused after splicing; we couldn’t afford to keep buying new tapes. After we moved to VHS and Beta, a great deal of music on the old tapes was preserved on Beta (now on CD) as individual works in
Production setup for ‘Live from the Joan’ Photo Jeannie McInnes
our Tape Archive collection and placed in the library for use by programmers. Many concerts on old tapes were also transferred to Beta, later to DAT, then CD, and were used as whole concerts. Still more were preserved on Beta but left in storage, the majority of these having been meticulously edited by long-time volunteer Denis Eddy. A few years ago, I undertook to transfer every extant recording on VHS, Beta and DAT tapes to CD (with booklets made from the program notes). Now in the library as the Concert Recording collection, they showcase many of the fine
artists who have given concerts in Sydney over the years, and have proved popular with programmers. From 15 December through to the end of January, multiple programs devised from the Concert Recording collection will celebrate the work of the volunteers who have given their time, energy and special talent to record this music. The earliest extant recording is from 1977 and some of the latest recordings will also be heard. Look for the 45th Anniversary logo on each program.
AUSTRALIA’S LEADING CELLO TEACHER PAUL COOKE REMEMBERS NELSON COOKE Nelson’s first teacher was Jascha Gopinko, a Russian Jewish immigrant who taught violin in Kurri Kurri. A number of his students, including Nelson, went on to feature prominently in the Sydney Symphony Orchestra; the bestknown of them, Ernest Llewellyn, thought that Gopinko played a role in Australian string playing comparable to that of Leopold Auer in Hungary. Nelson Cooke and brother Max Cooke Photo Paul Cooke
Nelson Cooke was named a Member of the Order of Australia in the Queen’s Birthday Honours List of 2011, an award given to him ‘for service to music performance and education as a leading cellist and as a mentor of emerging young musicians’. It was recognition of his teaching legacy of which he was proudest, and it is the importance of inspiring teachers that I want to highlight in this article, which coincides with the centenary of his birth in Bellbird, New South Wales, on 21 December 1919.
From 1939 to 1949, with time out for war service, Nelson played in the Sydney Symphony Orchestra. In 1949 he moved to London to further his studies, first at the Royal College of Music and then with Pablo Casals. Of this transforming experience he said: “... hard work and no fun. Studying with the world’s best was serious business indeed.” In 1952 he made his Wigmore Hall debut, and in 1954 he premiered Don Banks’ Three studies for cello and piano, before in the 1960s becoming Principal Cello of the London Symphony Orchestra and then the Royal Philharmonic Orchestra. In 1969 his career took off on a new trajectory,
as he resigned from the Royal Philharmonic and began what was to become a very distinguished teaching career, first in the United States at the University of South Florida and then back in Australia. He was sought out by Ernest Llewellyn to become head of strings at the Canberra School of Music, where his students included Howard Penny and Julian Smiles; he later moved to Melbourne, where he taught Li-Wei Qin, Zoe Knighton and many others. The secret of his success? A statement about Jascha Gopinko in the Cessnock Eagle in 1936 applies equally well to Nelson Cooke: “... he applies psychology to his training. By subtle means he is able to cultivate the confidence and individuality of the pupil, who in turn makes it manifest in the interpretation.” The writer, Paul Cooke, is a nephew of Nelson Cooke. Music played by Nelson Cooke and some of his pupils can be heard at 2pm on Friday 20 December.
BRILLIANT WIT, SPARKLING SATIRE DEREK PARKER REVEALS A RIOTOUS OPERETTA
Original poster for Jacques Offenbach’s Les Brigands Photo: Alamy
Parisians who were enthusiastic fans of Offenbach’s operettas were perhaps a little less excited than usual when they made their way into the Théâtre des Variétés on
the evening of 10 December 1869 for the premiere of the latest piece from the composer of Orphée aux enfers, La belle Hélène and La périchole. The placards outside the theatre announced that the composer’s great star, Hortense Schneider, would not be appearing in Les brigands; it must have been rather like turning up at the Opera House to hear that Cecilia Bartoli was ‘off’.
with twirling their moustaches than preparing for war. There was also a band of policemen as inefficient as that in The pirates of Penzance, always arriving too late to catch the thieves. (W.S. Gilbert translated the libretto for the first of three London productions of Les brigands. He seemed to remember the characters very well when writing Patience and Pirates 12 years later.)
On leaving, a couple of hours later, very few were discontented. If there had been no single, irresistible, immortal tune to whistle, at least there had been plenty of laughter. The composer’s librettists, the brilliant Henri Meilhac and Ludovic Halévy, had produced a complicated plot involving a band of thieves embarking on a scheme even they don’t quite understand, seasoning it with sparkling satire. The shonky financiers whose nefarious operations besmirched the last years of the Second Empire were lampooned, the robber chief announcing that ‘everybody steals according to their place in society’, and the sabre-rattling that was a prelude to the FrancoPrussian war were ridiculed in a chorus for the carabinieri, who like the guardsmen in Gilbert and Sullivan’s Patience were more concerned
The score was clever, witty and sophisticated, and not without sentiment (in for instance the music for two young lovers). The second act was especially entertaining, set on the border of Italy and Spain (believe it or not) allowing for riotous musical frolics with Italian and Spanish rhythms as the farce continued with characters misplacing their disguises. The famed Schneider had not been missed; Zulmar Bouffar had a great success as Fragoletto, a female farmer. As things turned out, it would have been good to have been in the audience at the Théâtre des Variétés on that evening in December 1869. To celebrate 150 years since its premiere, we present Les brigands in Saturday Matinee at 2.30pm on 14 December.
150 YEARS OF DON QUIXOTE DAVID OGILVIE DELVES INTO THE BALLET version for the Imperial Ballet in St The name of Viennese composer Aloisius Petersburg with a completely reworked Minkus (also variously named Alois, and expanded score, tailored to the more Ludwig, Léon or Louis) is unlikely to ring aristocratic St Petersburg balletomanes. very loud bells in classical music listeners’ This staging instantly became a classic, heads unless they happen to be wellearning Minkus great acclaim for his versed in 19th century Russian ballet. effective music. However, over the years Despite his collaboration with some of the the score has been constantly reworked, greatest choreographers of the time, and revised and supplemented, effectively his becoming the most important ballet submerging its richly coloured and composer in Russia before Tchaikovsky, weighty original form. hardly anything is known about him. We know that he was born in Austria to Czech The modern version we will hear this parents in 1826, and after a glittering Don Quixote with the Bolshoi Ballet performing at the Royal month reflects the century-and-a-half Opera House, Covent Garden, London, UK, 17 August 2006 career in Moscow and St Petersburg was of revisions that Minkus’ music has Photo: Alamy obliged to return to Vienna where he died undergone. As with all modern-day in abject poverty and obscurity. Russian productions, the score omits (composed jointly with Léo Delibes), Don From a musical point of view and his place Quixote and La bayadère. Of the three, Don much of the delightful music that Minkus wrote in posterity, Minkus was unfortunate to be a Quixote remains a cornerstone of the classical for the ballet, and includes several pieces from his other works as well as additional music contemporary of Tchaikovsky. Minkus’ music, ballet repertory. with its strong rhythmic pulse and regular Minkus and the choreographer Marius Petipa from other composers, some erroneously harmonic structures, was ideally suited to the premiered Don Quixote at the Bolshoi Theatre being credited to Minkus. It is, however, an ballet of his era, and can be summarised as in December 1869. Aware of the tastes extraordinary contribution to the theatre of the full of melody and rhythmic verve, much of of Moscow audiences, Minkus included a dance. which is charming and of immediate appeal. number of comical elements in the production We celebrate 150 years since the premiere of His uneven reputation rests largely on three and put an emphasis on character dances. Minkus’ original ballet Don Quixote in Saturday highly successful ballet scores: La source Two years later he staged a new five-act Matinee at 2.30pm on 21 December. 6
CLAIMED BY TWO COUNTRIES PAUL COOKE ASSESSES ALFRED HILL On 20 November 1941 the septuagenarian Alfred Hill arrived in Melbourne aboard the Spirit of Progress express train for the premiere of his Symphony no 2 in E flat, to be performed by the Melbourne Symphony Orchestra conducted by Bernard Heinze. It was his first symphony since the Maori symphony, an earlier attempt in the last years of the 19th century, a fact that perhaps reflects the scarcity in Australia of orchestras that were deemed to be of a sufficiently high standard.
research into Maori music, and agitated, unsuccessfully, for an institute of Maori studies to be founded in Rotorua in 1910. He was the conductor of New Zealand’s first professional orchestra, formed for the Christchurch Exhibition, and he was New Zealand’s first fully professional composer. In Sydney between 1896 and 1902, he conducted the Sydney Liedertafel, an amateur singing group, and the Great Synagogue Choir; on 1 January 1901 he conducted the Commonwealth Celebrations Choir of 11,000 voices, accompanied by ten brass bands.
The Symphony no 2 is scored for madrigal quartet, choir, piano, organ and orchestra. Predating that, it was In 1911 Hill settled more or less first conceived in 1912 as a quintet for permanently in Sydney. He became piano and strings, with a finale featuring a member of the Austral Quartet, and eight vocalists, that had been used in an tried to create orchestras and opera Exhibition ode for the 1906 Christchurch companies in Australia and New Exhibition. Parts of the orchestral Zealand, founding, with Fritz Hart, the version appeared in 1933 in an Empire short-lived Australian Opera League. Day international broadcast and in Alfred Hill c1920 In 1916 he became the founding Photo: Public domain 1938 as part of the celebrations of the professor of harmony and composition sesquicentenary of the European settlement violin and viola, playing in the small orchestras at the New South Wales Conservatorium of of Sydney. The Symphony is subtitled Joy of of travelling theatres. Thereafter, he studied Music. Here his students included John Antill life, with a program that can be summarised at Leipzig Conservatory from 1887 to 1891, and, for a brief time, Roy Agnew, whose The thus: Introduction: The mystery of life; First where he was a contemporary of Ethel breaking of the drought he conducted in 1928. movement: The vigour of life and its clock- Richardson, who was later to achieve fame as In 1921 he married his former student Mirrie like precision; Second movement: Life has the novelist Henry Handel Richardson. Here Solomon who was also a composer. Passed its sorrow but there is always hope; Third he was drawn to the music of Mendelssohn, over twice for the position of Director, Alfred Hill movement: Life has its playground; Fourth Schumann and Bruch, influences that stayed resigned in 1934 and set up his own academy. movement: A lyrical and pious prayer to the with him throughout his career, and he played It lasted only until 1937, after which time he Brotherhood of Man and the Joy of Living. in the Gewandhaus Orchestra, where he came devoted himself to composition. During his The fourth movement is the only surviving in contact with visiting soloists or conductors Conservatorium years he had concentrated choral movement in an Australian Symphony such as Brahms, Grieg, Tchaikovsky, Bruch, on string quartets and concertos, but now he between 1900 and 1960, and its texts are a Reinecke, Dvorák and Richard Strauss. turned to symphonies, albeit revisions and combination of the Latin Gloria and lyrics by He won the Helbig Prize, awarded to him orchestrations of previously written chamber Hill (regarded by some as naive and banal) for exceptional all-round achievement, as music. Included among his more than 500 affirming life and love. composer and instrumentalist; his Scotch compositions are eight operas, 13 symphonies sonata, for violin and piano, was not only and 17 string quartets. Alfred Hill was born in Melbourne on 16 commended but performed and published. Alfred Hill will not be remembered for the December 1869, the son of Charles Hill, hatter, violist and tenor, and Eliza Ann Hulbert. For the next 20 years he divided his time originality of his music, but his importance He died in Sydney on 30 October 1960, between New Zealand and Australia. He is twofold. He was crucial in the foundation but for most of his first 40 years he was not premiered his cantata Hinemoa in Wellington of a professional musical culture in both Australia and New Zealand; and he composed resident in Australia. While the music critic in 1896, the first significant work to illustrate melodious, harmonious, appealing music Neville Cardus described him as ‘the grand Maori legend and to display the influence of worthy of exploration. old man of Australian music’, it is probably Maori musical themes in a European setting. more accurate to regard him as occupying Other compositions similarly inspired and To honour Alfred Hill on the 150th anniversary that position in Antipodean music. In 1872 the embellished included the operas Tapu and of his birth, you can hear a selection of his family migrated to New Zealand, where first he Teora, the Maori symphony, and many songs, music, including the Joy of life Symphony, on played the cornet in the Wellington Garrison the best known of which is Waiata poi of 1904. Monday 16 December at 2pm and in Sunday Band and family ensembles, then learned It is worth noting that Hill conducted academic Special on 29 December at 3pm.
We hope that the Christmas music offered by our programmers will enhance the joy of the Christmas Season. In December you’ll find Bach’s Christmas Oratorio (7), Music for Christmas (13), a concert recording of Carols from the Sydney Opera House by the Philharmonia Choirs (18), Leontyne at Christmas (19), Evensong (every Sunday) as well as major sacred works in Musica Sacra (15, 22, 29). Other Christmas music, both secular and sacred, may be found in various programs (7, 14,18, 21,22, 24, 26). DECEMBER 2019
NOÉMIE MERLANT ADÈLE HAENEL LUÀNA BAJRAMI
PORTRAIT OF A LADY ON FIRE FROM DEC 26
IDRIS ELBA JUDI DENCH IAN MCKELLEN
CATHERINE DENEUVE JULIETTE BINOCHE ETHAN HAWKE
FROM DEC 26
FROM DEC 26
TAIKA WAITITI SAM ROCKWEL SCARLETT JOHANSSON
SAOIRSE RONAN TIMOTHÉE CHALAMET EMMA WATSON
MARGOT ROBBIE NICOLE KIDMAN CHARLIZE THERON
JO JO RABBIT
FROM DEC 26
FROM JAN 1
FROM JAN 1
SUNDAY 1 December 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SUNDAY MORNING MUSIC with Terry McMullen 9:00 MUSICA SACRA Prepared by Stephen Matthews Ryba, J. Bohemian shepherd Mass. Youth Choir of St Nicholas, Hamburg/ Ekkehard Richter. Christophorus CHE 0127-2 36 Telemann, G. Oratorio: Und das Wort ward Fleisch. Cologne Academy/Michael Willens. Harmonia Mundi 19075832892 15 10:00 THE CLASSICAL ERA Prepared by Rex Burgess Beethoven, L. Overture to Fidelio, op 72 (1814). Bavarian RSO/Colin Davis. CBS MDK 44790 7 Finale to Act II of Fidelio, op 72 (1814). Rita Auvinen, sop; Satu Vihavainen, sop; Peter Lindroos, ten; Jorma Silvasti, ten; Jorma Hynninen, bar; Tom Krause, bass; Bengt Rundgren, bass; Savonlinna Opera Festival Ch & O/Ulf Söderblom. BIS CD-373/374 13 Music for Friedrich Duncker’s Leonore Prohaska, WoO96 (1815). Bodil Arnesen, sop; Berlin Radio Ch & SO/Karl Anton Rickenbacher. Koch Schwann 3-1485-2 15 Giuliani, M. Potpourri from Rossini’s Tancredi, op 76 (pub. 1817). Mikael Helasvuo, fl; Jukka Savijoki, gui. BIS CD-413 14 Weber, C.M. Overture to Der Freischütz, op 77 (1817-21). Berlin PO/Herbert von Karajan. DG 419 070-2 11 Ocean, thou mighty monster, from Oberon (1826). Gundula Janowitz, sop; German Opera O/Ferdinand Leitner. Decca 467 910-2 9 Variations on a theme from Silvana, op 33. Dieter Klöcker, cl; Werner Genuit, pf. cpo 999 626-2 16 Mozart, W. Lo sposa deluso, K430. Felicity Palmer, sop; Ileana Cotrubas, sop; Anthony Rolfe Johnson, ten; Robert Tear, ten; Clifford Grant, bass; London SO/Colin Davis. Philips 422 539-2 21 12:00 CLASSIC JAZZ AND RAGTIME with Maureen Meers The early days of jazz and ragtime as recorded during the first 30 years of the 20th century
13:00 WORLD MUSIC: Whirled Wide Showcases diverse music from cultures around the world, both traditional and modern, featuring musicians from all corners of the globe, including Australia 14:00 THE DOUBLE CONCERTO Prepared by Chris Blower Mendelssohn, F. Overture: Ruy blas, op 95 (1839). Bergen PO/Andrew Litton. BIS SACD-1584 8 Sinfonia no 10 in B minor (1823). Orpheus CO. DG 437 528-2 10 Double concerto in D minor (1823). Gidon Kremer, vn; Martha Argerich, pf; Orpheus CO. DG 427 338-2 37 15:00 SUNDAY SPECIAL Weinberg Centenary Prepared by Nicky Gluch A Centenary Event
Bock, J. If I were a rich man, from Fiddler on the roof (1964). Zero Mostel, bar. RCA RCD1-7060 5 Weinberg, M. Cello sonata no 1. Virginie Constant, vc. Collection Classiques IEMJ-CDC-002 16 Shostakovich, D. Incidental music to King Lear, op 137 (1940). Belgian RSO/ José Serebrier. RCA Victor RD 87763 20 Weinberg, M. Polish tunes (1950). Siberian SO/Dimitry Vasilyev. Toccata Classics TOCC 0193 14 Shostakovich, D. Excerpts from Jewish folk poetry, op 79a (1948). Moscow Theatre Choir; Moscow Virtuosi/Vladimir Spivakov. MusicMasters 67189-2 19
Weinberg, M. Chamber symphony no 4 (1992). Mate Bekavac, cl; Andrei Pushkarev, triangle; Kremerata Baltica/ Mirga Grazinyte-Tyla. ECM 4814604 36 17:00 HOSANNA Prepared by Stephen Matthews Rutter, J. Hymn to the Creator of light. Choir of St Paul’s Cathedral/John Scott. Helios CDH 5463 8 Handel, G. He shall feed his flock, from Messiah HWV56. Renée Fleming, sop; Royal PO/Andreas Delfs. Decca 475 6925 5 Anon. Rejoice in the Lord alway. Choir of St Paul’s Cathedral/John Scott. Helios CDH 55463 3 Bach, J.S. Nun komm, der Heiden Heiland, BWV61/1. Bach Collegium Japan/Masaaki Suzuki. BIS CD-1951 3 Carols: A hymn of St Columba, Tomorrow shall be my dancing day; The cherry tree carol. Choir of St John’s College, Cambridge/Andrew Nethsingha. Signum SIGCD535 9 Zelenka, J. Magnificat in D. Bach Collegium Japan/Masaaki Suzuki. BIS CD-1011 10 Thalben-Ball, G. Poema, from Poema and toccata beorma. Joseph Nolan, org. Signum SIGCD 302 11 Trad. Tomorrow shall be my dancing day (arr. Willcocks). Choir of St John’s College, Cambridge/Andrew Nethsingha. Signum SIGCD 535 2 Bingham, J. The spirit of the Lord is upon me. Choir of St John’s College, Cambridge/Andrew Nethsingha. Signum SIGCD 535 4
CONTINUING PROGRAM SERIES Musical Families prepared by Jennifer Foong: Tuesdays 3, 17 at 2pm Sunday Special, The Baroque Secular Cantata prepared by Rex Burgess: Sunday 8 at 3pm A New Life on These Shores prepared by Frank Morrison: Tuesdays 10, 24 at 2pm Evenings with the Orchestra, Music from the New World prepared by David Brett: Friday 20 at 8pm Come to the Opera prepared by Derek Parker: Saturday 21 at 1pm New: Celebrating 2MBS-Fine Music Recordings: Sunday Special 15 at 3pm; Thursdays 19, 26 at 2pm; Baroque and Before Friday 20 at 10pm DECEMBER 2019
Sunday 1 December 18:00 SMALL FORCES Prepared by Rex Burgess Schumann, R. Three romances, op 94 (1849). John Anderson, ob; Gordon Back, pf. ASV WHL 2100 13 Beethoven, L. Grand fugue in B flat, op 133 (1826). Melos Quartet. DG 415 676-2 15 Schubert, F. The shepherd on the rock, D965 (1828). Jennifer Bates, sop; Nigel Westlake, cl; David Bollard, pf. Tall Poppies TP011 12 Debussy, C. Violin sonata (1916-17). Kyung Wha Chung, vn; Radu Lupu, pf. Decca 421 154-2 13 19:00 SUNDAY NIGHT CONCERT Prepared by Paul Cooke Boulanger, L. D’un soir triste (1917). BBC PO/Yan Pascal Tortelier. Chandos CHAN 9745 11 Mackenzie, A. Violin concerto in C sharp minor, op 32 (1884-85). Malcolm Stewart, vn; Royal Scottish NO/Vernon Handley. Hyperion CDA66975 31 Prokofiev, S. Symphony no 5 in B flat, op 100 (1944). Philharmonia O/Paul Kletzki. EMI 5 74115 2 40 20:30 NEW HORIZONS Prepared by Calogero Panvino Panvino, C. Palomar looks at the sky (2019). Nicholas Young, pf; Matthew Kneale, bn. 6 Willcock, C. Southern star (2004). Choir of Trinity College, Melbourne; Marshall McGuire, hp; Michael Leighton Jones, cond. ABC 476 6349 4 Panvino, C. Kontakt (2018). Nicholas Young, pf. 3 Page, R. Tystnad~Silence (2015). Lamorna Nightingale, fl. 12 Edwards, R. Marimba dances (1982). Michael Askill, mar. Southern Cross SCCD 1021 10 Fox, C. IliK-relliK. Ian Pace, pf. NMC D066 15 Panvino, C. Palomar in the garden (2019). Nicholas Young, pf; Matthew Kneale, bn. 3 Hill, F. Imago (2018). Lamorna Nightingale, fl. 16 Edwards, R. Flower songs (1986-87). Song Company and Friends/Roland Peelman. Tall Poppies TP051 11 22:00 AFTER HOURS JAZZ 10
Monday 2 December 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: 1829 Prepared by Madilina Tresca Berlioz, H. Story of a flea, song of Mephistopheles, op 1 (1829). John Mark Ainsley, ten; Montreal Ch & SO/Charles Dutoit. Decca 475 0972 1 Spohr, L. String quartet no 26 in E flat, op 83 (1829). Moscow Philharmonic Concertino String Quartet. Marco Polo 8.225983 26 Crusell, B. Concertino in B flat (1829). László Hara, bn; Tapiola Sinfonietta/ Osmo Vänskä. BIS CD-495 19 Rossini, G. Fantasy on William Tell (arr. Demerssemon, Barthélémy). Patrick Gallois, fl; Malcolm Messiter, ob; London FO/Ross Pople. DG 445 822-2 11 Overture to William Tell (1829). Israel PO/ Zubin Mehta. Decca 475 7470 12 Mendelssohn, F. Variations concertantes, op 17 (1829). Mischa Maisky, vc; Sergio Tiempo, pf. DG 471 565-2 8 10:30 CONCERT HALL Prepared by Rex Burgess Wagner, R. Prelude to Act I; Liebestod, from Tristan and Isolde (1857-59). New York PO/Pierre Boulez. Sony SMK 64 108 16 Mozart, W. Ch’io mi scordi di te?, K505 (1786). Yvonne Kenny, sop; Pierre Nola, pf; Australian CO/Richard Tognetti. Sony SK 66282 10 Jolivet, A. Concerto for ondes martenot and orchestra. Ginette Martenot, ondes martenot; Paris National Opera TO/André Jolivet. Ades 13.291-2 21 Ives, C. Symphony no 4 (1910-16). New Philharmonia O/Harold Farberman. Vanguard 08 9098 71 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
13:00 SEASCAPE Prepared by Derek Parker Britten, B. Dawn, from Four sea interludes (1945). New Zealand SO/Myer Fredman. Naxos 8.578269-70 3 Elgar, E. Sea pictures, op 37 (1897-99). Sarah Connolly, mezz; BBC SO/Andrew Davis. Chandos CHSA5140 (2) 22 Mendelssohn, F. Overture: Calm sea and prosperous voyage, op 27 (1828). Vienna PO/Christoph von Dohnányi. Decca 460 239-2 12 Tchaikovsky, P. Symphonic fantasy: The tempest, op 18 (1873). SO of Russia/ Veronika Dudarova. Olympia OCD 512 A&B 24 Stanford, C. Villiers Songs of the sea, op 91 (1904). Benjamin Luxon, bar; Birmingham Symphony Ch & O/Norman Del Mar. LP HMV ASD 4401 19 14:30 ONE WORK COMPOSER Paul Dukas Prepared by Stephen Wilson Dukas, P. Ballet: La péri (1911-12). New York Philharmonic/Pierre Boulez. Sony 88875192992 19 Variations, interlude and finale on a theme of Rameau (1899-1902). Margaret Fingerhut, pf. Chandos CHAN 8765 19 Symphony in C (1895-96). BBC PO/Yan Pascal Tortelier. Chandos CHAN 241-32 41 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm 19:00 JAZZ PULSE with Chris Wetherall 20:00 STORMY MONDAY with Austin Harrison and Garth Sundberg 22:00 THE AUSTRALIAN JAZZ SCENE with Susan Gai Dowling and Peter Nelson
Maurice Martenot first presented his electronic instrument, the ondes martenot, to the public in 1928. A keyboard controls the frequency of a variable oscillator; the signal is amplified and transmitted through a speaker as a wavering, ethereal-like sound. Jolivet, Milhaud, Koechlin, Schmitt, Ibert and Honegger were among the first composers to write for the ondes martenot.
Tuesday 3 December 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Julie Simonds 9:00 DIVERSIONS IN FINE MUSIC Colours of the keyboard Prepared by Rex Burgess Prokofiev, S. Cello sonata, op 119 (1949). Catherine Hewgill, vc; Vladimir Ashkenazy, pf. Decca 481 6562 22 Byrd, W. The barley breake (arr. Byrd). Sophie Yates, virginals. Chandos CHAN 0574 8 Liszt, F. Three concert études (1849). Daniil Trifonov, pf. DG 479 5529 19 Debussy, C. Lindaraja (1901). JeanPhilippe Collard, pf; Michel Béroff, pf. EMI 5 72376 2 6 Shostakovich, D. Piano trio no 2 in E minor, op 67 (1944). Oslo Trio. Simax PSC 1014 27 10:30 CONCERT HALL Prepared by Di Cox Hindemith, P. Symphonic metamorphoses on themes of Carl Maria von Weber (1943). Philharmonia O/ Neeme Järvi. Chandos CHAN 8766 20 Glazunov, A. Saxophone concerto in E flat, op 109 (1934). Eugene Rousseau, sax; Paul Kuentz CO/Paul Kuentz. DG 453 991-2 14 Schubert, F. Symphony no 9 in C, D944, Great C Major (1825-28). Royal Concertgebouw O/John Eliot Gardiner. Radio Nederland RCO11004 48 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 OUT OF A PERSIAN MARKET Prepared by Ross Hayes Ketèlbey, A. In a Persian market (1920). Slovak Philharmonic Male Ch; CzechoSlovak RSO/Adrian Leaper. Naxos 8.554713 6 Sanctuary of the heart (1924). Ambrosian Singers; Philharmonia O/John Lanchbery. EMI 1 66443 2 5 Dance of the merry mascots (1932). Michael Reeves, pf; London Promenade
O/Alexander Faris. Philips 400 011-2 7 Suite romantique (1924). Czecho-Slovak RSO/Adrian Leaper. Naxos 8.554709 15 In a monastery garden (1915). Slovak Philharmonic Male Ch; Slovak RSO/ Adrian Leaper. Naxos 8.554710 6 Gypsy lad. Philharmonia O/John Lanchbery. EMI 1 66443 2 10 Fanfare for a ceremonial occasion. Concert Band of RAN/G.D.C. Coxon. LP EMI SCXO 8015 1 14:00 MUSICAL FAMILIES Grigoryan brothers Prepared by Jennifer Foong Giuliani, M. Variations on a theme by Handel, op 107, Harmonius blacksmith. Slava Grigoryan, gui. ABC 472 224-2 8 Grigoryan, E. Tian Shan. Leonard Grigoryan, gui; Slava Grigoryan, gui. ABC 481 7028 9 Grigoryan, L. Possibly maybe. Leonard Grigoryan, gui. Which Way Music WWM017 7 Grigoryan, S. Fantasy on a theme by William Lawes (c2010). Slava Grigoryan, gui; Leonard Grigoryan, gui; Hush Chamber Strings/Benjamin Northey. hush.org.au HUSH010 6 Tawadros, Joseph. Moonbeam. Slava Grigoryan, gui, synth; Leonard Grigoryan, gui; Joseph Tawadros, oud, vn; James Tawadros, bendir, cajon, req. ABC 476 4316 5 Piazzolla, A. Los pajaros perdidos. José Carbó, bar; Slava Grigoryan, gui; Leonard Grigoryan, gui. ABC 476 4833 4 Towner, R. From a dream (2008). Eduard Grigoryan, vn; Irina Grigoryan, va; Slava Iourgaev, vc; Ben Robertson, db; Leonard Grigoryan, gui; Slava Grigoryan, gui. ABC 481 7028 3 Grandage, I. Black dogs (2008). Dale Barltrop, vn; Francesca Hiew, vn; Stephen King, va; Sharon Grigoryan, vc; Slava Grigoryan, gui. ABC 481 5428 16 Westlake, N. Jovian moons (2001/02). Slava Grigoryan, gui; Michael Kieran Harvey, pf. ABC 476 5744 16 Falla, M. de Four Spanish pieces (1909;
arr. Grigoryan). Slava Grigoryan, gui; Leonard Grigoryan, gui. ABC 476 6088 16 Bach, J.S. Concerto in C minor for violin and oboe, BWV1060R (c1738; arr. S. Grigoryan). Slava Grigoryan, gui; Leonard Grigoryan, gui; Adelaide SO/ Benjamin Northey. ABC 481 6926 13 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm 19:00 THE JAZZ BEAT with Lloyd Capps Smooth small group jazz from the 50s on, and with a visit from Miles Davis each week 20:00 RECENT RELEASES with Michael Field 22:00 CHAMBER SOIRÉE Prepared by Paul Hopwood Mozart, W. String trio in E flat, K563 (1788). Grumiaux Trio. Philips 422 513-2 41 Beethoven, L. Quintet in E flat for piano and winds, op 16 (1796). Robert Levin, fp; Academy of Ancient Music Chamber Ensemble. Decca 455 994-2 27 Corelli, A. Violin sonata in D minor, op 5 no 12, La follia (pub. 1700). Il Giardino Armonico. Nuova Era 6789 12 Haydn, J. Quartet in G minor, Hob.III:33 (1772). Salomon String Quartet. Hyperion CDA66621 28
Adolphe Sax, the inventor of the saxophone, learned his trade in his father’s brass and woodwind manufacturing business in Belgium. After studying the flute and clarinet at the Conservatory, he designed innovations for several instruments including a clarinet with 24 keys. Feeling that he needed greater scope for his inventions, he left to set up his own business in Paris where he made influential contacts, among whom were Berlioz, Rossini, Halévy, and Meyerbeer. Sax began manufacturing high quality instruments, making improvements to several, and designing new ones, among them saxhorns (1845), saxtrombas (1845), saxophones (1846) and an improved trombone (1852). DECEMBER 2019
Wednesday 4 December 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Troy Fil 9:00 DIVERSIONS IN FINE MUSIC Inspired by literature Prepared by Dan Bickel Liszt, F. Overture: King Lear, after Berlioz (1833). Leslie Howard, pf. Hyperion CDS44552 16 Debussy, C. Incidental music to King Lear (c1906). Lyon NO/Jun Märkl. Naxos 8.572297 4 Shostakovich, D. Incidental music to King Lear, op 137 (1940). Belgian RSO/ José Serebrier. RCA Victor RD 87763 20 Balakirev, M. Excerpts from King Lear, music to the tragedy by William Shakespeare (1861). USSR SO/Yevgeny Svetlanov. Melodiya MEL 1001877 36 Anon. Then they for sudden joy did weep, from King Lear. Deller Consort/ Alfred Deller. Harmonia Mundi HMA 190202 1 10:30 CONCERT HALL Prepared by Giovanna Grech Weber, C.M. Overture to Peter Schmoll (1803). Berlin PO/Herbert von Karajan. DG 419 070-2 10 Verdi, G. Ballet music from Otello (1887). Berlin PO/Herbert von Karajan. DG 474 617-2 7 Respighi, O. Orchestral suite: Rossiniana (1925). New York CO/ Salvatore di Vittorio. Naxos 8.572332 23 Mendelssohn, F. Double concerto no 2 in A flat (1824). Stephen Coombs, pf; Ian Munro, pf; BBC Scottish SO/Jerzy Maksymiuk. Hyperion CDA66567 41 12:00 JAZZ SKETCHES with Robert Vale World-wide contemporary jazz including contributions from Australian artists and those from culturally emerging nations 13:00 DRESDEN’S GOLDEN AGE OF MUSIC Heinichen, J. Pastorale in A. Musica Antiqua Cologne/Reinhard Goebel. Archiv 447 644-2 6 Porpora, N. Va per le vene il sangue (1740). Andreas Scholl, ct; Accademia 12
Bizantina/Ottavio Dantone. Decca 475 6569 8 Hasse, J. Mandolin concerto in G (arr. Behrend). Takashi Ochi, mand; German Plucked-String CO/Siegfried Behrend. Thorofon CTH 2025 6 Quantz, J. Trio sonata in E flat. Mary Oleskiewicz, fl; Jean-François Beaudin, fl; Stephanie Vial, vc; David Schulenberg, hpd. Naxos 8.555064 11 Weiss, S. Lute sonata in F. Lutz Kirchhof, lute. Sony S2K 48391 10 Zelenka, J. Hipocondrie à 7 concertanti in A. Das Neu-Eröffnete O/Jürgen Sonnentheil. cpo 999 458-2 9 14:00 THE BASQUE COUNTRY Prepared by Robert Small Anchieta, J. de Magnificat. Grupo de Música Alfonso X el Sabio/Luis Lonzano Virumbrales. Decca 436 116-2 6 Guridi, J. Ten Basque songs (1941). Basque NO/Miguel Gómez Martínez. Claves 50-9709 21 Sarasate, P. de Caprice basque, op 24 (pub. 1881). Gil Shaham, vn; Akira Eguchi, pf. Canary CC07 7 Ravel, M. Piano trio (1914). Streeton Trio. www.streetontrio.com 28 Canteloube, J. Excerpts from Songs of the Basque country (1947). Netania Davrath, sop; O/Gershon Kingsley. Vanguard OVC 8001/2 12 Guridi, J. Basque folk songs (1917). Victoria Aja, pf. Naxos 8.557633 8 Durey, L. Chansons basques, op 23 (1919). François le Roux, bar; Graham Johnson, pf. Hyperion CDA67257 4 Arriaga, J. Symphony in D (c1824). Algarve O/Alvaro Cassuto. Naxos 8.557207 23 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm 19:00 JAZZ STARS AND STRIPES with Peter Mitchell The stars of American jazz from bebop on, mainly small group low temperature jazz
20:00 AT THE OPERA Prepared by Angela Cockburn Mozart, W. The abduction from the seraglio. Opera in three acts, KV384. Libretto by Gottlieb Stephanie. First performed Vienna, 1782. KONSTANZE: Cheryl Studer, sop BLONDE: Elzbieta Szmytka, sop BELMONTE: Kurt Streit, ten PEDRILLO: Robert Gambilll, ten OSMIN: Gunther Missenhardt, bass SELIM: Michael Heltau, voice Vienna State Opera Ch & O/Bruno Weil. Sony S2K 48053 2:03 Konstanze and Blonde are captives in Selim’s harem in Turkey. Selim wants Konstanze for himself, but she remains faithful to Belmonte who hopes to rescue her. With this end in view Belmonte and Pedrillo have gained employment as an architect and a gardener in Selim’s service. However Pedrillo, who loves Blonde, is jealous and scents danger. By making Osmin drunk Belmonte and Pedrillo rescue the girls using rope ladders. The alarm is raised and all four are brought before the Pasha, expecting the worst. However, it pleases his lordship to be magnanimous, and, giving up all hope of ever winning Konstanze’s love, he relinquishes her to his rival who is found to be the son of his most hated enemy. A very dejected Osmin has to watch his adored Blonde depart with her gardener beau. The four lovers turn their happy faces homewards and shake the dust of the seraglio off their feet forever. 22:30 WIND MUSIC 1918-1939 Clarinet Prepared by James Nightingale Saint-Saëns, C. Sonata in E flat, op 167 (1921). Richard Hosford, cl; Ian Brown, pf. Hyperion CDA67431/2 16 Stravinsky, I. Three pieces (1918). Paul Meyer, cl. Denon CO-78917 4 Bartók, B. Contrasts (1938). Benny Goodman, cl; Joseph Szigeti, vn; Béla Bartók, pf. Hungaroton HCD 12326-28 17 Janácek, L. Mládi for wind sextet (1924). Geoffrey Collins, fl; Diana Doherty, ob; Catherine McCorkill, cl; Philip Arkinstall, cl; Daryl Poulsen, hn; Peter Moore, bn. Fine Music concert recording 18 Nielsen, C. Clarinet concerto, op 57 (1928). Niels Thomsen, cl; Danish National RSO/Michael Schønwandt. Chandos CHAN 8894 26
Thursday 5 December 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 The instruments: Brass Prepared by Paul Cooke Mozart, W. Horn quintet in E flat, K407 (1782). Anneke Scott, hn; Ironwood. ABC 481 1244 20 Handel, G. Overture to Atalanta, HWV35 (1736). Niklas Eklund, tpt; Drottningholm Baroque Ensemble. Naxos 8.554375 7 Lutyens, E. Chamber concerto no 1, op 8 (1939-40). Jane Manning, sop; Jane’s Minstrels/Roger Montgomery. NMC D011 8 Tippett, M. Prelude for brass bells and percussion (1962). Bournemouth SO/ Richard Hickox. Chandos CHAN 9276 7 Hindemith, P. Trombone sonata (1941). Timothy Dowling, tb; Anthony Baldwin, pf. Fine Music concert recording 10 Handel, G. The trumpet shall sound, from Messiah, HWV56 (1742). Teddy Tahu Rhodes, bass-bar; Leanne Sullivan, baroque tpt; O of the Antipodes/Antony Walker. ABC 476 4110 4 Herzogenberg, H. Trio, op 61 (1889). József Kiss, ob; Jenó Keveházi, hn; Jenö Jandó, pf. Naxos 8.550441 22 10:30 CONCERT HALL Prepared by Paul Cooke Bach, J.S. Suite no 3 in D (c1731). Stuttgart CO/Karl Münchinger. Decca 458 169-2 18 Kalkbrenner, F. Piano concerto no 2 in E minor, op 85 (1826). Tasmanian SO/ Howard Shelley. Hyperion CDA67843 33 Svendsen, J. Symphony no 2 in B flat, op 15 (1874). Bergen PO/Neeme Järvi. Chandos CHAN 10711 32 12:00 JAZZ, PURE AND SIMPLE with Maureen Meers Covering the many aspects of jazz from Swing to Mainstream, with the Great American Songbook making regular appearances 13:00 OPERA IN CONCERT Prepared by Giovanna Grech
Verdi, G. Overture to Joan of Arc (1845). New Philharmonia O/Richard Bonynge. Decca 466 431-2 8 Handel, G. Vivi, tiranno! from Rodelinda, HWV19 (1725). Andreas Scholl, ct; O of the Age of Enlightenment/Roger Norrington. Decca 466 196-2 6 Gounod, C. Il se fait tard … O nuit d’amour, from Faust (1859). Angela Gheorghiu, sop; Roberto Alagna, ten; Royal Opera House O/Richard Armstrong. EMI 5 56117 2 9 Offenbach, J. Doll song, from The tales of Hoffmann (1881). Emma Matthews, sop; Monte Carlo PO/Brad Cohen. ABC 476 4991 5 Verdi, G. La peregrina ballet, from Don Carlos (1867). Giovanni Adamo, vn; Bologna Comunale TO/Riccardo Chailly. Decca 425 108-2 15 Mascagni, P. Suzel, buon di, from L’amico Fritz (1891). Cecilia Bartoli, sop; Luciano Pavarotti, ten; London Voices; Giuseppe Verdi SO, Milan/Riccardo Chailly. Decca 478 7583 8 14:00 VIRTUOSI OF THE DOUBLE BASS Bottesini, G. Introduction and bolero. Thomas Martin, db; Anthony Halstead, pf. Naxos 8.570399 9 Boismortier, J. de Sonata in D minor, op 50 no 4 (pub. 1734). Kim Walker, bn; Clena Stein, db; Darryl Nixon, hpd. Gallo 367 5 Paganini, N. Bravura variations on Dal tuo stellato soglio, from Rossini’s Moses, op 24 (1818-19; arr. Karr). Gary Karr, db; Berlin RSO/Uros Lajovic. LP Schwann VMS 2063 9 Bottesini, G. Gran duetto no 3 (183639). Joel Quarrington, db; Harold Hall Robinson, db. Naxos 8.557042 12 Dittersdorf, C. Double bass concerto in E flat. Edicson Ruiz, db; Teresa Carreño Youth O of Venezuela/Christian Vásquez. Philharmonie PHIL 06020 17 15:00 CONSTANT LAMBERT REVISITED Prepared by Ray Lemond Lambert, C. Suite, from Anna Karenina (1948). National PO/Bernard Herrmann. Decca 448 954-2 11 Eight poems of Li-Po for voice, flute, oboe, clarinet, string quartet and double bass (1926-29). Philip Langridge, ten; Nash Ensemble/Lionel Friend. 14
Concerto for piano and nine players (1931). Ian Brown, pf; Nash Ensemble/ Lionel Friend. Helios CDH55397 28 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm 19:00 THE NEW JAZZ STANDARD with Frank Presley 20:00 THE WORLD OF A SYMPHONY Prepared by Madilina Tresca Tchaikovsky, P. Let my prayer arise (1885). New York Russian Chamber Ch/ Nikolai Kachanov. Koch International 3-7420-2 7 Prokofiev, S. Visions fugitives, op 22 (1915-17). Steven Osborne, pf. Hyperion CDA67896 20 Rimsky-Korsakov, N. String quartet in F, op 12 (1875). Lyric Quartet. Meridian CDE 84293 20 Kreisler, F. Liebesleid (1917). Nigel Kennedy, vn; Katherine Gowers, vn; John Lenehan, pf. EMI 5 56626 2 4 Grieg, E. Moods, op 73 (1905). John McCabe, pf. SOMM 0154 21 Myaskovsky, N. Symphony no 4 in E minor, op 17 (1918). SO of the Russian Federation/Yevgeny Svetlanov. Warner Classics 69689-8 41 22:00 LONDON TOWN Prepared by Jacky Ternisien McTell, R. Streets of London (1969; arr. Williams). Brew Guitar Duo. DiskBank 793573 736369 4 Coates, E. March: London calling (1942). Sydney SO/John Lanchbery. LP HMV ESD 7062 3 Williamson, M. London, from Travel diaries. Antony Gray, pf. ABC 472 902-2 10 Haydn, J. Flute trio in C, Hob.IV:1, London (1794). Jean-Pierre Rampal, fl; Isaac Stern, vn; Mstislav Rostropovich, vc. CBS 37786 8 22:30 ULTIMA THULE Ambient and atmospheric music
“A composer is a guy who goes around forcing his will on unsuspecting air molecules, often with the assistance of unsuspecting musicians. — Frank Zappa DECEMBER 2019
Friday 6 December 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Annabelle Drumm 9:00 DIVERSIONS IN FINE MUSIC Something borrowed Prepared by Elaine Siversen Gesualdo, C. Two motets (arr. Maxwell Davies). Graham Ashton Brass Ensemble. ABC 446 735-2 8 Brahms, J. Five chorale preludes, from op 122 (arr. Cox). Septura. Naxos 8.573314 13 Mendelssohn, F. Clarinet quintet in C minor (1822; arr. Baermann). Dieter Klöcker, cl; members of Consortium Classicum. Orfeo C314 941 A 22 Bizet, G. Suite from Carmen (1873-74; arr. Pepe Romero). Los Romeros. Philips 412 609-2 21 Debussy, C. Songs of Bilitis (1914; arr. Lenski). Emmanuel Pahud, fl; Stephen Kovacevich, pf. EMI 5 56982 2 16 10:30 CONCERT HALL Prepared by Jennifer Foong Dvorák, A. Overture: Othello, op 93 (1891). Czech PO/Libor Pesek. Virgin VC7 91144-2 15 Berwald, F. Piano concerto in D (1855). Marian Migdal, pf; Royal PO/Ulf Björlin. EMI CDM 5 65073 2 21 Tchaikovsky, P. Symphony no 5 in E minor, op 64 (1888). Russian Federation State SO/Yevgeny Svetlanov. Emergo Classics EC 3625-2 46 12:00 A JAZZ HOUR with Barry O’Sullivan 13:00 TEMPESTATUM Prepared by Jacky Ternisien Waldteufel, E. Pluie d’or valse (1879). Strasbourg PO/Theodor Guschlbauer. Virgin 3 63297 2 10 Britten, B. Canticle III: Still falls the rain, op 55 (1954). Peter Pears, ten; Barry Tuckwell, hn; Benjamin Britten, pf. Decca 478 5364 11 Debussy, C. Jardins sous la pluie, from Estampes (1903). Roy Howat, pf. Tall Poppies TP164 4 Brown, N. Singin’ in the rain (1952). Gene Kelly, voice; MGM Studio O/Lennie Hayton. Sony 88697638292 4 14
Koehne, G. Rain forest (1982). Australian Youth O/Christoph Eschenbach. ABC 426 478-2 15 Scott, B. Hey rain (arr. Sirocco). Sirocco. Jarra Hill Records CDJHR2015 10 Brahms, J. Violin sonata in G, op 78, Rain sonata (1878-79). Richard Tognetti, vn; Ben Martin, pf. Fine Music concert recording 28 14:30 FESTIVAL FOR TRUMPETS Prepared by Derek Parker Purcell, H. Sound the trumpet, from Ode for the birthday of Queen Mary (1694; arr.). Wim Van Hasselt, tpt; Benedikt Enzler, vc; Mike Fentross, baroque gui; Jorge Lopez-Escribano, org. Channel CCS SA 36315 2 Haydn, M. Trumpet concertino in C. Franz Landlinger, tpt; Salzburg Hofmusik/ Wolfgang Brunner. cpo 777 538-2 9 Torelli, G. Sinfonia no 4 in C. Philharmonia O/Christopher WarrenGreen. Nimbus NI 5017 7 Pachelbel, J. Canon (c1690; arr. Leppard). Wynton Marsalis, tpt; English CO/Raymond Leppard. LP CBS M 42478 6 Hummel, J. Trumpet concerto in E (1803). Håkan Hardenberger, tpt; Academy of St Martin in the Fields/Neville Marriner. Philips 420 203-2 18 Mozart, L. Trumpet concerto in D (1762). St Laurence O/Neil McEwan. Fine Music tape archive 11 Handel, G. Concerto in F (c1746). American Horn Quartet; Sinfonia Varsovia/Dariusz Wisniewski. Naxos 8.557747 6 Shostakovich, D. Concerto in C minor for trumpet, piano and strings, op 35 (1933). Harry Sevenstern, tpt; Noel Mewton-Wood, pf; Concert Hall SO/ Walter Goehr. ABC 461 900-2 21 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm 19:00 FRIDAY JAZZ SESSION with Christopher Waterhouse An hour of the best in jazz with a weekly ‘album of the week’ feature and a guide to upcoming live jazz gigs in Sydney
20:00 EVENINGS WITH THE ORCHESTRA Sounds of summer Prepared by Robert Small Prokofiev, S. Suite: Summer night, op 123 (1950). Russian NO/Mikhail Pletnev. DG 445 830-2 20 Berlioz, H. Summer nights, op 7 (1840-41). Elly Ameling, sop; Atlanta SO/Robert Shaw. Telarc 80084 31 Rodrigo, J. Summer concerto (1943). Michael Guttman, vn; Royal PO/José Serebrier. Resonance RSN 3069 22 Haydn, J. Summer, Hob XXI/3 (17991801). Sibylla Rubens, sop; Andreas Karasiak, ten; Stephan MacLeod, bass; Gewandhaus Chamber Ch; Leipzig CO/ Morten Shuldt-Jensen. Naxos 8.557600 38 22:00 BAROQUE AND BEFORE Prepared by Susan Foulcher Massaino, T. Canzon for eight trombones. King’s Consort/Robert King. Hyperion CDA67048 4 Gabrieli, G. Magnificat à 14 (1615). The 24; I Fagiolini; English Cornett and Sackbut Ensemble/Robert Hollingworth. Decca 438 165-4 7 Usper, F. Sonata à 8 (1619). English Cornett and Sackbut Ensemble/Robert Hollingworth. Decca 438 165-4 5 Bach, J.S. Brandenburg concerto no 1 in F, BWV1046 (bef. 1721). Academy of Ancient Music/Richard Egarr. Harmonia Mundi HMU 807461.62 22 Telemann, G. Overture in F for four horns and orchestra (1725). American Horn Quartet; Sinfonia Varsovia/Dariusz Wisniewski. Naxos 8.557747 24 Bach, J.S. Excerpts from Mass in B minor, BWV232 (c1747-49). Peter Kooij, bass; Bach Collegium Musicum Japan/Masaaki Suzuki. BIS CD-9020/22 1:48 Handel, G. Music for the Royal fireworks (1749). Le Concert Spirituel/Hervé Niquet. Glossa GCD 921606 16 Förster, C. Horn concerto in E flat (c1743). Hector McDonald, hn; Academy of Melbourne/Brett Kelly. Tall Poppies TP042 13 Handel, G. Va tacito e nascosto, from Giulio Cesare in Egitto, HWV17 (1724). Graeme Pushee, ct; Dominic Harvey, hn; Australian Brandenburg O/Paul Dyer. ABC 480 5629 7
Saturday 7 December 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SATURDAY MORNING MUSIC with David Garrett 9:00 WHAT’S ON IN MUSIC Our weekly guide to musical events in and around Sydney 9:05 THE PIANO ALONE Prepared by Mariko Yata Chopin, F. Ballade no 3 in A flat, op 47 (1840-41). Artur Rubinstein, pf. RCA RD 89651 7 Liszt, F. Wedding march and dance of the elves, from Mendelssohn’s A midsummer night’s dream (1849-50). Leslie Howard, pf. Hyperion CDS44549 10 Poulenc, F. Novelette in C (1927). Anthony Gray, pf. ABC 481 1835 3 Kabalevsky, D. Piano sonata no 2 in E flat, op 45 (1945). Murray McLachlan, pf. Olympia OCD 267 28 10:00 MUSIC OF THE DANCE Prepared by Chris Blower Massenet, J. Suite from ballet, Thaïs (1899). Academy of St Martin in the Fields/Neville Marriner. Brilliant Classics 94355 23 Marson, J. Waltzes and promenades. Julia Shaw, hp; Nora Bumanis, hp. CBC MCVD1062 12 Tjeknavorian, L. Danses fantastiques (1958). Armenian PO/Loris Tjeknavorian. ASV DCA 884 18 Brahms, J. Sixteen waltzes, op 39 (1865). Duo Crommelynck. Claves 50-8710 17 Strauss, R. Dance of the seven veils, from Salome, op 54 (1905). Vienna PO/ Gustavo Dudamel. DG 476 471-7 10 11:30 ON PARADE Music that’s band Prepared by Owen Fisher Gounod, C. Judex, from Mors et vita. Carlton Main Frickley Coliery Band/Arthur Kenny. LP Astor GH 641 5 Trad. Mexican hat dance (arr. Webster). Cory Band/Robert Childs Doyen DOY 264 5 Anon. Hymn: Angelus. Munn and Felton’s (Footwear) Band/Harry Mortimer. LP Columbia 330 SX 1118 3 Reisteter, S. A Celtic Christmas. Allentown Band/Ronald Demkee. AMP 22173 10
Richardson, N. Three of a kind. Kensington and Northwood Band/G. John. LP ABC ABCL 8004 3 12:00 URBAN JAZZ LOUNGE with Leita Hutchings 13:00 IN ITALY Prepared by Di Cox Berlioz, H. Overture: Roman carnival, op 9 (1844). Sydney SO/Willem van Otterloo. ABC 442 377-2 9 Tchaikovsky, P. String sextet in D minor, op 70, Souvenir of Florence (1887/9192). Mischa Maisky, vc; Orpheus CO. DG 453 460-2 34 Carulli, F. Introduction, theme and variations on Sul margine di un rio, op 142. Alfonso Baschiera, gui. Nuova Era 7102 9 Bizet, G. Roma symphony (1860-68). Lille NO/Jean-Claude Casadesus. Erato 2292-45016-2 30 14:30 SATURDAY MATINEE Christmas Oratorio Prepared by Chris Blower Bach, J.S. Christmas oratorio, BWV248 (1734-35). Monika Frimmer, sop; Yoshikazu Mera, ct; Gerd Türk, ten; Peter Kooij, bass; Bach Collegium Musicum Japan/Masaaki Suzuki. BIS CD-9022-1/2 2:25 17:00 SOCIETY SPOT Folk Federation of NSW 18:00 THE MAGIC OF STAGE AND SCREEN Jerome Kern musicals Prepared by Chris Blower Kern, J. Excerpts from Showboat (1927; arr. 1951). Kathryn Grayson, sop; Annette Warren, voice; Howard Keel, bar; MGM Studio Ch & O/Adolph Deutsch. Sony 88697638372 18 Excerpts from Sweet Adeline. Judy Kay, Rebecca Luker, voices; London Sinfonietta/John McGlinn. EMI 5 72966 2 17 In Egern on the Tegernsee; The song is you, from Music in the air (1932); Smoke gets in your eyes, from Roberta (1933); The folks who live on the hill, from High, wide and handsome (1937); The last time I saw Paris, from Lady be good (1941). Jeanne Lehmann, voice; Thomas Hampson, bar; London Sinfonietta Ch & O/John McGlinn. EMI 5 72550 2 19
19:00 THE ENGLISH SYMPHONY Prepared by Chris Blower Sullivan, A. Overture to The gondoliers (1889). New SO of London/Isidore Godfrey. Decca 480 1285 7 Elgar, E. Serenade for strings, op 20 (1892). Marat Bisengaliev, vn; West Kazakhstan PO/Bundit Ungrangsee. Naxos 8.572643-45 11 Sullivan, A. Symphony in E, Irish (1866). BBC PO/Richard Hickox. Chandos CHAN 9859 36 20:00 THE LIFE OF A COMPOSER Lili Boulanger Prepared by James Nightingale Boulanger, L. Soir sur la plaine (1913). Amanda Pitt, sop; Martyn Hill, ten; Peter Johnson, bar; New London Chamber Choir; Andrew Ball, pf; James Wood, cond. Hyperion CDA66726 9 Faust et Hélène (1913). Lynne Dawson, sop; Janson Howard, bass; BBC PO/Yan Pascal Tortelier. Chandos CHAN 9745 30 Fauré, G. Une châtelaine en sa tour, op 110 (1918). Elinor Bennet, hp. Nimbus NI 5441 5 Boulanger, L. Clairières dans le ciel (1913-14). Nicky Spence, ten; Malcolm Martineau, pf. Chandos CHAN 10893 34 D’un matin de printemps (1918). Laura Chislett, fl; David Miller, pf. Walsingham WAL 8018-2 5 Psalm 130: Out of the depths (1917). Bernadette Greevy, cont; Ian Partridge, ten; BBC SO/Nadia Boulanger. BBC BBCL 4026-2 27 22:00 SATURDAY NIGHT AT HOME Prepared by Krystal Li Joachim, J. Notturno, op 12 (c1860). Hans Maile, vn; Berlin RSO/Jésus López-Cobos. Schwann 11622 11 Schubert, F. String quartet no 2 in C, D32 (1812). Sine Nomine Quartet. Erato 2292-45635-2 16 Korngold, E. Fairy tale pictures, op 3 (1910; orch. 1913). BBC PO/Matthias Bamert. Chandos CHAN 9631 19 Mozart, W. Serenade no 11 in E flat, K375 (1781). Orpheus CO. DG 478 5185 24 Zemlinsky, A. Symphonic fantasy: The mermaid (1903). New Zealand SO/James Judd. Naxos 8.570240 41 DECEMBER 2019
Sunday 8 December 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SUNDAY MORNING MUSIC with Robert Small 9:00 MUSICA SACRA Prepared by Rex Burgess Duruflé, M. Mass, op 11, Cum jubilo (1966). Mark Chaundy, ten; Choir of Magdalen College, Oxford; Richard Pinel, org; Bill Ives, cond. Harmonia Mundi HMU 807480 19 Liszt, F. Via crucis. Dorothee Labusch, mezz; Furio Zanasi, bar; Ulrich Rausch, bass; Swiss-Italian Radio Ch/Diego Fasolis. Naxos 8.553786 36 10:00 THE CLASSICAL ERA Prepared by Chris Blower Gossec, F-J. Symphony for large orchestra in D, op 13 no 3, La chasse (1774/86). Concerto Köln/Werner Ehrhardt. Capriccio C8019 15 Reicha, A. Wind quintet in E flat, op 88 no 2 (1811-17). Academia Wind Quintet of Prague. Hyperion CDD22006 16 Rode, P. Violin concerto no 7 in A minor, op 9 (1803). Friedemann Eichhorn, vn; South West German RO/Nicolas Pasquet. Naxos 8.570469 18 Pleyel, I. String quartet in G minor, op 2 no 3 (1784). Ensö Quartet. Naxos 8.557496 20 Devienne, F. Flute concerto no 2 in D (1783). Marc Grauwels, fl; Walloon CO/ Bernard Labadie. Naxos 8.555918 20 Onslow, G. String quartet in G, op 10 no 1. Mandelring Quartet. cpo 999 329-2 20 12:00 CLASSIC JAZZ AND RAGTIME with John Buchanan 13:00 WORLD MUSIC: Whirled Wide 14:00 THE DOUBLE CONCERTO Prepared by Chris Blower Brahms, J. Variations on a theme by J. Haydn, op 56a, St Antoni chorale (1873). Vienna PO/Carlo Maria Giulini. DG 431 681-2 21 Double concerto in A minor, op 102 (1887). Lydia Mordkovitch, vn; Raphael Wallfisch, vc; London SO/Neeme Järvi. Chandos CHAN 8667 34 16
15:00 SUNDAY SPECIAL The Baroque secular cantata Prepared by Rex Burgess Campra, A. Cantata: Les femmes (pub. 1708). Maarten Koningsberger, bar; Academy of the Begynhof, Amsterdam. Globe GLO 5055 13 Blankenburg, Q. Cantata: L’apologie des femmes (1715). Maarten Koningsberger, bar; Academy of the Begynhof, Amsterdam. Globe GLO 5055 12 Schenck, J. Sonata no 4 in A, from Nymphs of the Rhine, vol I (c1700). Les Voix Humaines. Naxos 8.554414 8 Handel, G. Cantata: Clori, Tirsi e Fileno, HWV96 (1707). Lorraine Hunt, sop; Jill Feldman, sop; Drew Minter, ct; Paul O’Dette, archlute; Philharmonia Baroque O/Nicholas McGegan. Harmonia Mundi HMU 907045 1:16 17:00 HOSANNA Prepared by Meg Matthews Various. In dulci jubilo; Vom Himmel hoch; Nun komm der Heiden Heiland. Choir of St Thomas Leipzig; Ullrich Böhme, org; Georg Christoph Biller, cond. Rondeau ROP4028 7 Haydn, M. Run ye shepherds to the light (1778). Vienna Boys Choir/Hans Gillesberger. Teldec 2292-44574-2 9 Trad. In dulci jubilo; Von Himmel hoch; Joseph, lieber Joseph mein. Peter Schreier, ten; Choir of St Thomas Leipzig; Monika Rost, gui; Staatskappelle Dresden. Berlin Classics BC 2117-2 7 Charpentier, M-A. Gloria, from Messe de minuit pour Noël. James Bowman, alto; Choir of King’s College, Cambridge; English CO/David Willcocks. EMI 7 63135 2 6 Berlioz, H. The shepherd’s farewell, from L’enfance du Christ. Cambridge Singers; City of London Sinfonia/John Rutter. Collegium COLCD 111 4 Adam, A. O holy night. Cambridge Singers; City of London Sinfonia/John Rutter. Collegium COLCD 111 7 Esterházy, P. Four little Christmas cantatas. Mária Zádori, sop; Éva Lax, cont; Capella Savaria; Pál Németh, cond. Hungaraton 12561-2 7 Gabrieli, G. The angel spoke to the shepherds; Behold a great mystery
(1587). Charles Brett, alto; John Angelo Messama, alto; Monteverdi Choir; Philip Jones Brass & Wind Ensemble/John Eliot Gardiner. Decca 436 285-2 7 18:00 SMALL FORCES Prepared by Paul Hopwood Beethoven, L. Horn sonata in F, op 17 (1800). Darryl Poulsen, hn; Neal Peres da Costa, fp. Tubicium Records TR761901 15 Arensky, A. Piano trio no 1 in D minor, op 32 (1894). Borodin Trio. Chandos CHAN 8477 32 Schubert, F. String trio in B flat, D471 (1816). Members of Israel Flute Ensemble. CDI 18809 9 19:00 SUNDAY NIGHT CONCERT Prepared by Dan Bickel Mussorgsky, M. St John’s night on Bald Mountain (1867; arr. Rimsky-Korsakov). Finnish RSO/Leif Segerstam. BIS CD-325 11 Wagner, R. Overture and Venusberg music, from Tannhäuser (1845). Melbourne SO/Charles Mackerras. ABC 476 3224 23 Hovhaness, A. Symphony no 2, op 132, Mysterious mountain (1955). American Composers O/Dennis Russell Davies. Musicmasters MMD 60204 16 Rimsky-Korsakov, N. Night on Mount Triglav, from Mlada (1872). Moscow SO/ Igor Golovschin. Naxos 8.553789 34 20:30 NEW HORIZONS Prepared by Krystal Li Carr-Boyd, A. Balmoral Beach rag (2009). Joshua Clarke, cornet; John Martin, pf. Wirripang WIRR 029 7 Bruce, D. Cymbeline (2013). Avi Avatal, mand; Dover Quartet. Signum SIGCD599 21 Rimmer, J. December nights (1971). Auckland PO/John Hopkins. RCD 1004 12 Higdon, J. Piano trio (2003). Anne Akiko Meyers, vn; Alisa Weilerstein, vc; Adam Neiman, pf. Naxos 8.559298 13 Brumby, C. Symphony no 1, The sun (1981). Queensland SO/Robert Boughen. Jade JADCD 1049 27 22:00 AFTER HOURS JAZZ
Monday 9 December 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: 1849 Prepared by Anne Irish Nicolai, O. Overture to The merry wives of Windsor (1849). Tasmanian SO/ Sebastian Lang-Lessing. ABC 476 4621 8 Berwald, F. Piano trio no 1 in E flat (1849). Andras Kiss, vn; Csaba Onczay, vc; Ilona Prunyi, pf. Naxos 8.555001 19 Gade, N. Violin sonata no 2 in D minor, op 21 (1849). Christina Åstrand, vn; Per Salo, pf. Dacapo 8.226066 21 Chopin, F. Mazurkas: in G minor, op 67 no 2; in F minor, op 68 no 4 (1849; reconstr. Ekier). Vladimir Ashkenazy, pf. Decca 448 086-2 4 Schumann, R. Fantasy pieces, op 73 (1849). Maria Kliegel, vc; Kristin Merscher, pf. Naxos 8.550654 12 Lumbye, H. Amager polka (1849). Odense SO/Peter Guth. Unicorn-Kanchana DKP(CD)9089 3 Smetana, B. Sonata in E minor for two pianos, eight hands (1849). Martha Argerich, Lilya Zilberstein, pf; Anton Gerzenberg, Daniel Gerzenberg, pf. EMI 7 21119 2 11 10:30 CONCERT HALL Prepared by Derek Parker Tchaikovsky, P. Suite no 3 in G, op 55 (1884). Prague SO/Jirí Belohlávek. Supraphon 11 0969-2 38 Pierné, G. Piano concerto in C minor (1887). Jean-Efflam Bavouzet, pf; BBC PO/Juanjo Mena. Chandos CHAN 10633 19 Roussel, A. Symphony no 3 in G minor (1929-30). New York PO/Pierre Boulez. Sony SMK 64107 24 12:00 SWING SESSIONS with John Buchanan 13:00 BERLIOZ ACCORDING TO DAVIS Prepared by Derek Parker Berlioz, H. Overture: Roman carnival, op 9 (1844). London SO/Colin Davis. Philips 442 290-2 9
Vous soupirez, Madame? ... Nuit paisible et sereine, from Beatrice and Benedict (1860-62). April Cantelo, sop; Helen Watts, mezz; London SO/Colin Davis. Decca 480 2594 12 Gods who watch over the eternal city, from The Trojans. Royal Opera House Ch & O/Colin Davis. ABC 480 7518 5 Harold in Italy, op 16 (1834). Nobuko Imai, va; London SO/Colin Davis. Philips 442 290-2 42 Nocturne, from Beatrice and Benedict (1860-62). April Cantelo, sop; Helen Watts, mezz; London SO/Colin Davis. Decca 421 314-2 12 14:30 MUSIC FOR HEROES Prepared by Anne Irish Liszt, F. Eroica in E flat (1851). Michele Campanella, pf. Nuova Era 6736 5 Farrar, E. Heroic elegy, op 36. Philharmonia O/Alasdair Mitchell. Chandos CHAN 9586 8 Chopin, F. Polonaise no 6 in A flat, op 53, Heroic (1842). Isador Goodman, pf. ABC 432 179-2 7 Rubinstein, A. Eroica fantasia, op 110 (1884). Slovak RSO/Robert Stankovsky. Naxos 8.555590 28 Giuliani, M. Sonata eroica, op 150 (c1820). David Russell, gui. Telarc 80525 10 Beethoven, L. 15 Variations and a fugue in E flat on an original theme, op 35, Eroica (1802). Olli Mustonen, pf. Decca 436 834-2 22 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm 19:00 JAZZ PULSE with Chris Wetherall 20:00 STORMY MONDAY with Austin Harrison and Garth Sundberg 22:00 THE AUSTRALIAN JAZZ SCENE with Susan Gai Dowling and Peter Nelson
Gabriel Pierné’s Piano Concerto bears striking similarities in its overall design to the already-popular Second Piano Concerto of Camille SaintSaëns. Pierné’s concerto has been described as having ‘elfin rhythms, brilliant piano writing and deft orchestration’, particularly for horn and trumpet.
Tuesday 10 December 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Julie Simonds 9:00 DIVERSIONS IN FINE MUSIC Colours of the keyboard Prepared by James Nightingale Bach, J. Christian Piano sonata in E flat, op 17 no 3 (c1779). Alberto Nosè, pf. Naxos 8.570361 12 Williamson, M. London, from Travel diaries. Antony Gray, pf. ABC 472 902-2 10 Vierne, L. Carillon de Westminster, from 24 Pièces de fantaisie (1926-27): no 6 from Suite III, op 54. Olivier Latry, org. naïve V 5338 7 Moeran, E.J. Three songs from Ludlow town (1920). John Shirley-Quirk, bassbar; Martin Isepp, pf. Heritage HTGCD 283/4 7 Clementi, M. Piano sonata in B minor, op 40 no 2 (1802). Howard Shelley, pf. Hyperion CDA67819 16 Benjamin, A. Le tombeau de Ravel (pub. 1958). Peter Jenkin, cl; Ian Munro, pf. Tall Poppies TP134 12 Handel, G. Violin sonata in F, op 1 no 2 (c1722). Andrew Manze, vn; Richard Egarr, hpd. Harmonia Mundi HMX 2907259 14 10:30 CONCERT HALL Prepared by Elaine Siversen Reger, M. Romantic suite, op 125 (c1912). Saarbrücken RSO/Hans Zender. cpo 999 480-2 29 Arutiunian, A. Trumpet concerto (1950). Geoffrey Payne, tpt; Melbourne SO/John Hopkins. ABC 982 697-6 15 Foerster, J. Suite: Cyrano de Bergerac, op 55 (1903). Czech PO/Václav Smetácek. LP Supraphon 1110 2456 39 12:00 JAZZ RHYTHM with Jeannie McInnes 13:00 SYDNEY SYMPHONY 2019 Produced by Andrew Bukenya What’s on in concerts during the next month 14:00 A NEW LIFE ON THESE SHORES Prepared by Frank Morrison Mozart, W. Piano trio in B flat, K502 (1786). Natsuko Yoshimoto, vn; TimoVeikko Valve, vc; Kathryn Selby, pf. Fine Music concert recording 20 DECEMBER 2019
Tuesday 10 December O’Boyle, S. Dreams are forever. Riley Lee, shakuhachi; Queensland SO/Sean O’Boyle. ABC 476 5710 6 Chopin, F. Cello sonata in G minor, op 65 (1845-46). Pei-Jee Ng, vc; David Tong, pf. Melba MR 301113 27 Rojas, D. Danza de Montanas (2004). Daniel Rojas, pf. Danielrojas.com.au DR005 8 Maclean, C. Christ the King (1984). Sydney University Chamber Choir/Neil McEwan. LP ABC/Festival L 38676 10 Bach, J.S. Sonata no 3 in G minor, BWV1029 (1739-50). Daniel Yeadon, va da gamba; Neal Peres da Costa, hpd. ABC 476 3394 15 Hughes, R. Xanadu (1954). Sydney SO/ Myer Fredman. LP ABC AC 1078 18 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm 19:00 THE JAZZ BEAT with Lloyd Capps 20:00 RECENT RELEASES with James Nightingale 22:00 CHAMBER SOIRÉE Prepared by Mariko Yata Milhaud, D. Scaramouche: suite for saxophone, op 165c (1937; arr. Milhaud for wind sextet). Nicholas Russoniello, sax; Sydney Omega Ensemble/David Rowden. Fine Music concert recording 10 Schubert, F. Piano sonata no 21 in B flat, D960 (1828). Alfred Brendel, pf. Decca 478 6968 36 Kreisler, F. Prelude and allegro. Oscar Shumsky, vn; Milton Kaye, pf. ASV QS 6039 6 Haydn, J. String quartet in E flat, op 33 no 2, Joke (1781). Kodály Quartet. Naxos 8.550788 17 Saint-Saëns, C. Oboe sonata, op 166 (1921). Jirí Tancibudek, ob; John Champ, pf. LP ABC RRCS 569 11 Mendelssohn, F. Piano trio no 2 in D minor, op 66 (1845). Renaud Capuçon, vn; Gautier Capuçon, vc; Nicholas Angelich, pf. EMI 3 58472 2 31
Wednesday 11 December 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Troy Fil 9:00 DIVERSIONS IN FINE MUSIC Inspired by literature Prepared by Chris Blower Berlioz, H. Overture: Rob Roy (1831). Sydney Green, cora; Sheila Sterling, hp; San Diego SO/Yoav Talmi. Naxos 8.550999 13 Borne, F. Fantasia brillante on themes from Bizet’s Carmen. Jane Rutter, fl; Gerard Willems, pf. ABC 476 6475 11 Arnold, M. Suite from The Inn of the Sixth Happiness (1958). London SO/ Richard Hickox. Chandos CHAN 9100 14 Glinka, M. Variations on a theme from Bellini’s The Capulets and Montagues (1832). Francesco Bertoldi, pf. Nuova Era 7232 11 Vaughan Williams, R. The lark ascending (1914/20). Tasmin Little, vn; BBC SO/Andrew Davis. Teldec 9031-73127-2 14 Pasculli, A. Fantasia on the opera Poliuto. Jeremy Polmear, ob; Diana Ambache, pf. Meridian CDE 84147 15 10:30 CONCERT HALL Prepared by Paul Hopwood Ravel, M. Shéhérazade, fairy overture (1898). Ulster O/Yan Pascal Tortelier. Chandos CHAN 8914 13 Rachmaninov, S. Piano concerto no 3 in D minor, op 30 (1909). Lazar Berman, pf; London SO/Claudio Abbado. CBS MYK 44715 44 Boccherini, L. Symphony no 8 in A, op 12 no 6 (1771). London FO/Ross Pople. Hyperion CDA66236 23 12:00 JAZZ SKETCHES with Robert Vale 13:00 FOCUS ON GLINKA Prepared by Chris Blower Glinka, M. Overture to Ruslan and Ludmila (1842). Malmö SO/James DePreist. BIS CD-570 6 Variations on a theme by Mozart (1822). Victor Ryabchikov, pf. BIS CD-981 13 The night review; Travelling song (1836).
Piotr Glouboky, bass; Ilya Scheps, pf. Le Chant du Monde LDC 288 037 7 Divertimento on themes from Bellini’s La sonnambula (1832). Bolshoi TO soloists/ Alexander Lazarev. Le Chant du Monde LDC 288 068 13 Trio pathétique in D minor (1832). Colin Lawson, cl; Alberto Grazzi, bn; Olga Tverskaya, fp. Opus 111 OPS 30-230 16 Grand sextet in E flat for double bass, piano and string quartet (1832). Capricorn. Hyperion CDA66163 25 14:30 THE LYRE AND THE HARP Prepared by Rex Burgess Grieg, E. Concert overture, op 11, In autumn (1866/87). West German RSO/ Eivind Aadland. Audite 92.669 11 Bach, J.S. Concerto in D minor, BWV1053. Thomas Stacy, ob d’amore; Toronto CO/Kevin Mallon. Naxos 8.570735 22 Saint-Saëns, C. The lyre and the harp, op 57 (1879). Françoise Poullet, sop; Hélène Perraguin, mezz; Daniel Galvez-Vallejo, ten; Didier Henri, bar; Île de France Victoria Regional Ch & NO/ Jacques Mercier. Ades 204222 49 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm 19:00 JAZZ STARS AND STRIPES with Peter Mitchell 20:00 AT THE OPERA Prepared by James Nightingale Rameau, J-P. Platée, ou Junon jalouse. Opera in a prologue and three acts. Libretto by Adrien-Joseph de Valois d’Orville. First performed Versailles, 1745. PLATÉE: Bruce Brewer, ten JUPITER: Chris de Moor, bass JUNO: Christine Batty, mezz Sagittarius; Ensemble Vocal du CNIPAL; La Grand Écurie et La Chambre du Roy/ Jean-Claude Malgoire. CBS M2K 44982 2:18 An entertainment re-creates a plan to help Jupiter overcome the jealousy of his wife Juno. Jupiter pretends to fall in love and marry the ugly nymph Platée who imagines that any male coming to her pond falls madly in love with her. The plan is that Juno will realise that Jupiter could not love one so ugly and would overcome her jealousy.
Wednesday 11 December Platée is delighted that Jupiter will descend from the heavens and declare his love for her. The plotters send Juno to Athens. Jupiter arrives in the form of a donkey, then as an owl and finally as himself. When Juno returns during the wedding ceremony the plotters persuade her to hide until the right moment. Jupiter stalls when it is time to exchange vows waiting for Juno to appear. When Platée raises her veil, Juno realises that Jupiter could not marry someone so ugly and that it is all a joke. Jupiter and Juno are reconciled and the gods ascend to heaven while the humiliated Platée returns to her pond. 22:30 WIND MUSIC 1918-1939 Bassoon Prepared by James Nightingale Saint-Saëns, C. Bassoon sonata in G, op 168 (1921). Ursula Leveaux, bn; Ian Brown, pf. Hyperion CDA67431/2 12 Ibert, J. Cinq pièces en trio (1935). Hans Colbers, cl; Pauline Oostenrijk, ob; Peter Gaasterland, bn. Olympia OCD 468 8 Hindemith, P. Bassoon sonata (1938). Knut Sønstevold, bn; Eva Knardahl, pf. BIS CD-159 8 Gallon, N. Récit et allegro (1938). Karen Geoghegan, bn; Philip Fisher, pf. Chandos CHAN 10521 6 Poulenc, F. Trio (1926). Gareth Hulse, ob; Ursula Leveaux, bn; Ian Brown, pf. Hyperion CDA67255/6 13 Koechlin, C. Bassoon sonata, op 71 (1919). Eckart Hübner, bn; Inge-Susan Römhild, pf. SWR Music SWR19047 11 Wolf-Ferrari, E. Suite-concertino in F, op 16 (1932). Karen Geoghegan, bn; BBC PO/Gianandrea Noseda. Chandos CHAN 10511 22 Charles Koechlin’s 1919 Bassoon sonata ‘spans the Romantic and Modern eras with disarming charm’. His harmonies generate an airy and luminous texture that is most apparent in the central Nocturne. However, the third movement has been described as being rather like a ‘rumbustious drinking song’ and has been compared with some of the very energetic works of Percy Grainger where the music is woven around a catchy tune.
Thursday 12 December 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 The instruments: Brass Prepared by Madilina Tresca Walton, W. The first shoot (1936). London Collegiate Brass/James Stobart. CRD 3444 9 Hindemith, P. Tuba sonata (1955). Gene Pokorny, tuba; Theodor Lichtmann, pf. Summit DCD 115-2 11 Hauff, W. Horn quintet in E flat. Nury Guarnaschelli, hn; Signum Quartet. Capriccio C 5059 11 Rimsky-Korsakov, N. Trombone concerto (1877; orch. Lindberg). Christian Lindberg, tb; Tapiola Sinfonietta/Osmo Vänskä. BIS CD-568 10 Koechlin, C. Horn sonata, op 70 (1918-25). Barry Tuckwell, hn; Daniel Blumenthal, pf. ASV DCA 716 14 Neukomm, S. Quartet (c1818). Members of London Gabrieli Brass Ensemble. Hyperion CDA67199 10 Gershwin, G. Rhapsody in blue (1924; transcr. Dokshitser). Edward Tarr, tpt; Elisabeth Westenholz, pf. BIS CD-152 12 10:30 CONCERT HALL Prepared by Anne Irish Harty, H. A comedy overture (1906). Ulster O/Bryden Thomson. Chandos CHAN 7035 14 Field, J. Piano concerto no 3 in E flat (c1805). Míceál O’Rourke, pf; London Mozart Players/Matthias Bamert, Chandos CHAN 9495 33 Stanford, C. Villiers Symphony no 2 in D minor, Elegiac (1880). Bournemouth SO/ David Lloyd-Jones. Naxos 8.570289 35 12:00 JAZZ, PURE AND SIMPLE with Maureen Meers 13:00 GREAT FLAUTISTS Prepared by Albert Gormley Vivaldi, A. Flute concerto in G minor, RV439, La notte. Severino Gazzelloni, fl; I Musici. Newton 8802034 11 Mozart, W. Flute concerto no 1 in G, K313 (1778). James Galway, fl; New Irish
CO/André Prieur. RCA RD 60450 27 Benda, F. Flute concerto in E minor. Jean-Pierre Rampal, fl; Prague CO/Milan Munclinger. Supraphon SU 3648-2 23 Mercadante, S. Flute concerto in E minor (c1819; rev. Scimone). James Galway, fl; I Solisti Veneti/Claudio Scimone. RCA RD 60450 22 14:30 LATE ROMANTICS Humperdinck, E. Overture no 2, from Marriage against their will. Bamberg SO/ Karl Anton Rickenbacher. Schwann 3-1197-2 12 Boito, A. L’altra notte in fondo al mare, from Mephistopheles (1868). Renata Tebaldi, sop; Mario del Monaco, ten; Cesare Siepi, bass; St Cecilia Academy O/Tullio Serafin. Decca 470 280-2 8 Parry, H. An English suite (1921). English String O/William Boughton. Nimbus NI 5366 19 Moszkowski, M. Spanish dances, op 12 nos 1 to 5 (1878). Olga Kharitonova, pf; Igor Machlak, pf. Move MD 3185 14 Bottesini, G. Romance: Une bouche aimée. Jacquelyn Fugelle, sop; Thomas Martin, db; Anthony Halstead, pf. Naxos 8.570399 5 Grieg, E. Old Norwegian romance with variations, op 51 (1906). Malmö SO/ Bjarte Engeset. Naxos 8.557991 22 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm 19:00 THE NEW JAZZ STANDARD with Frank Presley 20:00 THE WORLD OF A SYMPHONY Prepared by Dan Bickel Canteloube, J. La pastoura als camps; Baïléro; L’aïo dè rotso; Ound’ onorèn gorda?; Obal din lou Limouzi; Pastourelle; L’Antouèno; N’aï pas iéu de mio; Lo calhé; La delaïssado, from Songs of the Auvergne (1923-30). Véronique Gens, sop; Lille NO/Jean-Claude Casadesus. Naxos 8.557491 32 Liszt, F. Symphonic poem no 1: Ce qu’on entend sur la montagne (1848-49/50/54). London PO/Bernard Haitink. Philips 438 751-2 30 Canteloube, J. Passo pel prat; Lou boussu; Brezairola; Malurous qu’ono DECEMBER 2019
Thursday 12 December fenno; Jou l’pount d’o Mirabel; Oï ayaï; Lou coucu; Quand z’eyro petitoune; Làhaut, sur le rocher; Uno jionto postouro, from Songs of the Auvergne. Véronique Gens, sop; Lille NO/Jean-Claude Casadesus. Naxos 8.557491 29 d’Indy, V. Symphony on a French mountain air, op 25, Cévenole (1886). Catherine Collard, pf; French RPO/Marek Janowski. apex 0927 49809 2 24 22:00 AN AMERICAN QUINTET Beach, A. Piano quintet in F sharp, op 67 (1907). Martin Roscoe, pf; Endellion Quartet. ASV DCA 932 27 22:30 ULTIMA THULE
Inspiration drawn from the beauty and majesty of mountains has brought forth great paintings and much descriptive music. Franz Liszt’s symphonic poem, What one hears on the mountain, is not a description of the mountain but a philosophical idea translated into music, the rejuvenating power of the mountain and nature. Liszt wrote: “The poet hears two voices; one immense, splendid, and full of order, raising to the Lord its joyous hymn of praise, the other hollow, full of pain, swollen by weeping, blasphemies, and curses. One spoke of nature, the other of humanity! Both voices struggle near to each other, cross over, and melt into one another, till finally they die away in a state of holiness.” Joseph-Marie Canteloube and Vincent d’Indy were also captured by the atmosphere of the mountains but it was not the mountains on which they based their compositions. It was a more personal feeling for the music of each area. Canteloube’s arrangements of Songs of the Auvergne represent the beauty of the Auvergne Mountains through the haunting sounds of traditional songs. In a symphony based on an old melody, Symphony on a French mountain air, d’Indy uses a folk song from the Cévennes Mountains. While the symphony is scored for piano and orchestra, the piano is never dominant but is an integral part of the orchestral fabric. 20
Friday 13 December 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Annabelle Drumm 9:00 DIVERSIONS IN FINE MUSIC Something borrowed Prepared by Chris Blower Dittersdorf, C. Oboe concerto in D (arr. Boldoczki). Gábor Boldoczki, tpt; Prague PO/Emmanuel Villaume. Sony 88985443362 12 Wagner, R. Prelude to Act III and bridal chorus, from Lohengrin (1850; arr. Winterbottom). Eastman Wind Ensemble/ Frederick Fennell. LP Mercury SRI 75096 9 Bruch, M. Kol Nidrei, op 47 (1881; arr. Gingold). David Garrett, vn; Alexander Markovich, pf. DG 479 0933 10 Satie, E. Gnossiennes (1889-97; arr. Groningen Guitar Duo). Groningen Guitar Duo. Ottavo OTR C49135 19 Borodin, A. Polovtsian dances, from Prince Igor (1887; arr. Gassot, Pepin). Sabine Meyer, cl; Alliage Quintet. Sony 88875190972 12 Shostakovich, D. Five pieces from The Gadfly, op 97 (1955; arr. Borisovsky). Lawrence Power, va; Simon CrawfordPhillips, pf. Hyperion CDA67865 17 10:30 CONCERT HALL Prepared by Paul Cooke Schumann, R. Overture, scherzo and finale, op 52 (1841-45). Seattle SO/ Gerard Schwarz. Naxos 8.571214 18 Sutherland, M. Violin concerto (1954). Leonard Dommett, vn; Melbourne SO/ Patrick Thomas. ABC 446 285-2 25 Kalinnikov, Vasily. Symphony no 2 in A (1897). Ukraine NSO/Theodore Kuchar. Naxos 8.553417 40 12:00 A JAZZ HOUR with Barry O’Sullivan 13:00 MUSIC FOR CHRISTMAS Prepared by Anne Irish Corelli, A. Concerto grosso in G minor, op 6 no 8, Christmas (c1690). Peter Hanson, vn; Walter Reiter, vn; Jane Coe, vc; English Concert/Trevor Pinnock. Archiv 437 834-2 14
Ramirez, A. El Nacimiento, from Navidad nuestra (1964; arr. Wilberg). Rolando Villazón, ten; Bryn Terfel, bass-bar; Welsh National Opera O/Tecwyn Evans. Decca 480 6933 4 Mendelssohn, F. Hark, the herald angels sing (arr. Willcocks). Choir of Westminster Abbey/Simon Preston. Decca 480 6933 2 Berlin, I. White Christmas. Bryn Terfel, bass-bar; Philharmonia O/Paul Daniel. Decca 480 6933 5 Bach, J.S. Excerpts from Christmas oratorio, BWV248 (1734). Scottish CO/ Raymond Leppard. Erato 2292-45561-2 12 Purcell, H. Two Christmas interludes, from Behold I bring you glad tidings. Northwest CO/Alun Francis. Helios CDH88028 5 Sibelius, J. Five Christmas songs, op 1 (1909). Tom Krause, bar; Irwin Gage, pf. Decca 476 1725 13 Anon. O come, all ye faithful (arr. Willcocks). Yvonne Kenny, sop; Contemporary Singers; Sydney Children’s Choir; Adelaide SO/David Stanhope. ABC 465 427-2 4 Tchaikovsky, P. December: Christmas, from The seasons, op 37b (1875-78). Ilona Prunyi, pf. Naxos 8.550233 5 Handel, G. Hallelujah, from Messiah, HWV56 (1742). Sydney Philharmonia Motet & Symphonic Choirs; Sydney Philharmonia O/Antony Walker. ABC 476 3521 4 Anderson, L. A Christmas festival (1950). BBC Concert O/Leonard Slatkin. Naxos 8.559381 9 14:30 FESTIVAL FOR ORCHESTRA Prepared by Derek Parker Brahms, J. Academic festival overture, op 80 (1880). Singapore SO/Lan Shui. Decca 889 8529 10 Söderman, A. Swedish festival music (1858). Helsingborg SO/Okko Kamu. Naxos 8.553115 6 Meyerbeer, G. Festival march for the centenary of Schiller’s birth (1859). North German Radio PO/Michail Jurowski. cpo 999 168-2 9 Berwald, F. Festival of the Bayadères (1842). Royal PO/Ulf Björlin. EMI CDM 5 65073 2 12 Brumby, C. Festival overture on
Friday 13 December Australian themes. West Australian SO/ Richard Mills. ABC 442 374-2 9 Helsted, E. Pas de deux, from Flower festival in Genzano (1858). London SO/ Richard Bonynge. Decca 452 767-2 9 Respighi, O. Symphonic poem: Roman festivals (1928). Cleveland O/Lorin Maazel. Decca 478 2826 26 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm 19:00 FRIDAY JAZZ SESSION with Christopher Waterhouse 20:00 EVENINGS WITH THE ORCHESTRA Music of Hungary Prepared by Frank Morrison Goldmark, K. Overture: Prometheus bound, op 38 (1889). Philharmonia O/ Yondani Butt. ASV DCA 934 17 Kodály, Z. Suite from Háry János, op 15 (1927). Hungarian State SO/Adám Fischer. Nimbus NI 5284 25 Dohnányi, E. Symphonic minutes, op 36 (1933). West Australian SO/Jorge Mester. ABC 438 197-2 13 Liszt, F. Symphonic poem no 8: Héroïde funèbre (1849-50/54). London PO/ Bernard Haitink. Philips 438 754-2 27 Bartók, B. Divertimento (1939). Chicago SO/Pierre Boulez. DG 445 825-2 26
22:00 BAROQUE AND BEFORE Prepared by Andrew Dziedzic Schelle, J. Lord, send thy light. King’s Consort/Robert King. Hyperion CDA67260 11 Schein, J. Suite no 16 in A minor, from Banchetto musicale (pub. 1617). Hespèrion XX/Jordi Savall. Erato 5 62028 2 11 Kuhnau, J. O heilige Zeit (pub. 1702). Opella Musica; Camerata Lipsiensis/Gregor Meyer. cpo 555 021-2 8 Schein, J. O Amarilli zart, from Diletti pastorali (pub. 1624). Cantus Cölln/ Konrad Junghänel. Harmonia Mundi RD77088 5 Kuhnau, J. Biblical sonata no 1: The battle between David and Goliath (pub. 1700). Colin Forbes, hpd. Fine Music concert recording 12 Schelle, J. Psalm 103: Praise the Lord, my soul. King’s Consort/Robert King. Hyperion CDA67260 11 Kuhnau, J. Sonata I, from Frische Clavier-Früchte (1696). John Butt, hpd. Harmonia Mundi HMU 907097 7 Frohlocket, ihr Völker, und jauchzet, ihr Heiden. Opella Musica; Camerata Lipsiensis/Gregor Meyer. cpo 555 021-2 26 Schein, J. Suite no 6 in A minor, from Banchetto musicale (pub. 1617). Hespèrion XX/Jordi Savall. Erato 5 62028 2 10 Aurora schön mit ihem Haar, from Diletti pastorali (pub. 1624). Cantus Cölln/ Konrad Junghänel. Harmonia Mundi RD77088 7
Among the cantors of St Thomas School in Leipzig before Johann Sebastian Bach were several prominent composers such as Schelle, Schein and Kuhnau. Johann Schein (1586-1630), one of the most polished composers of his time, was the first to import early Italian stylistic innovations into German music. He became cantor at Leipzig for approximately the last ten years of his life. Johann Schelle (1648-1701) was cantor at St Thomas from 1677-1701. His most important achievement in the post was the introduction of German texts into the Protestant liturgy, replacing Latin compositions. Also noteworthy was his collaboration with the Leipzig theologian Benedict Carpzov in producing a cycle of chorale cantatas. Johann Kuhnau (1660-1722) succeeded Schelle at St Thomas and was the immediate predecessor of Bach. After attending the University of Leipzig, he became the organist at St Thomas at the age of 24, at the same as practising law. He was a most cultured man: composer, novelist, translator and music theorist, and he studied mathematics, Hebrew and Greek. Most of his music is lost and his reputation rests mainly on his keyboard sonatas based on Biblical stories.
Saturday 14 December 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SATURDAY MORNING MUSIC with Stephen Wilson 9:00 WHAT’S ON IN MUSIC Our weekly guide to musical events in and around Sydney 9:05 THE PIANO ALONE Prepared by Katy Rogers-Davies Scott, C. Paradise-birds (1912). Dennis Hennig, pf. Etcetera KTC 1132 4 Grieg, E. Butterfly; Little bird, from Lyric pieces, op 43 (1886). Eva Knardahl, pf. BIS CD-104 4 Schumann, R. Papillons, op 2 (1829-31). Nelson Freire, pf. Decca 473 902-2 13 Kats-Chernin, E. Butterflying (2003). Tamara Anna Cislowska, pf. ABC 481 2625 4 Moleiro, M. The birds, from Children’s suite. Clara Rodriguez, pf. ASV DCA 890 1 Widor, C-M. Papillons bleus, from 12 Feuillets d’album, op 31 (pub. 1876). Paul Rickard-Ford, pf. RIAX RICA-2881 2 Chopin, F. Étude in G flat, op 25 no 9, Butterfly (1834). Valentina Lisitsa, pf. Decca 478 7697 1 Martinu, B. Butterflies and birds of paradise (1920). Giorgio Koukl, pf. Naxos 8.557918 16 10:00 MUSIC OF THE DANCE Prepared by Katy Rogers-Davies Monti, V. Czárdás (arr. Parhamovsky). Maxim Vengerov, vn; Vag Papian, pf; Virtuosi. EMI 5 57164 2 6 Rózsa, M. North Hungarian peasant songs and dances, op 5 (1929). Philippe Quint, vn; William Wolfram, pf. Naxos 8.570190 9 Weiner, L. Hungarian folk dance suite, op 18 (1931). Philharmonia O/Neeme Järvi. Chandos CHAN 9029 28 Berlioz, H. Hungarian march, from The damnation of Faust, op 24 (1846). Melbourne SO/Jorge Mester. ABC 438 611-2 5 Iturralde, P. Hungarian dance (2014). Juan M. Jiménez, sax; Claude Delangle, sax; Esteban Ocaña, pf. Naxos 8.573429 7 Kodaly, Z. Hungarian folk dance. David DECEMBER 2019
Saturday 14 December Oistrakh, vn; Frida Bauer, pf. Brilliant Classics 8402 5 Brahms, J. Hungarian dances, nos 2 and 4 to 9 (1868; orch. Breiner). London PO/ Marin Alsop. Naxos 8.570233 23 11:30 ON PARADE Prepared by Robert Small Wilby, P. Dawn flight. United States Air Force Band/Larry H. Lang. Naxos 8.573405 8 Holst, G. Second suite, op 28 no 2 (1911). Central Band of the Royal Air Force/Duncan Stubbs. Chandos CHAN 10847 12 Williams, J. Call of the champions (2002; arr. Soper). United States Air Force Band/ Larry H. Lang. Naxos 8.573405 5 12:00 URBAN JAZZ LOUNGE with Leita Hutchings 13:00 IN A SENTIMENTAL MOOD with Maureen Meers Nostalgic music and artists from the 30s, 40s and 50s and occasionally beyond, in a trip down many memory lanes 14:00 STAGING MUSIC Prepared by Angela Cockburn High School Musical 14:30 SATURDAY MATINEE Operetta in the afternoon Prepared by Elaine Siversen
A Sesquicentenary Event
Offenbach, J. Les brigands. Operetta in three acts. Libretto by Henri Meilhac and Ludovic Halévy. First performed Paris, 10 December 1869. FALSACAPPA: Robert Manuel, ten FIORELLA: Danièle Perriers, sop PRINCESS OF GRANADA : Hélène Vanura, mezz DUKE OF MANTUA: Francis Rousseff, bar DUKE’S TREASURER: Jacques Duby, ten Les Récréations Lyrique O/Daniel Mourruau. Axis 7012 48 The Duke of Mantua is to marry the Princess of Granada and her escort is to be paid three million in settlement of a debt the court of Mantua owes to the court of Granada. A band of brigands led by Falscappa is short of money. They take over the inn where the two parties 22
are to meet and pose as the innkeepers. They capture the Mantuan envoys, and disguised in their clothing, receive the Princess and her courtiers, whom they also take prisoner. In Manua, the Duke’s cashier has embezzled the three million. The fake envoys arrive and the Duke recognises Falscappa’s daughter, Fiorella, who once saved his life. When Falscappa demands the money, the cashier is evasive. Falscappa realises that the money does not exist and becomes enraged. The real envoys from Granada arrive and the plot is revealed. Fiorella reminds the Duke of his debt to her and he allows the brigands to go free. Herbert, V. Orange blossoms. Operetta in three acts. Libretto by Fred de Gressac and Buddy DeSylva. First performed New York, 1922. Light Opera of New York cast and O/ Evans Haile. Albany records TROY 1535 1:07 This is a hilarious culture clash between Americans and Parisians in Paris and later on the Riviera. Baron Roger Belmont will inherit his aunt’s fortune if he marries within a year of her death. However, according to the terms of the will, his bride can’t be the divorced wife of a Brazilian subject. Roger loves Mme. Helen de Vasquez who is the ex-wife of a Brazilian. Roger’s resourceful lawyer, Tillie Jones, arranges to have her goddaughter, Kitty Savary, marry Roger, but not to cohabit. The plan is that after Roger collects the money, he would divorce Kitty and marry Helen. Kitty has never forgotten that Roger once kissed her in a ‘heavenly manner’ and agrees to the marriage. Roger eventually discovers his true feelings for Kitty. Offenbach, J. Excerpts from La Grande Duchesse de Gérolstein (1867). Anne Sofie von Otter, sop; Gilles Ragon, ten; Les Musiciens du Louvre/Marc Minkowski. DG 471 501-2 15 17:00 SOCIETY SPOT Organ Music Society of Sydney 18:00 THE MAGIC OF STAGE AND SCREEN Prepared by Maureen Meers Strouse, C. Excerpts from Annie (1977). Andrea McArdle, Reid Shelton, Sandy Faison, Robert Fitch, voices; members of the original cast. Columbia SK 60723 19
Herman, J. Excerpts from Mame (1966). Angela Lansbury, Frankie Michaels, Beatrice Arthur, Charles Braswell, voices; members of the original cast. Columbia SK 60959 19 Menotti, G. My Christmas (1987). Members of Nashville Symphony Ch; Nashville SO/George Mabry. Naxos 8.669019 12 19:00 THE ENGLISH SYMPHONY Prepared by Chris Blower Reinecke, C. Fantasy pieces, op 22 for clarinet and piano (c1870). Trio Slaskie. DUX 1219 15 Cowen, F. Symphony no 3 in C minor, Scandinavian (1880). Czecho-Slovak State PO/Adrian Leaper. Marco Polo 8.223273 39 20:00 THE LIFE OF A COMPOSER César Franck Prepared by Brian Drummond Franck, C. Andantino in G minor (1857). Hector Olivera, org. MPI 117 7 Duparc, H. To the land where war is being waged (c1869). Karita Mattila, sop; Martin Katz, pf. Ondine ODE 1100-5 6 Franck, C. Panis angelicus (1872). Plácido Domingo, ten; Vienna Boys Choir; Vienna SO/Helmuth Froschauer. Sony 88875123122 5 Les éolides (1875-76). Suisse Romande O/Ernest Ansermet. DG 476 280-0 11 Symphonic variations (1885). Phillipe Entremont, pf; ORTF NO/Jean Martinon. Erato 2292-45088-2 16 Vierne, L. String quartet in D minor, op 12 (1894). Goldner String Quartet. Hyperion CDA68036 23 Franck, C. Violin sonata in A (1886). Kyung Wha Chung, vn, Radu Lupu, pf. Decca 421 154-2 27 Chorale no 3 in A minor (1890). Peter Hurford, org. Argo 410 165-2 12 22:00 SATURDAY NIGHT AT HOME Prepared by Gerald Holder Mendelssohn, F. Overture: The Hebrides, op 26, Fingal’s Cave (1830). Philharmonia O/Walter Weller. Chandos CHAN 9099 10 Bach, C.P.E. Harpsichord concerto, Wq20 (1746-47). Raphael Alpermann, hpd; Akademie für Alte Musik. Harmonia Mundi HMG 501711 24
Saturday 14 December Handel, G. Water music suite in F, HWV348 (c1715/36). King’s Consort/ Robert King. Hyperion CDA66967 27 Schubert, F. String quartet no 8 in B flat, D112 (1814). Vienna Konzerthaus Quartet. Westminster RC 8808678121735 27 Mozart, W. Symphony no 35 in D, K385, Haffner (1782). Concertgebouw O/ Nikolaus Harnoncourt. Teldec 8.42703 23 The Haffner family of Salzburg commissioned two major orchestral works from Wolfgang Mozart for important family occasions. The friendly association between the Haffners and the Mozarts was confirmed when Sigmund Haffner the Elder, mayor of Salzburg, assisted the Mozarts on their early European tours. By 1776, the elder Haffner had died but Sigmund Haffner the Younger, who was Mozart’s contemporary, remained a friend. He commissioned the Serenade no 7 in D, K250 to be played during the festivities on the night before the wedding of his sister Marie Elisabeth. The eight-movement work became known as the Haffner Serenade. Six years later when Sigmund Haffner the Younger was to be ennobled, he commissioned another serenade from Mozart to be used as background music to the ceremony. Mozart, now in Vienna, was busy teaching, rearranging the score of The abduction from the Seraglio and moving house in preparation for his marriage to Constanze Weber. Composing in piecemeal fashion, he sent the composition, movement by movement, to his father in Salzburg. It seems that Mozart did not meet the deadline for the ceremony and, rather than wasting his work, he later asked his father to return the score to him. After perusing it, he found he was so pleased with its quality (after having composed it in a hurry), that he decided to convert the serenade into a symphony, reorchestrating it for a fuller sound by adding more woodwinds. This 35th Symphony is known as the Haffner Symphony.
Sunday 15 December 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SUNDAY MORNING MUSIC 9:00 MUSICA SACRA Prepared by Chris Blower Stradella, A. Si apra al riso, Christmas cantata. Barbara Schlick, sop; Kai Wessel, alto; Michael Schopper, bass; La Stagione Frankfurt/Michael Schneider. Harmonia Mundi RD 77180 23 Mozart, W. Exsultate, jubilate, K165 (1773). Emma Kirkby, sop; Academy of Ancient Music/Christopher Hogwood. L’Oiseau-Lyre 443 200-2 14 Bruch, M. Salute to Christmas, op 62 (1892). Gabriel Schreckenbach, cont; Berlin Philharmonic Choir; Berlin RSO/ Uwe Gronostay. Schwann 313 013 H1 17 10:00 THE CLASSICAL ERA Prepared by Di Cox Méhul, É-N. Overture to La chasse du jeune Henri (1791). New Philharmonia O/ Raymond Leppard. Philips 446 569-2 11 Krumpholtz, J-B. Harp concerto no 6, op 9 (1782). Lily Laskine, hp; Jean-François Paillard CO/Jean-François Paillard. Erato 2292-45084-2 20 Onslow, G. Grand septet for wind quintet, double bass and piano, op 79. Rudolf Frei, db; Werner Bärtschi, pf; Stalder Quintet. Jecklin 554-2 31 Grétry, A-E-M. String quartet in G, op 3 no 1 (1761-65). Haydn Quartet. Koch 310 158 H1 8 Martini, J. Plaisir d’amour (orch. Berlioz). François le Roux, bar; Montreal SO/ Charles Dutoit. Decca 475 097-2 4 Jadin, H. Sonata in B flat, op 4 no 1 (pub. 1795). Jean-Claude Pennetier, pf. Harmonia Mundi HMC 901189 15 Devienne, F. Flute concerto no 1 in D (1782). Swedish CO/Patrick Gallois, fl & dir. Naxos 8.573230 18 12:00 HOW IT ALL BEGAN with Charles Barton We celebrate the first broadcast of 2MBS/ Fine Music on this day 45 years ago.
12:30 CLASSIC JAZZ AND RAGTIME with Jeannie McInnes 13:30 WORLD MUSIC: Whirled Wide
14:30 THE DOUBLE CONCERTO Prepared by Chris Blower Bruch, M. Rumanian melody, op 83 no 5 (1910). Catherine McCorkill, cl; Julian Smiles, vc; Kathryn Selby, pf. Fine Music concert recording 5 Double concerto in E minor, op 88 (1911). Thea King, cl; Nobuko Imai, va; London SO/Alun Francis. Hyperion CDD 22017 20 15:00 SUNDAY SPECIAL Celebrating 2MBS / Fine Music recordings: The first fifteen years Recordings by Denis Eddy, George Hilgevoord, Ian Sappay and Belinda Webster
Beethoven, L. Strinq quartet no 4 in C minor, op 18 no 4 (1798-1800). Sydney String Quartet. Recorded September 1977 21 Mozart, W. Vesperae solennes de confessore, K339 (1780). Glenys Fowles, sop; Patricia Price, cont; Anson Austin, ten; Michael Lewis, bar; Sydney Philharmonia Motet Choir; Australian CO/ Peter Seymour. Recorded May 1982 25 Stamitz, C. Wind quartet in E flat, op 8 no 2 (1773; arr. Weigelt). Guy Henderson, ob; Gabor Reeves, cl; Gordon Skinner, bn; Anthony Buddle, hn. Recorded May 1988 10 Beethoven, L. Piano sonata no 23 in F minor, op 57, Appassionata (1804). Nicolai Evrov, pf. Recorded November 1986 22 Bach, C.P.E. Sonata in G minor for oboe and continuo, Wq135 (1735). Linda Walsh, ob; Susan Blake, vc; Paul Dyer, hpd. Recorded November 1989 9 Schubert, F. Sonata in A minor, D821, Arpeggione (1824). Alexandru Todicescu, va; Rachel Valler, pf. Recorded July 1988 21 Fine Music concert recordings (all above) 17:00 HOSANNA Prepared by Richard Munge Carols: Veni, veni, Emmanuel; O holy night. Ten Tenors. Tenology 5101112212 8 Howells, H. Magnificat; Nunc dimittis, from St Paul’s service. Choir of St Paul’s Cathedral; Christopher Dearnley, org; DECEMBER 2019
Sunday 15 December John Scott, cond. Hyperion SPCC 2000 12 Hymn: Come, Thou long expected Jesus. Cathedral Singers/Brett McKern. TCS 03 2 Britten, B. Excerpts from A ceremony of carols, op 28. Choir of King’s College, Cambridge; Rachel Masters, hp; Stephen Cleobury, cond. ABC 484 0848 12 Carols: O little town of Bethlehem; Away in a manger; O come, all ye faithful. William Knight, treb; Choir of Canterbury Cathedral; Michael Harris, org; David Flood, cond. York 109 12 Dupré, M. Placare Christe servulis, op 38 no 16. John Scott, org. Hyperion SPCC 2000 2 18:00 SMALL FORCES Prepared by Krystal Li Barber, S. Summer music, op 31 (1956). Geoffrey Collins, fl; David Nuttall, ob; Nigel Westlake, cl; Gordon Skinner, bn; Robert Johnson, hn. Fine Music concert recording 11 Diamond, D. Concert piece for flute and harp (1989). Glorian Duo. Delos DE 3189 13 Beach, A. Piano quintet in F sharp minor, op 67 (1907). Sally Whitwell, pf; Acacia Quartet. Fine Music concert recording 29 19:00 SUNDAY NIGHT CONCERT Prepared by Frank Morrison Grainger, P. Danish folk-music suite (1922-29). English Sinfonia/Neville Dilkes. EMI CDM 7 63520-2 18 Weber, C.M. Bassoon concerto in F, op 75 (1811/22). Valery Popov, bn; Russian State SO/Valery Polyansky. Chandos CHAN 9656 17 Sibelius, J. Symphony no 2 in D, op 43 (1901). Pittsburgh SO/Lorin Maazel. Sony SK 53268 47 20:30 NEW HORIZONS Prepared by Nev Dorrington Beving, J. Prehension. Joep Beving, pf. DG 2894 7971 511 57 Frahm, N. Encores. Nils Frahm, pf. Erased Tapes Records ERATP 107 DM 24 Beving, J. Hanging D. Cello Octet Amsterdam. DG 2894 7998 693 5 22:00 AFTER HOURS JAZZ 24
Monday 16 December 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: 1924 Prepared by Brian Drummond Dyson, G. Children’s suite after Walter de la Mare (1924). City of London Sinfonia/Richard Hickox. Chandos CHAN 9369 19 Bridge, F. In autumn (1924). Peter Jacobs, pf. Continuum CCD 1016 7 d’Indy, V. Piano quintet in G minor, op 81 (1924). Ilona Prunyi, pf; New Budapest Quartet. Marco Polo 8.223691 21 Martin, F. Overture and foxtrot (1924). Julie Adam, pf; Christine Logan, pf. ABC 476 2601 9 Ysaye, E. Sonata in E minor, op 27 no 4 (1924). Vilmos Szabadi, vn. Hungaroton HCD 31476 11 Ibert, J. Le jardinier de Samos (1924). Eleonore Pameijer, fl; Hans Colbers, cl; Peter Masseurs, tpt; Kees Hülsmann, vn; Marien van Staalen, vc; Arnold Marinissen, perc. Olympia OCD 468 11 10:30 CONCERT HALL Prepared by Elaine Siversen Telemann, G. Overture suite in C. English Concert/Trevor Pinnock. Archiv 437 558-2 25 Boccherini, L. Cello concerto no 11 in C. Raphael Wallfisch, vc; Northern CO/ Nicholas Ward. Naxos 8.557589 17 Fibich, Z. Symphony no 2 in E flat, op 38 (1893). Czech NSO/Marek Stilec. Naxos 8.573157 40 12:00 SWING SESSIONS with John Buchanan 13:00 CHAMBER ARRAY Bach, C.P.E. Flute quartet no 2 in D (1788). Les Adieux. DHM GD 77052 16 Paganini, N. Sonata no 3 in A for violin and guitar (c1828). Luigi Alberto Bianchi, vn; Maurizio Preda, gui. Dynamic CDS 34 13 Haydn, J. String quartet in F, Hob.III:82 (1799). Alban Berg Quartet. EMI 5 57474 2 25
14:00 TRIBUTE TO ALFRED HILL Prepared by Paul Cooke
A Sesquicentenary Event
Hill, A. Waiata poi. Peter Dawson, bassbar. EMI CDMID 166187 3 String quartet no 12 in E (1936). Dominion String Quartet. Naxos 8.573267 21 One came fluting; Doves; The poet dreams; Valse triste; Dancing faun. Tamara Anna Cislowska, pf. Artworks AW005 14 Trumpet concerto. Donald Johnson, tpt; West Australian SO/Thomas Mayer. LP ABC/WRC RO 2596 19 Mazurka; In such a night; Blue evening; Valse lente; Waltz caprice. Asmira Woodward-Page, vn; Scott Davie, pf. Artworks AW034 14 Symphony, Joy of life (1941). Genty Stevens, sop; Norma Hunter, mezz; Malcolm Potter, ten; Alan McKie, bar; Adelaide Singers; Adelaide Philharmonic Choir; South Australian SO/Patrick Thomas. LP ABC/Festival L 42011 37 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm 19:00 JAZZ PULSE with Chris Wetherall 20:00 STORMY MONDAY with Austin Harrison and Garth Sundberg 22:00 THE AUSTRALIAN JAZZ SCENE with Susan Gai Dowling and Peter Nelson
Eugène Ysaÿe was a virtuoso violinist of the late 19th and early 20th centuries. After he heard Joseph Szigeti playing one of the Bach solo violin sonatas, he decided that he would also compose sonatas for solo violin in a style representing the evolution of musical technique and in the expressive manner of his own time. His six solo sonatas are dedicated to his contemporaries Joseph Szigeti (1), Jacques Thibaud (2), George Enescu (3), Fritz Kreisler (4), Mathieu Crickboom (5) and Manuel Quiroga (6).
Tuesday 17 December 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Julie Simonds 9:00 DIVERSIONS IN FINE MUSIC Colours of the keyboard Prepared by Frank Morrison Pleyel, I. Flute sonata no 4 in A. Jenny Thomas, fl; Martin Souter, pf. Gift of Music CCL CDG1187 14 Busi, G. Sonata I: Allegro giusto, from Four sonatas. Luigi Celeghin, org; Bianka Pezic, org. Naxos 8.557131 8 Telemann, G. Fantasy no 6 in F minor (1732-33). Joseph Payne, hpd. Centaur CRC 2530/2531 5 Ravel, M. Gaspard de la nuit (1908). Pascal Rogé, pf. Decca 440 836-2 21 Mozart, W. Six variations in F on Paisiello’s Salve tu, Domine, K398 (178384). Geoffrey Lancaster, fp. Tall Poppies TP009 7 Clarke, R. Piano trio (1921). Andrew Watkinson, vn; David Waterman, vc; Martin Roscoe, pf. ASV DCA 932 23 10:30 CONCERT HALL Prepared by Paul Hopwood Offenbach, J. Overture to Orpheus in the Underworld (1858/74). Suisse Romande O/Ernest Ansermet. Decca 425 083-2 9 Hummel, J. Trumpet concerto in E (1803). John Wallace, tpt; Philharmonia O/Christopher Warren-Green. Nimbus NI 7016 18 Mahler, G. Symphony no 1 in D, Titan (1888/93/96). New York PO/Kurt Masur. Teldec 9031-74868-2 53 12:00 JAZZ RHYTHM with Jeannie McInnes 13:00 LEONARDO’S CONTEMPORARIES Prepared by Frank Morrison Agricola, A. Missa Guazzabuglio. Huelgas Ensemble/Paul van Nevel. Sony 88697478442 34 Mouton, J. Nesciens Mater. Tallis Scholars/Peter Phillips. Gimell CDGIM 047 10 Brumel, A. Motet: Ave Virgo glorioso à 4. Pro Cantione Antiqua/Bruno Turner. LP Archiv 2533 378 10
14:00 MUSICAL FAMILIES Haydn brothers Prepared by Jennifer Foong
Haydn, J. Overture to Il mondo della luna, Hob.XXVIII:7 (1777). Haydn Sinfonietta/Manfred Huss. Schwann 3-1723-2 4 Haydn, M. Divertimento in E flat for viola, cello and double bass (c1760; pub. c1970). Members of Salzburg Hofmusik. cpo 999 230-2 15 Variations in C (c1768). Wolfgang Brunner, fp. cpo 999 230-2 6 Haydn, J. Symphony in D, Hob.I:10 (c1761). Vienna CO/Ernst Märzendorfer. Musical Heritage Society OR H-201-249 12 She never told her love, Hob.XXVIa:34 (1795). Anthony Rolfe Johnson, ten; Graham Johnson, pf. Hyperion CDA66480 4 Haydn, M. Bassoon concertino in B flat (c1760). Laurence Perkins, bn; Manchester Camerata/Douglas Boyd. Hyperion CDA67288 7 Haydn, J. Keyboard sonata no 61 in D, Hob.XVI:51 (1794-95). András Schiff, pf. Teldec 0630-17141-2 6 Haydn, M. String quintet in C (1773). L’Archibudelli. Sony SK 53987 20 Haydn, J. Concerto in G for flute, oboe, two horns and strings, Hob.VIIh:2 (178687). Benoit Fromanger, fl; Christian Hommel, ob; Cologne CO/Helmut MüllerBrühl. Naxos 8.570481 14
Haydn, M. Veni Sancte Spiritus (177072). St Jacob’s Chamber Choir; Ulf Söderberg, org; Gary Graden, cond. BIS CD-859 2 Symphony in F (c1770). AustroHungarian Haydn O/Adám Fischer. Nimbus NI 5392 13 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm 19:00 THE JAZZ BEAT with Lloyd Capps 20:00 RECENT RELEASES with Charles Barton 22:00 CHAMBER SOIRÉE Prepared by Rex Burgess Arnold, M. Sonatina (1951). Paul Meyer, cl; Éric Le Sage, pf. Denon CO-18016 9 Ravel, M. Piano trio in A minor (1914). Susie Park, vn; Timo-Veikko Valve, vc; Kathryn Selby, pf. Fine Music concert recording 30 Prokofiev, S. Sonata in C, op 56 (1932). Lydia Mordkovitch, vn; Emma Young, vn. Chandos CHAN 8988 16 Myaskovsky, N. String quartet no 13 in A minor, op 86 (1949). Leningrad Taneyev Quartet. Melodiya MA 3006 24 Gade, N. Octet, op 17 (pub. 1849). Berlin Philharmonic String Octet. MDG 308 1102-2 31
A COMPOSER’S WORK REVIVED The compositions of English composer and violist, Rebecca Clarke, have been recognised for their compositional skill and artistic power. She made an impression with her Piano trio in a competition organised by Elizabeth Sprague Coolidge although it failed to win a prize. It is now recognised as one of her best works. The Trio is passionate, inventive and atmospheric and shows her understanding of the chamber music genre, a knowledge gained as a professional viola player. In the interrelated themes across all three movements of the Trio, the intense moods are often created by the advanced harmony that she uses to construct her soaring melodies. Although mostly influenced by Alexander Skryabin, her harmonies have also been likened to those of her teacher, Frank Bridge, but they are generally thought to be more personal. Rebecca Clarke became one of the first women to play in a professional orchestra. Her compositional output was not large and very few works have been published; those that were published in her lifetime have been largely forgotten. Since 1976 scholarly research has revived interest in her music and the Rebecca Clarke Society, established in 2000, has dedicated its efforts to promoting the study and performance of her work. DECEMBER 2019
Wednesday 18 December 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Troy Fil 9:00 DIVERSIONS IN FINE MUSIC Inspired by literature Prepared by Paul Cooke Davis, C. Suite from A Christmas carol (c1987). Northern Ballet TO/John PryceJones. Naxos 8.553495 18 Saint-Saëns, C. Danse macabre, op 40 (1874; arr. Liszt). Tamara Anna Cislowska, pf. ABC 476 6301 8 Rautavaara, E. Isle of bliss (1995). Laura Mikkola, pf; Netherlands RSO/Eri Klas. Naxos 8.557009 12 Debussy, C. Prélude à l’aprés-midi d’un faune (1892). Stephen Coombs, pf; Christopher Scott, pf. Hyperion CDA66468 9 Glanville-Hicks, P. Final scene, from Sappho, op 3 (1965). Deborah Riedel, sop; Tasmanian SO/Richard Mills. ABC 476 3222 8 Beethoven, L. Duncan Gray (1824-25); The lovely Lass o’ Inverness; Air with variations: O Kenmure’s on and awa’, Willie, op 108 (1818). Scottish Early Music Consort. Chandos CHAN 8636 11 Korngold, E. Suite from Much ado about nothing, op 11 (1920). Gil Shaham, vn; André Previn, pf. DG 439 886-2 13 10:30 CONCERT HALL Prepared by Michael Field Schumann, R. Overture, scherzo and finale, op 52 (1841-45). Swedish CO/ Thomas Dausgaard. BIS SACD-1569 17 Strauss, R. Violin concerto in D minor, op 8 (1880-82). James Ehnes, vn; Melbourne SO/Andrew Davis. ABC 481 7471 31 Vaughan Williams, R. Symphony no 3, Pastoral (1921). Yvonne Kenny, sop; London SO/Bryden Thomson. Chandos CHAN 8594 36 12:00 JAZZ SKETCHES with Robert Vale 13:00 SUITE LIFE Bach, J.S. Cello suite no 1 in G, BWV1007 (c1720). Yo-Yo Ma, vc. CBS M2K 37867 16 26
Khachaturian, A. Suite in three movements. Joan Yarbrough, pf; Robert Cowan, pf. Pantheon D 20910 11 Britten, B. Suite on English folk tunes, op 90 (1974). Philip Dukes, va; Northern Sinfonia/Steuart Bedford. Naxos 8.557205 14 Couperin, L. Suite in C, from Pièces de clavecin. Richard Egarr, hpd. Harmonia Mundi HMU 907511.14 12 14:00 CAROLS FROM THE SYDNEY OPERA HOUSE The Sydney Philharmonia Choirs in a celebration of Christmas recorded by Peter Bell in the Sydney Opera House on 8 December 2018 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm 19:00 JAZZ STARS AND STRIPES with Peter Mitchell 20:00 AT THE OPERA Prepared by Elaine Siversen Donizetti, G. Don Pasquale. Opera in three acts. Libretto by Giovanni Ruffini. First performed Paris, 1843. DON PASQUALE: Renato Bruson, bass ERNESTO : Frank Lopardo, ten NORINA: Eva Mei, sop MALATESTA: Thomas Allen, bar THE NOTARY: Alfredo Giacomotti, bar Bavarian Radio Choir; Munich RSO/ Roberto Abbado. RCA 88697856542 2:00 Ernesto has refused to marry the bride chosen by his wealthy uncle Don Pasquale, as he loves a poor widow Norina. Don Pasquale disinherits him and Ernesto decides to leave Italy. Doctor Malatesta suggests that Pasquale marry
his sister, who is Norina in disguise; his intention is to fool Pasquale. Once married by a fake notary, Norina starts bossing Pasqale and spending his money. Both he and Ernesto are wretched until Malatesta reveals the truth and Pasquale in relief reinstates Ernesto as heir and allows him to marry Norina. Venti scudi, from L’elisir d’amore (1832). Jerry Hadley, ten; Thomas Hampson, bar; Welsh National Opera O/Carlo Rizzi. Teldec 9031-73283-2 9 Una furtiva lagrima, from The elixir of love (1832). Luciano Pavarotti, ten; Metropolitan Opera O/James Levine. DG 459 362-2 4 22:30 WIND MUSIC 1918-1939 Saxophone Prepared by James Nightingale Milhaud, D. La création du monde, op 81 (1923). Ulster O/Yan Pascal Tortelier. Chandos CHAN 9023 16 Koechlin, C. Epitaphe de Jean Harlow (1937). Jacques Castagner, fl; JeanMarie Londeix, sax; Henriette PuigRoget, pf. EMI 5 72360 2 3 Françaix, J. Little saxophone quartet (1935). Deffayet Quartet. EMI 5 72360 2 7 Bozza, E. Aria (1936). Gerard McChrystal, sax; Shiroma de Silva, pf. First Hand Records FHR13 4 Glazunov, A. Concerto in E flat, op 109 (1934). Eugene Rousseau, sax; Paul Kuentz CO/Paul Kuentz. DG 453 991-2 14 Creston, P. Sonata, op 19 (1939). Arno Bornkamp, sax; Ivo Janssen, pf. Globe GLO 5032 13 Kodály, Z. Suite from Háry János, op 15 (1927). Chicago SO/Neeme Järvi. Chandos CHAN 8877 25
A MODERN CHRISTMAS BALLET A favourite Christmas story in England, and in many other parts of the world, is Charles Dickens’ A Christmas Carol. It’s hard to imagine anyone in the Englishspeaking world who would not be familiar with Mr Scrooge and his ‘humbug’ view of Christmas. The story of his conversion to accepting Christmas as a happy and generous time is a fantastical one involving ghosts who show him the error of his ways. Ballets for Christmas were mostly confined to Tchaikovsky’s The nutcracker until the Northern Ballet Theatre in Manchester produced a ballet that was as English as plum pudding. The composer, conductor Carl Davis, adapted pre-existing Christmas music for the score as well as arranging and including excerpts of Paul McCartney’s Liverpool oratorio.
Thursday 19 December 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 The instruments: Brass Prepared by Jennifer Foong Biscogli, F. Concerto in D for trumpet, oboe and bassoon. Maurice Bourge, ob; Maurice Allard, bn; Maurice André, tpt; Württemberg CO/Jörg Faerber. EMI CMS 7 69880-2 23 Poulenc, F. Sonata (1922/45). Jacques Mauger, tb; Hervé Joulain, hn; Guy Touvron, tpt. Naxos 8.553613 9 Britten, B. Canticle III: Still falls the rain, op 55 (1954). Peter Pears, ten; Dennis Brain, hn; Benjamin Britten, pf. BBC BBCB 8014-2 11 Dvorák, A. Slavonic dance no 8, op 46 (1878; arr.). Kazimierz Machala, hn; Susan Teicher, pf. Denon PAJ 101 5 Schütz, H. Buccinate in neomenia tuba, op 6 no 19 (pub. 1629). John Elwes, ten; Guy de Mey, ten; Bernard Fabré-Garrus, bass; Philippe Matharel, cornett; JeanPierre Canihac, tpt; Jean-Luis Fiat, bass double-curtall; Bernard Fourtet, bass sackbutt; Matthias Spaeter, chitarrone; William Jansen, org. LP Erato NUM 75234 4 Loeillet de Gant, J.B. Sonata à une flute et basse in B flat, op 3 no 9 (1715). Ludwig Güttler, tpt; Friedrich Kircheis, org. Berlin Classics 0012892BC 13 Beethoven, L. Sextet in E flat, op 81b (c1795). Dennis Brain, hn; Alan Civil, hn; English String Quartet. BBC BBCL 4066-2 14 10:30 CONCERT HALL Prepared by Paul Cooke Bizet, G. Scènes bohémiennes, from La jolie fille de Perth (1866). Montreal SO/ Charles Dutoit. Decca 452 102-2 13 Hummel, J. Piano concerto in C, op 34 (1809). London Mozart Players/Howard Shelley, pf & dir. Chandos CHAN 10216 35 Balakirev, M. Symphony no 2 in D minor (1900-08). BBC PO/Vassily Sinaisky. Chandos CHAN 9727 35
12:00 JAZZ, PURE AND SIMPLE with Maureen Meers 13:00 HARNESSING THE BREATH Flute Prepared by Albert Gormley Handel, G. Flute suite in G, HWV350, from Water music (1717). Australian Brandenburg O/Paul Dyer. ABC 434 720-2 10 Mayer, J. Flute concerto: A circle of raga music. James Galway, fl; John Mayer, tanpura; London PO/Hiroyuki Iwaki. RCA RD 60450 24 Balada, L. Music for flute and orchestra (2000). Magdalena Martínez, fl; Barcelona SO; Catalonia NO/José Serebrier. Naxos 8.555039 21 14:00 CELEBRATING 2MBS / FINE MUSIC RECORDINGS The first fifteen years Recordings by Denis Eddy, Belinda Webster and Don Wilson
Fauré, G. La bonne chanson (1892-94). Elizabeth Campbell, mezz; David Miller, pf. Recorded February 1983 19 Franck, C. Chorale no 3 in A minor (1890). David Rumsey, org. Recorded February 1988 14 Dvorák, A. Moravian quartets, after op 32 (1876, arr. Janácek). Song Company; Josephine Allen, pf; Roland Peelman, cond. Recorded March 1989 11 Strauss, R. Violin sonata in E flat, op 18 (1887). Ronald Woodcock, vn; Colleen Rae-Gerrard, pf. Recorded May 1985 29 Brahms, J. Gestillte Sehnsucht, op 91 no 1; Geistliches Wiegenlied, op 91 no 2 (pub.1884). Lauris Elms, cont; Winifred Durie, va; David Miller, pf. Recorded 1979 11 Chopin, F. Piano sonata no 2 in B flat minor, op 35, Funeral march (1839). Roger Woodward, pf. Recorded October 1984 25 Fine Music concert recordings (all above) 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm 19:00 THE NEW JAZZ STANDARD with Frank Presley
20:00 THE WORLD OF A SYMPHONY Prepared by James Nightingale Krommer, F. Clarinet concerto in E flat, op 36 (pub. c1802). Nicolaus Esterházy Sinfonia/Kálmán Berkes. Naxos 8.553178 22 Haydn, J. Variations on the hymn Gott erhalte den Kaiser, Hob.XVII:13 (179799). Paul Badura-Skoda, pf. Astrée E 7714 8 Ries, F. Sextet, op 142. Dieter Klöcker, cl; Karl Hartmann, bn; Nury Guarnaschelli, hn; Wolfgang Güttler, db; Edward Witsenburg, hp; Werner Genuit, pf. Schwann 310 001 H1 20 Hummel, J. Alma Virgo (1805). Susan Gritton, sop; Collegium Musicum 90/ Richard Hickox. Chandos CHAN 0681 6 Beethoven, L. Piano trio no 5 in D, op 70 no 1, Ghost (1808). Seraphim Trio. Fine Music concert recording 24 Krommer, F. Symphony no 3 op 62 (1808). Swiss Italian O/Howard Griffiths. cpo 555 099-2 29 22:00 LEONTYNE AT CHRISTMAS Prepared by Maureen Meers Handel, G. He shall feed his flock; How beautiful are the feet, from Messiah, HWV56 (1741). 9 Franck, C. Panis angelicus (1872). 4 Trad. What child is this?; I wonder as I wander. 5 Murray, J. Away in a manger. 2 Wade, J. O come, all ye faithful. Tudor Ensemble of Montreal. 3 Leontyne Price, sop; Montreal SO/ Charles Dutoit (all above) Decca 467 913-2 22:30 ULTIMA THULE
Franz Krommer left at least 300 compositions which included nine symphonies, 70 string quartets, 15 string quintets and numerous works for winds and strings. His Clarinet concerto in E flat, composed in the early development of the instrument, shows indications of the coming romantic syle. Although he had trained as a violinist and organist, Krommer was an expert writer of wind music and in the concerto he included a full woodwind section to complement the solo clarinet. DECEMBER 2019
Friday 20 December 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Annabelle Drumm 9:00 DIVERSIONS IN FINE MUSIC Something borrowed Prepared by Paul Cooke Ives, C. Variations on America (c1891; orch. Schuman). Los Angeles PO/Zubin Mehta. Decca 475 7470 7 Holst, G. Mars, from The planets, op 32 (1914-16; transcr. Wills). Joseph Nolan, org. Herald HAVP 274 7 Bach, J.S. Sonata no 3 in D minor, BWV527 (arr. Crabb, Lacey). Genevieve Lacey, rec, James Crabb, accordion. ABC 481 1874 13 Mussorgsky, M. Serenade, from Songs and dances of death (1877; transcr. Feinberg). Peter Paul Kainrath, pf. Aura 423-2 7 Handel, G. Music for the royal fireworks, HWV351 (1749; arr. Loussier). Jacques Loussier Trio. Telarc 83544 15 Gershwin, G. Rhapsody in blue (1924). George Gershwin, reproducing pf. Foné 90 F 16 13 Hummel, J. Die Eselshaut (1814; arr. Sedlak). Albion Ensemble. Helios CDH55037 15 10:30 CONCERT HALL Prepared by Giovanna Grech Planquette, R. Overture to Les cloches de Corneville (1866). New Philharmonia O/Richard Bonynge. Decca 466 431-2 5 Beethoven, L. Piano concerto no 5 in E flat, op 73, Emperor (1809). Australian CO/Stephen Kovacevich, pf & dir. EMI CDM 7 64174 2 37 Bruch, M. Symphony no 2 in F minor, op 36 (pub. 1870). Gewandhaus O/Kurt Masur. Philips 462 164-2 34 12:00 A JAZZ HOUR with Barry O’Sullivan 13:00 SYMPATHY WITH THE DEVIL Prepared by Jacky Ternisien Meyerbeer, G. Overture to Robert le Diable (1831). New Zealand SO/Darrell Ang. Naxos 8.573195 3 28
Chopin, F. Grand duo concertant in E on themes from Meyerbeer’s Robert le Diable (1831). Maria Kliegel, vc; Bernd Glemser, pf. Naxos 8.553159 13 Bax, A. The devil that tempted St Anthony (1928). Ashley Wass, pf; Martin Roscoe, pf. Naxos 8.570413 7 Adson, J. The devil’s dance. Fine Arts Brass Ensemble. Nimbus NI 5546 2 Tartini, G. Violin sonata in G minor, Devil’s trill (pub. 1734). Locatelli Trio. Hyperion CDA66430 15 Davis, C. Waltz and love scene, from Flesh and the devil (2000). Royal PO/ Carl Davis. Tring TRP099 10 14:00 NELSON COOKE: INSPIRATIONAL TEACHER Prepared by Paul Cooke A Centenary Event
Sibelius, J. Malinconia, op 20 (1901). Steven Isserlis, vc; Olli Mustonen, pf. BIS SACD-2042 11 Banks, D. Three studies (1954). David Pereira, vc; Timothy Young, pf. Tall Poppies TP222 7 Weber, C.M. Und ob die Wolke sie verhülle, from Der Freischütz (1821). Joan Sutherland, sop; Nelson Cooke, vc; London SO/Richard Bonynge. Decca 448 594-2 6 Brahms, J. Andante, from Piano concerto no 2 in B flat, op 83 (1878-81). Nelson Cooke, vc; Vladimir Ashkenazy, pf; London SO/Zubin Mehta. Award AW 28193 13 Lord, J. Andante, from Concerto for group and orchestra (1969). Deep Purple; Royal PO/Malcolm Arnold. EMI CDP 7 94886 2 19 Harty, H. String quartet no 1 in F, op 1 (1900). Dene Olding, vn; Dimity Hall, vn; Irina Morozova, va; Julian Smiles, vc; Piers Lane, pf. Hyperion CDA67927 24 Beethoven, L. Seven variations in E flat on Bei Männern, welche Liebe fühlen, WoO46 (1801). Zoe Knighton, vc; Amir Farid, pf. Move MD3356 10 Sitsky, L. Improvisation and cadenza. David Pereira, vc. Tall Poppies TP075 10
Tchaikovsky, P. Pezzo capriccioso, op 62 (1887; arr. Tchaikovsky 1888). Benett Tsai, vc; Joshua Tsai, pf. Fine Music concert recording 7 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm 19:00 FRIDAY JAZZ SESSION with Christopher Waterhouse 20:00 EVENINGS WITH THE ORCHESTRA Development of the choral symphony Prepared by David Brett Shostakovich, D. Symphony no 13 in B flat minor, op 113, Babi Yar, mvt 1 (1962). Sergei Leiferkus, bass; male voices of the Prague Philharmonic Choir; Royal Concertgebouw O/Kurt Masur. Radio Nederland RCO12004 16 Brian, H. Symphony no 4, Psalm of victory, mvt 1 (1932-33). Jana Valaskova, sop; Slovak Philharmonic Ch; Slovak NO Ch; Youth Echo Ch; Mixed Cantus Ch, Brno Philharmonic Ch; Czecho-Slovak RSO/Adrian Leaper. Marco Polo 8.223447 16 Rubbra, E. Excerpts from Symphony no 9, op 140, Sinfonia sacra (1972). Lynne Dawson, sop; Della Jones, cont; Stephen Roberts, bar; BBC Welsh National Ch & O/Richard Hickox. Chandos CHAN 9441 18 Vine, C. Symphony no 6, Choral, mvts 3 and 4 (1996). Sydney Philharmonia Motet Ch; Sydney SO/Edo de Waart. ABC 476 7179 14 Górecki, H. Symphony no 2, op 31 Copernican, mvt 2 (1972). Emese Soós, sop; Tamás Altorjay, bar; Bartók Ch; Fricsay SO/Tamás Pál. Stradivarius STR 33324 15 Bernstein, L. Finale, from Symphony no 3, Kaddish (1963/77). Montserrat Caballé, sop; Michael Wager, narr; Vienna Youth Ch; Vienna Boys’ Ch; Israel PO/Leonard Bernstein. DG 423 582-2 13 Edwards, R. Symphony no 4, Star Chant, mvt 2 (2001). Adelaide Chamber Singers; Adelaide Philharmonia Ch; Adelaide SO/Richard Mills. ABC 476 6161 15 22:00 BAROQUE AND BEFORE Celebrating 2MBS / Fine Music recordings: The first fifteen years Prepared by Elaine Siversen Recordings by Charles Barton, Phil Dorian, Denis Eddy, Edda Filson and Belinda Webster
Friday 20 December
Bach, J.S. Flute sonata no 5 in E minor, BWV1034 (1717-20). Vernon Hill, fl; Roger Heagney, hpd. Recorded August 1983 14 Le Jeune, C. Te Deum, from Messe de mariage (1600). Sydney University Chamber Choir/Nicholas Routley. Recorded December 1980 8 Scarlatti, D. Sonatas in D (pub. 1756): Kk491; Kk492. Nicholas Parle, hpd. Recorded April 1985 9 Corrette, M. Psalm 148: Laudate Dominum, after Vivaldi’s Spring concerto (pub. 1766). Margaret Dixon-McIvor, sop; Anson Austin, ten; Grahame Tier, bass; Sydney Philharmonia Motet Choir; John Harding, vn; Australian CO/Peter Seymour. Recorded May 1981 20 Vivaldi, A. Concerto grosso in G minor, RV577, Per l’orchestra di Dresda (c1716). Sydney Bach O/Alan Holley. Recorded August 1989 9 Purcell, H. Incassum, Lesbia, incassum rogas, The queen’s epicedium (1695). Andrew Dalton, ct; Catherine Finnis, vc; Nicholas Parle, hpd. Recorded November 1986 7 Music for the funeral of Queen Mary (1695). Wendy James, sop; Narelle Tapping, mezz; John Steward, ten; Robert Rawling, bass; Sydney Philharmonia Motet Choir; Daniel Mendelow, tpt; Ronald Prussing, tb; Robert Evans, tb; Nigel Butterley, org; Charles Coleman, cond. Recorded April 1982 19 Handel, G. Sonata in C for recorder and basso continuo, op 1 no 7 (1730). Greg Dikmans, rec; Miriam Morris, bass viol; Robert Clancy, theorbo. Recorded July 1986 9 Ortiz, D. Eight recercadas: variations on Italian themes. Broken Consort. Recorded January 1987 10 Fine Music concert recordings (all above) Michel Corrette took Vivaldi’s most popular work, Spring, and recomposed it as a choral work with soloists and orchestra as a setting of Psalm 148, Laudate Dominum. In this transformation Vivaldi’s birds have become Corrette’s angels.
Saturday 21 December 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SATURDAY MORNING MUSIC with Peter Bell 9:00 WHAT’S ON IN MUSIC Our weekly guide to musical events in and around Sydney 9:05 THE PIANO ALONE Prepared by Frank Morrison Shostakovich, D. Prelude and fugue in B flat minor, op 87 no 16 (1950-51). Roger Woodward, pf. LP RCA CRL2 5100 8 Granados, E. Los requiebros, from Goyescas (pub. 1911). Alicia de Larrocha, pf. Decca 433 920-2 9 Schubert, F. Piano sonata no 19 in C minor, D958 (1828). Maurizio Pollini, pf. DG 427 327-2 31 10:00 MUSIC OF THE DANCE Prepared by Gerald Holder Petrassi, G. Symphonic suite from the ballet, La follia di Orlando (1942-43). Rome SO/Francesco La Vecchia. Naxos 8.573073 32 Vaqueras, B. Veci la danse barbari; La morisque. La Maurache. Arion ARN 68052 3 Respighi, O. Ancient airs and dances, suite no 1 (1917). Philharmonia Hungarica/Antal Dorati. Mercury 478 5092 17 Picchi, G. Dances for harpsichord. Rafael Puyana, hpd. Mercury 478 5092 23 Donizetti, G. Ballet music, from La favorita (1840). London SO/Richard Bonynge. Decca 452 767-2 9 11:30 ON PARADE Music that’s band Prepared by Owen Fisher Fletcher, P. Masked ball. Royal Doulton Band/Edward Gray. LP Astor GH 641 4 Trad. Fantasia on British songs (arr. Wood). Band of HM Royal Marines. ABC DOY 264 9 Khachaturian, A. Sabre dance, from Gayaneh. Munn and Felton (Footwear) Band/Stanley Boddington. LP Columbia 330 SX 1118 2 Anderson, L. A Christmas festival. Allentown Band/Ronald Demkee. AMP 22173 7
Osterling, E. Waltzing winds. Headquarters Operational Command Band of the RAF. LP ABC ABCL 8004 3 12:00 URBAN JAZZ LOUNGE with Leita Hutchings 13:00 COME TO THE OPERA Prepared by Derek Parker Are you an opera fan? If not, why not? Together the story and the song make for great entertainment as well as great art. Derek Parker tells the story of Rossini’s Cinderella, and plays some of the music that makes it a great opera. 14:30 SATURDAY MATINEE Don Quixote
A Sesquicentenary Event
Minkus, L. Ballet: Don Quixote (1869). Sofia National Opera O/Nayden Todorov. Naxos 8.557065-6 2:16 17:00 SOCIETY SPOT Classical Guitar Society Prepared by Sue McCreadie 18:00 THE MAGIC OF STAGE AND SCREEN Prepared by Sue Jowell A Christmas cracker: call back to the past 19:00 THE ENGLISH SYMPHONY Prepared by Chris Blower Stanford, C. Villiers Prelude to Oedipus tyrannus, op 29 (1887/88). BBC Welsh NO/Rumon Gamba. Chandos CHAN 10797 8 Moeran, E.J. Symphony in G minor (1937). Ulster O/Vernon Handley. Chandos CHAN 8577 46 20:00 THE LIFE OF A COMPOSER Benjamin Britten Prepared by Rex Burgess Britten, B. Variations on a theme of Frank Bridge, op 10 (1937). Australian CO/John Harding. Fine Music tape archive 26 Les illuminations, op 18 (1939). Marilyn Richardson, sop; Australian CO/Peter Robinson. Fine Music concert recording 22 Four sea interludes, from Peter Grimes, op 33 (1945). Royal Opera House O// Benjamin Britten. ABC 480 7301 16 Canticle I: My beloved is mine, op 40 (1947). Peter Pears, ten; Benjamin DECEMBER 2019
Saturday 21 December Britten, pf. Decca 478 5364 7 Cello suite no 1, op 72 (1964). Mstislav Rostropovich, vc. Decca 478 5364 24 Suite for harp, op 83 (1969). Osian Ellis, hp. Decca 478 5364 12 22:00 SATURDAY NIGHT AT HOME Prepared by Elaine Siversen Massenet, J. Suite from Cendrillon (1899). Academy of St Martin in the Fields/Neville Marriner. Brilliant Classics 94355 21 Czerny, C. Variations on Gott erhalte Franz den Kaiser, op 73 (1825). Maureen Jones, pf; Zurich Chamber Ensemble. Jecklin 608-2 27 Brahms, J. Piano quartet no 1 in G minor, op 25 (1861; arr. Schoenberg). London SO/Geoffrey Simon. Cala CACD 1006 40 Mozart, W. Symphony no 38 in D, K504, Prague (1786; arr. Hummel). Uwe Grodd, fl; Friedemann Eichhorn, vn; Martin Rummel, vc; Roland Krüger, pf. Naxos 8.572841 26
Andrew McGregor, in a review for BBC Music, writes that although Benjamin Britten was not a cellist, he was able to write so idiomatically for the instrument that it’s as though he had played it all his life and notes that ‘The Serenata from the First Suite is a masterclass in expressive pizzicato for any student cellist’. Britten’s first excursion into solo cello writing was a cadenza for Haydn’s Cello concerto in C to be performed by Mstislav Rostropovich. Later, after hearing Rostropovich play the Shostakovich Cello Suite, and later the Bach suites (all for solo cello), Britten wrote three solo cello suites for Rostropovich who gave the first performance of each. Writing for AllMusic, Andrew Lindemann Malone says: “Any composer who writes a suite for unaccompanied cello takes inspiration from Johann Sebastian Bach’s glorious models in some measure. Benjamin Britten, however, was just as inspired by the great cellist Mstislav Rostropovich’ s rich, romantic playing of the Bach suites as by the suites themselves.” 30
Sunday 22 December 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SUNDAY MORNING MUSIC with David Garrett 9:00 MUSICA SACRA Prepared by Paul Cooke Knüpfer, S. Super flumina Babylonis. Carolyn Sampson, sop; Robin Blaze, ct; Charles Daniels, ten; Peter Harvey, bass; King’s Consort/Robert King. Helios CDH55393 9 Mendelssohn, F. From deepest darkness, I cry unto thee!, op 23 no 1 (1830). Ensemble Vocal de Lausanne/ Michel Corboz. Aria 592298 11 Pascha, E. Christmas Mass in F (arr. Venhoda). Prague Madrigal Singers/ Miroslav Venhoda. Campion RRCD1305 33 10:00 THE CLASSICAL ERA Prepared by Krystal Li Dittersdorf, C. Symphony in C, The four ages of the world (pub. 1767). Failoni O/ Hanspeter Gmür. Naxos 8.553368 17 Schubert, F. Violin sonata no 3 in G minor, D408 (1816). Isaac Stern, vn; Daniel Barenboim, pf. Sony SM2K 64528 17 Beethoven, L. Piano concerto no 1 in C, op 15 (1795). Martha Argerich, pf; Bavarian RO/Seiji Ozawa. BR Klassik 403571900701 34 Danzi, F. Wind quintet in G, op 67 no 1. Michael Thompson Wind Quintet. Naxos 8.553570 15 Benda, G. Pygmalion, melodrama (1779). Brigitte Quadlbauer, Peter Uray, voices; Prague CO/Christian Benda. Naxos 8.553345 28 12:00 CLASSIC JAZZ AND RAGTIME with John Buchanan 13:00 WORLD MUSIC: Whirled Wide 14:00 THE DOUBLE CONCERTO Prepared by Chris Blower Mozart, W. Symphony no 38 in D, K504, Prague (1786; arr. Hummel). Uwe Grodd, fl; Friedemann Eichhorn, vn; Martin Rummel, vc; Roland Krüger, pf. Naxos 8.572841 26 Double concerto in C, K299 (1778). Jane Rutter, fl; Louise Johnson, hp; Sydney Bach O/Richard Bonynge. ABC 476 6475 29
15:00 SUNDAY SPECIAL Rarities from the Russian archives Prepared by Paolo Hooke Lyatoshynsky, B. Symphony no 3 in B minor, op 50 (1951). Ukrainian State SO/ Vladmir Gnedash. Russian Disc RD 11 060 43 Boiko, R. Gutsul rhapsody in C minor, op 61. State SO/Yevgeny Svetlanov. Russian Disc RD 11 020 10 Tchaikovsky, P. Symphony no 2 (1967). Moscow PO/Kirill Kondrashin. Russian Disc RD 11 063 52 17:00 HOSANNA Prepared by Stephen Matthews Carols: Unto us is born a Son; The Coventry carol; Hark the herald angels sing, Choir of Trinity College, Cambridge/ Richard Marles. Conifer 75605 51754-2 7 Bach, J.S. In dulci jubilo. Richard Marlow, org. Conifer 75605 51754-2 3 Esterházy, P. Christmas cantata. Capella Savaria/Pál Németh. Capriccio C5217 5 Praetorius, H. In dulci jubilo; Christmas gloria. Margaretha Consort/Marit Broekfoelofs. Naxos 8.5511398 7 Haydn, M. Lauft, ihr Hirten, allzugleich; Heiligste Nacht. Vienna Chamber Choir/ Johannes Prinz. Carus 83.369 4 Carols: O little town of Bethlehem; Shepherds pipe carol. Choir of Magdalen College, Oxford/Daniel Hyde. Opus Arte OACD9022D 8 Vaughan Williams, R. Fantasia on Christmas carols, Corydon Singers; English CO/Matthew Best. Hyperion CDS44321 12 Praetorius, H. Stille Nacht, heilige Nacht. Peter Schreier, ten; Choir of St Thomas, Leipzig; Dresden RSO/Helmut Koch. CCC 0002022CCC 3 18:00 SMALL FORCES Prepared by Frank Morrison Brahms, J. Clarinet sonata in E flat, op 120 no 2 (1894). Murray Khouri, cl; John McCabe, pf. Continuum CCD 1027 20 Shostakovich, D. Piano trio no 1 in C minor, op 8 (1925). Trio Suleika. Radio Nederland MCCP123 14
Sunday 22 December Grieg, E. String quartet in F (1891). Kontra Quartet. BIS CD-543 20 19:00 SUNDAY NIGHT CONCERT Prepared by Rex Burgess Britten, B. Matinées musicales, op 24 (1941). National PO/Richard Bonynge. Decca 478 5364 13 Rodrigo, J. Summer concerto (1943). Michael Guttman, vn; Royal PO/José Serebrier. Resonance RSN 3069 22 Duparc, H. L’invitation au voyage (1870); La vie antérieure (1884); Phidylé (1882). Barbara Hendricks, sop; Lyon Opera O/ John Eliot Gardiner. EMI CDC 7 49689 2 14 Hanson, H. Symphony no 3 in A minor, op 33 (1936-38). Eastman-Rochester O/ Howard Hanson. Mercury 478 5092 33 20:30 NEW HORIZONS Prepared by James Nightingale Lann, V. Dancing to an orange drummer (1993). Ensemble Present/Jurjen Hempel. Attaca ATT 2015146 6 Page, R. Tystnad~Silence (2015). Lamorna Nightingale, fl. www.lamornanightingale.com 12 Sonetos del amor oscuro (2010). Jane Sheldon, sop; Zubin Kanga, pf. Phosphor Records PR0003 19 Being and time II: Tabula rasa (2011). Zubin Kanga, pf. Move MD 3391 9 Soper, K. The ultimate poem is abstract. Kate Soper, voice; Wet Ink Ensemble/Eric Wubbels. Carrier Carrier 041 12 Matalon, M. Trame IV for piano and 11 instruments (2000). Florence Cioccolani, pf; Les Siècles/François-Xavier Roth. Musicales Actes Sud ASM059 15 Vasks, P. The fruit of silence (2013). Latvian Radio Choir; Sinfonietta Riga/ Sigvards Klava. Ondine ODE 1302-2 7 22:00 AFTER HOURS JAZZ
“Some people will tell you that there are a lot of different types of music in the world but really there are only two: good music and bad music.” — David W. Barber
Monday 23 December 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: 1787 Prepared by Derek Parker Clementi, M. Symphony in D, op 18, no 2 (1787). Bruno Canino, pf; Rome Sinfonietta/Francesco La Vecchia. Naxos 8.573273 17 Haydn, J. String quartet no 40 in F, Hob.111:48 (1787). Consortium Classicum. MDG L 3314 18 Danzi, F. Fantasy on Là ci darem la mano (1787). Andreas Ottensamer, cl; Potsdam Chamber Academy. Decca 481 4711 10 Boccherini, L. String quintet in F, op 39 no 2 (1787). Ensemble 415. Harmonia Mundi HMA 1951334 18 Mozart, W. Serenade no 13 in G, K525, Eine kleine Nachtmusik (1787). Academy of St Martin in the Fields/Neville Marriner. EMI CDM 1 66423 2 17 10:30 CONCERT HALL Prepared by Derek Parker d’Indy, V. Médée, orchestral suite, op 47 (1891). Württemberg PO/Gilles Nopre. Marco Polo 8.223654 29 Glazunov, A. Saxophone concerto in E flat, op 109 (1934). John Harle, sax; Academy of St Martin in the Fields/Neville Marriner. EMI 7243 5 72110 2 4 14 Dukas, P. Symphony in C (1896). Cincinnati SO/Jésus López-Cobos. Telarc 80515 41 12:00 SWING SESSIONS with John Buchanan 13:00 LOUIS MOREAU GOTTSCHALK Prepared by Stephen Wilson
A Sesquicentenary Event
Gottschalk, L. Bamboula, danse des nègres, op 2 (1844-45). Eugene List, pf. Vanguard OVC 4050 7 The Union (1862; arr. List); Souvenirs d’Andalousie, op 22 (1851). Eugene List, pf; Cary Lewis, pf. Vanguard OVC 4051 7 American sketch: The banjo, op 15 (185455; arr. Katsaris). Cyprien Katsaris, pf. LP Teldec 6.42479 4 Grande tarantelle for piano and orchestra (1858-64, orch. Kay). Eugene List, pf;
Vienna State Opera O/Igor Buketoff. LP Vox TV-S 34449 8 Symphony no 1, A night in the tropics (1859; reconstr. Rosenberg). Hot Springs Festival SO/Richard Rosenberg. Naxos 8.559320 16 Triumphal march and opera finale for orchestra and band (1860). Berlin SO/Samuel Adler. LP Vox TV-S 34449 9 Escenas campestres cubanas (1859-60; reconstr. Rosenberg). Anna Noggle, sop; Darryl Taylor, ten; Richard Ziebarth, bass-bar; Hot Springs Festival SO/Richard Rosenberg. Naxos 8.559320 13 Overture: Young Henry’s hunt, after Méhul (1861; reconstr. Rosenberg). John Contiguglia, pf; Richard Contiguglia, pf; Angela Draghicescu, pf; Chin-Ming Lin, pf; Joshua Pepper, pf; Hot Springs Festival SO/Richard Rosenberg. Naxos 8.559320 11 Ave Maria (c1864; arr. Rosenberg). Melissa Barrick, sop; Hot Springs Festival SO/Richard Rosenberg. Naxos 8.559320 6 Ses yeux, op 66 (1865). Eugene List, Joseph Werner, pf. Vanguard OVC 4051 6 Symphony no 2, À Montevideo (1868-69; ed. Rosenberg). Hot Springs Festival SO/ Richard Rosenberg. Naxos 8.559320 11 Morte!!, op 60 (1868). Philip Martin, pf. Hyperion CDA67118 6 15:00 INSPIRED BY SCOTLAND Prepared by Elaine Siversen Davies, P. Maxwell Renaisssance Scottish dances (1973). Geoffrey Collins, fl; David Griffiths, cl; Dimity Hall, vn; Michelle Wood, vc; Karin Schaupp, gui; Claire Edwardes, perc. Fine Music concert recording 8 Respighi, O. Four Scottish songs (1924). Andrea Catzel, sop; Reinild Mees, pf. Channel Classics CCS 14998 13 Bruch, M. Scottish fantasy, op 46 (1880). Nicola Benedetti, vn; BBC Scottish SO/ Rory Macdonald. Decca 478 6690 31 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm 19:00 JAZZ PULSE with Chris Wetherall 20:00 STORMY MONDAY with Austin Harrison and Garth Sundberg 22:00 THE AUSTRALIAN JAZZ SCENE with Susan Gai Dowling and Peter Nelson DECEMBER 2019
Tuesday 24 December 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Julie Simonds 9:00 DIVERSIONS IN FINE MUSIC Colours of the keyboard Prepared by Elaine Siversen Handel, G. Organ concerto no 13 in F, HWV295, The cuckoo and the nightingale (1739). Nicholas Parle, org; London Baroque/Charles Medlam. EMI CDC 7 49799 2 13 Boccherini, L. Piano quintet in E, op 57 no 5 (1799). Ilario Gregoletto, fp; Ensemble Claviere. Brilliant Classics 94386 17 Bach, C.P.E. Trio sonata in G minor, Wq135 (by 1735). Linda Walsh, ob; Marcus Hartstein, vc; Lee Primmer, hpd. Fine Music tape archive 10 Granados, E. Andaluza, Spanish dance no 5 (1892-1900). Enrique Granados, reproducing pf. Fonè 90 F 14 4 Mozart, W. Ch’io mi scordi di te ... Non temer, K505 (1786). Joan Sutherland, sop; Richard Bonynge, pf; National PO/ Douglas Gamley. Decca 475 6302 11 Liszt, F. Reminiscences of the Huguenots: Grand dramatic fantasy on themes from Meyerbeer’s opera (1836). Leslie Howard, pf. Hyperion CDS44545 24 10:30 CONCERT HALL Prepared by Michael Field Bruch, M. Salute to Christmas, op 62 (1892). Gabriel Schreckenbach, cont; Berlin Philharmonic Choir; Berlin RSO/ Uwe Gronostay. Schwann 313 013 H1 17 Beethoven, L. Triple concerto in C, op 56 (1803-04). David Oistrakh, vn; Mstislav Rostropovich, vc; Sviatoslav Richter, pf; Berlin PO/Herbert von Karajan. EMI 5 66902 2 36 Gounod, C. Symphony no 1 in D (1855). O of St John’s, Smith Square/John Lubbock. ASV DCA 981 29 12:00 JAZZ RHYTHM with Jeannie McInnes 13:00 CHILDHOOD COMPOSITIONS OF PRODIGIES Prepared by Rita Felton Mendelssohn, F. Overture to A 32
midsummer night’s dream, op 21 (1826). Bamberg SO/Claus Peter Flor. RCA Victor RD 87905 12 Beethoven, L. Trio in G, WoO37 (1786). Geoffery Collins, fl; Julian Smiles, vc; Ian Munro, pf. Fine Music concert recording 17 Mozart, W. Symphony no 20 in D, K133 (1772). English CO/Jeffrey Tate. EMI 5 55480 2 21
Mageau, M. Four pieces (2001-09). Katie Zhukov, pf. Wirripang WIRR 030 12 Schumann, R. Piano quintet in E flat, op 44 (1842). Charmian Gadd, vn; Tony Gault, vn; Irina Morozova, va; Michael Goldschlager, vc; Kathryn Selby, pf. Fine Music concert recording 31
14:00 A NEW LIFE ON THESE SHORES Prepared by Frank Morrison Haydn, J. String quartet in B flat, Hob. III:78, Sunrise (1796-97). Semyon Kobets, vn; David Saffir, vn; Anne -Louise Comerford, va; Georg Pedersen, vc. Fine Music concert recording 22 Pertout, A. Sonus dulcis (2000). Marianne Rothschild, vn; Glenn Riddle, pf. Move MCD 505 7 Mirosznyk, A. Sonnet. Eliza Eggler, sop; Anatolij Mirosznyk, pf. Private recording 3 Prokofiev, S. Five melodies, op 35b (1925). Spiros Rantos, vn; Brachi Tilles, pf. LP Grevillea GRV 1050 14 Whitehead, G. Manutaki (1986). Australia Ensemble. Tall Poppies TP002 11 Gross, E. Cadenza 2 (1991). Christine Draeger, fl; Nigel Butterly, pf. Jade JADCD 1043 5
19:00 THE JAZZ BEAT with Lloyd Capps
16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm
20:00 RECENT RELEASES with David Garrett 22:00 CHAMBER SOIRÉE Prepared by Paul Cooke Gade, N. String quartet in E minor (1877). Kontra Quartet. BIS CD-516 26 Ferguson, H. Violin sonata no 1, op 2 (1931). Lydia Mordkovitch, vn; Clifford Benson, pf. Chandos CHAN 9316 18 Mozart, W. Clarinet quintet in A, K581 (1789). Donald Westlake, cl, Sinfonia Ensemble. LP ABC VRL1 0008 30 Enescu, G. String octet in C, op 7 (1900). Academy of St Martin in the Fields Chamber Ensemble. Chandos CHAN 9131 39
A YOUNG COMPOSER CHALLENGES HIMSELF George Enescu spent a year and a half (1908-09) composing his String octet in C, op 7. It was understandable that the 19-year-old composer found it difficult because of the complexity of a structure that he chose to use (including between nine and 12 themes depending on the analysis) and the length of the work. Nevertheles, he found the challenge exciting. “I wore myself out trying to make work a piece of music divided into four segments of such length that each of them was likely at any moment to break. An engineer launching his first suspension bridge over a river could not feel more anxiety than I felt when I set out to darken my paper.” Indeed this work, along with Niels Gade’s Octet, has caused them to be regarded as being among ‘the most notable successors to Felix Mendelssohn’s celebrated Octet, op 20.” Enescu offered the Octet to impressario Édouard Colonne but, after five rehearsals, Colonne decided the work was too risky for his Concerts Colonne. Its belated premiere took place in Paris as part of a festival of chamber works by Enescu in the 1909 Soirées d’Art series. This work can also be played with a full string orchestra. The composer was quite delighted when the conductor Karl Krueger suggested that the work could be played by multiple strings. The only condition that Enescu stipulated was that certain singing parts (passages chantants) should be entrusted to soloists. “I leave it to the judicious choice of the conductor to decide which passages are to be played solo,” he said.
Wednesday 25 December
Thursday 26 December 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Simon Moore
0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 CHRISTMAS MORNING MUSIC with Paul Roper Joyous music to greet this special day 9:00 CHRISTMAS CELEBRATION with Heather Middleton A varied selection of music to celebrate the day’s festivities 12:00 YULETIDE JAZZ with Robert Vale Continuing the festive theme with some favourites 14:00 CHRISTMAS RELAXATION with Dan Bickel A time to relax with good company 16:00 FINE MUSIC HOLIDAY with Nicky Gluch Music to enliven the holiday spirit 19:00 CHRISTMAS JAZZ STARS AND STRIPES with Peter Mitchell Festive jazz to lead into the evening
20:00 CHRISTMAS EVENING with Annabelle Drumm What surprises are in store as the Christmas spirit continues? 22:00 CHRISTMAS NIGHT AT HOME Prepared by Chris Blower Arensky, A. Suite from ballet Egyptian nights, op 50a (1902). USSR RSO/Boris Demchenko. Melodiya MEL 45002-2 20 Arriaga, J. String quartet no 2 in A (182122). Chilingirian Quartet. CRD 33123 29 Beethoven, L. Triple concerto in C, op 56 (1803-04). Itzhak Perlman, vn; Yo-Yo Ma, vc; Berlin PO/Daniel Barenboim, pf & dir. EMI 5 55516 2 35 Tchaikovsky, P. String serenade in C, op 48 (1880). Scottish CO/José Serebrier. ASV DCA 719 31
9:00 DIVERSIONS IN FINE MUSIC The instruments: Brass Prepared by Chris Blower Strauss, R. Festmusik der Stadt Wien (1943). Summit Brass. Pro Arte CDD 318 11 Beethoven, L. Sonata in F, op 17 (1800). Gerd Seifert, hn; Jörg Demus, pf. DG 439 852-2 15 Harbison, J. The three wise men, from Christmas Vespers (1988). Bill Kurtis, narr; Charles Geyer, tpt; Barbara Butler, tpt; Gail Williams, hn; Michael Mulcahy, tb; Craig Knox, tuba. Naxos 8.559188 16 Czerny, C. Fantasy no 2, from Three brilliant fantasies after Schubert, op 339 (1836). Barry Tuckwell, hn; Daniel Blumenthal, pf. Etcetera KTC1121 17 Damase, J-M. Trio for trumpet, trombone and piano (1983). Wim van Hasselt, tpt; Jörgen van Rijen, tb; Alla Libo, pf. Channel CCS SA 36315 21 10:30 CONCERT HALL Prepared by Paul Cooke Le Gallienne, D. The prize (1960). O/ George Logie Smith. Canberra School of Music CSM:28 19 Giuliani, M. Guitar concerto no 1 in A, op 30 (1808). John Williams, gui; Australian CO/Richard Tognetti. Sony SK 63385 30 Taneyev, S. Symphony no 1 in E minor (1874). Novosibirsk Academic SO/ Thomas Sanderling. Naxos 8.570336 34 12:00 JAZZ, PURE AND SIMPLE with Maureen Meers
Adoration of the Shepherds triptych attributed to Flemish artist Cornelis Englebrechtsen (Engelberts 14681533). Left panel shows the Annunciation; Centre the Adoration in the stable with Mary, Joseph, infant Jesus, Angels, Shepherd (with bagpipes) and Oxen; Right Virgin and Child. Oil on wood. Photo: Alamy
13:00 DR BURNEY’S MUSICAL EXCURSION Prepared by Derek Parker Couperin, F. Rondeau; Passacaille, from Pièces de clavecin. Matthias Havinga, org. Brilliant Classics 9269 7 Grétry, A-E-M. Overture to Le Huron. Les Paladins/Jérôme Correas. MBF 1108 5 Gassmann, F. Overture to L’amore artigiano (1767). English CO/Richard Bonynge. ABC 482 1059 7 DECEMBER 2019
Thursday 26 December Traetta, T. Ombra cara, amorosa, from Antigona, Act II (1772). Olga Peretyatko, sop; Basle SO/Ivor Bolton. Sony 19075919052 4 Lampugnani, G. Superbo di me stesso, from Merape. Marilyn Horne, mezz; New SO/Richard Bonynge. Decca 476 1223 3 Latilla, G. Cosi geloso un angue, from Romolo (1739). Flavio Ferri-Benedetti, alto; Il Basilico. Pan Classics PC 10341 6 Galuppi, B. Piano sonata in A minor. Matteo Napoli, pf. Naxos 8.572672 6 Galuppi, B. Concerto à quattro no 1 in G minor. Jörg Ewald Dähler, hpd; English CO/Paul Angerer. LP Claves D 8306 11 14:00 CELEBRATING 2MBS / FINE MUSIC RECORDINGS The first fifteen years Recordings by Denis Eddy, John Maizels and Belinda Webster
Khachaturian, A. Trio for clarinet, violin and piano (1932). Nigel Westlake, cl; Dene Olding, vn; David Bollard, pf. Recorded April 1987 15 Schumann, R. String quartet no 8 in C minor, op 110 (1960). Sydney String Quartet. Recorded April 1978 21 Villa-Lobos, H. Bachianas brasileiras no 5 (1938-45). Rowena Cowley, sop; Trisha Ayling, vc; Catherine Finnis, vc; Phillip Green, vc; Catherine Hewgill, vc; Julian Smiles, vc; Zoltán Szábó, vc; Nathan Waks, vc; David Pereira, vc. Recorded March 1989 11 Tansman, A. Suite for three recorders (1956). Belinda Webster, rec; Sue Blake, rec; Ted Granlund, rec. Recorded September 1983 10 Sculthorpe, P. String quartet no 9 (1975). Australian String Quartet. Recorded July 1989 12 Dupré, M. Prelude and fugue in G minor, op 7 no 3 (1912). Robert Smith, org. Recorded March 1982 6 Poulenc, F. Trio for trumpet, horn and trombone (1922). Daniel Mendelow, tpt; Robert Johnson, hn; Ronald Prussing, tb. Recorded July 1986 7 34
Friday 27 December
Ravel, M. Piano trio in A minor (1914). Rotraud Schneider, vn; Anthea ScottMitchell, vc; Daniel Herscovitch, pf. Recorded November 1982 25 Fine Music concert recordings (all above)
0:00 CONTEMPORARY COLLECTIVE
16:00 FINE MUSIC HOLIDAY including Arts Calendar at 5.00pm
9:00 DIVERSIONS IN FINE MUSIC Something borrowed Prepared by Stephen Wilson Wagner, R. Overture to Rienzi (1842; arr. Grabel). Eastman Wind Ensemble/ Frederick Fennell. LP Mercury SRI 75096 11 Handel, G. Organ concerto in F, HWV293 (1735-36; transcr. Williams). John Williams, gui; Academy of St Martin in the Fields/Kenneth Sillito. CBS MK 39560 8 Glinka, M. Three Russian songs (arr. Hermann). Marina Marsden, vn; Justine Marsden, va; Robert Chamberlain, pf. Fine Music concert recording 10 Gottschalk, L. The Union, concert paraphrase on national airs, op 48 (1862, arr. Adler). Eugene List, pf; Vienna State Opera O/Igor Buketoff. LP Vox TV-S 34449 8 Mussorgsky, M. Joshua (1877; arr. Rimsky-Korsakov). Elena Zaremba, mezz; Prague Philharmonic Choir; Berlin PO/Claudio Abbado. DG 445 238-2 5 Rossini, G. Excerpts from The barber of Seville (1816; transcr. Sedlak). Melbourne Windpower/Richard Runnels. Move MD 3110 16 Debussy, C. La mer (transcr. Griguoli). Giorgia Tomassi, pf; Carlo Maria Griguoli, pf; Alessandro Stella, pf. EMI 7 21119 2 21
19:00 THE NEW JAZZ STANDARD with Frank Presley 20:00 THE WORLD OF A SYMPHONY Prepared by Dan Bickel Glière, R. Overture to Gyul’sara (1936). BBC PO/Vassily Sinaisky. Chandos CHAN 9518 17 Prokofiev, S. Suite from On the Dnieper, op 51 (1933). Leningrad Philharmonic SO/Gennady Rozhdestvensky. LP Melodiya C10-10453-4 20 Myaskovsky, N. Serenade in E flat, op 32 no 1 (1928-29). USSR SO/Vladimir Verbitsky. Olympia OCD 105 18 Shostakovich, D. Festive overture, op 96 (1954). Royal PO/Vladimir Ashkenazy. Decca 436 762-2 6 Khachaturian, A. Symphony no 2, The bell (1943). Royal Scottish O/Neeme Järvi. Chandos CHAN 8945 51 22:00 PROMENADE IN PARIS Prepared by Jacky Ternisien Kern, J. The last time I saw Paris, from Lady be good (1941). Thomas Hampson, bar; London Sinfonietta Ch & O/John McGlinn. EMI 5 72550 2 4 Williamson, M. Paris, from Travel diaries. Antony Gray, pf. ABC 472 902-2 10 Porter, C. I love Paris (pub. 1953). Roberto Alagna, ten; Jean Reno, bar; Paris SO/Yvan Cassar. DG 477 5569 2 Marais, M. La sonnerie de Ste Geneviève du Mont de Paris (pub. 1723). Boston Museum Trio. Centaur CRC 2129 8 22:30 ULTIMA THULE
“In order to compose, all you need to do is remember a tune that nobody else has thought of.” — Robert Schumann
3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Annabelle Drumm
10:30 CONCERT HALL Prepared by James Nightingale Moniuszko, S. Ballet music from Hrabina (1859). Warsaw PO/Antoni Wit. Naxos 8.573610 18 Scharwenka, L. Violin concerto in G, op 95 (1894). Linus Roth, vn; BBC Scottish SO/Antony Hermus. Hyperion CDA68268 34 Lutoslawski, W. Concerto for orchestra (1954). Bavarian RSO/Mariss Jansons. BR Klassik 900107 30 12:00 A JAZZ HOUR with Barry O’Sullivan
Friday 27 December 13:00 DR BURNEY’S MUSICAL EXCURSION Prepared by Derek Parker Nardini, P. Violin concerto in G (c1750). Giulano Carmignola, vn; Venice Baroque O/Andrea Marcon. Archiv 477 6606 17 Linley, T. the younger Sonata in A (c1768). Locatelli Trio. Hyperion CDA66583 11 Jommelli, N. Flute concerto in D. Carlo Ipata, fl; Auser Musici. Hyperion CDA67784 13 Abel, C. Symphony no 3 in D (pub. 1767). Cantilena/Adrian Shepherd. Chandos CHAN 8648 11 14:00 A POLISH CAVALCADE Prepared by Rex Burgess Moniuszko, S. Overture to The new Don Quixote (1841). Warsaw PO/Antoni Wit. Naxos 8.572716 8 Chopin, F. Polonaise-fantasy in A flat, op 61 (1845-46). Geoffrey Tozer, pf. McPherson Promotions MP001 13 Doppler, F. Andante et rondo, op 25 (pub. 1874). Claude Arimany, fl; Shigenori Kudo, fl; Alan Branch, pf. Capriccio C5296 8 Karlowicz, M. Serenade, op 2 (1897). Warsaw PO/Antoni Wit. Naxos 8.572274 22 Szymanowski, K. Pantomime, op 43 (1920). Stanislaw Meus, ten; Polish State PO/Karol Stryja. Naxos 8.553686 23 Weinberg, M. Sinfonietta no 2 in A minor, op 74 (1960). Moscow CO/Rudolph Barshai. Brilliant Classics 9286 16 Bacewicz, G. Double concerto (1966). Jerzy Maksymiuk, pf; Jerzy Witkowski, pf; Warsaw National PO/Stanislaw Wislocki. Olympia OCD 311 16 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm 19:00 FRIDAY JAZZ SESSION with Christopher Waterhouse 20:00 EVENINGS WITH THE ORCHESTRA Prepared by Di Cox Strauss, R. Horn concerto no 1 in E flat, op 11 (1883). Dennis Brain, hn; Philharmonia O/Wolfgang Sawallisch. EMI 7 47834 2 15 Tone poem: Don Juan, op 20 (1888). San Francisco SO/Herbert Blomstedt. Decca 478 6787 18
Oboe concerto in D (1945/48). Alf Nilsson, ob; Stockholm Sinfonietta/ Neeme Järvi. BIS CD-470 24 Romance in F (1883). Heinrich Schiff, vc; Gewandhaus O/Kurt Masur. Philips 426 262-2 9 Aus Italien, op 16 (1886). Slovak PO/ Zdenék Kosler. Naxos 8.550342 42 22:00 BAROQUE AND BEFORE Birdsongs of the Baroque Prepared by Paul Cooke Janequin, C. Le chant des oiseaux. Hilliard Ensemble. Hyperion CDA66370 6 Eyck, J. The English nightingale (1649). Frans Brüggen, rec. LP Telefunken SMA 25073 6 Schmelzer, J. Cuckoo sonata. Romanesca. Harmonia Mundi HMU 907143 6 Monteverdi, C. O nightingale, from Third book of madrigals (pub. 1592). Delitiae Musicae/Marco Longhini. Naxos 8.555309 5 Pasquini, B. Toccata con lo scherzo del cucco. Philip Swanton, org. LP Thorofon Capella MTH 286 5 Walther, J.J. Sonata no 10, In imitation of a cuckoo. Elizabeth Wallfisch, vn; Rosanne Hunt, vc; Linda Kent, hpd. ABC 465 269-2 8
Rameau, J-P. Rossignols amoureux, from Hippolyte et Aricie (1733). Kathrin Graf, sop; Peter Lukas Graf, fl; Alexander van Wijnkoop, vn; Raffaele Altwegg, vc; Michio Kobayashi, hpd. Claves 50-604 7 Vivaldi, A. Violin concerto in A, RV335, Cuckoo. Elizabeth Wallfisch, vn; Australian Brandenburg O/Paul Dyer. ABC 476 9233 9 Finch, E. Cucu. Elizabeth Wallfisch, vn; Rosanne Hunt, vc; Linda Kent, hpd. ABC 465 269-2 4 Handel, G. Sweet bird, from L’allegro, il penseroso, ed il moderato, HWV55 (1740). Sandrine Piau, sop; Accademia Bizantina/Stefano Montanari. naïve OP 30484 13 Vivaldi, A. Flute concerto in D, RV428, Goldfinch. Paul Curtis, fl; Sydney SO/ David McBride. ABC 438 192-2 10 Matteis, N. Il russingnolo. Elizabeth Wallfisch, vn; Rosanne Hunt, vc; Linda Kent, hpd. ABC 465 269-2 1 Couperin, F. The nightingale in love. Greg Dikmans, fl. Move MD 3163 7 Handel, G. Organ concerto in F, The cuckoo and the nightingale, HWV295 (1739). Academy of Ancient Music/ Richard Egarr. Harmonia Mundi HMX2908417.24 16
TRAVELLER AND MUSIC HISTORIAN Dr Charles Burney (1726-1814) was a celebrated music historian, musician and composer who, in his youth, had been a student of John Blow and Thomas Arne. He worked as an organist and performed at the harpsichord and his circle of friends included the artist Joshua Reynolds (who painted his portrait pictured), lexographer Samuel Johnson, playwright Richard Sheridan and essayist Edmund Burke. Burney’s first writing publication was about comets but his major work, published in four volumes between 1776 and 1789, was The History of Music. Before this, however, he decided to travel abroad to collect material for a book about music. He left London in June 1770 carrying numerous letters of introduction, travelling to France and Italy, meeting composers and examining manuscripts as he gathered material for his book The Present State of Music in France and Italy (1771). After a second visit to Europe, his findings were published in The Present State of Music in Germany, the Netherlands and United Provinces (1773). These travels make fascinating reading, not only for his musical observations, but for his descriptions of the journeys and the difficulty of travelling by coach through many different terrains. It certainly took some fortitude to travel in those days. DECEMBER 2019
Saturday 28 December 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SATURDAY MORNING MUSIC with Stephen Wilson 9:00 WHAT’S ON IN MUSIC Our weekly guide to musical events in and around Sydney 9:05 THE PIANO ALONE Prepared by Jacky Ternisien Mozart, W. Rondo in D, K485 (1786). Alicia de Larrocha, pf. Philips 456 886-2 6 Mendelssohn, Fanny. Allegro molto vivace, op 2 no 4 (1846). Irene Barbuceanu, pf. Schwann 3-1589-2 4 Allegro molto agitato in D minor (1823). Heather Schmidt, pf. Naxos 8.570825 2 Schubert, F. Four impromptus, D935 (1827). Ingrid Haebler, pf. Decca 478 5859 36 10:00 MUSIC OF THE DANCE Prepared by Frank Morrison Khachaturian, A. Dance suite (1933). Armenian PO/Loris Tjeknavorian. ASV DCA 964 23 Vaughan Williams, R. Suite de ballet. Kenneth Smith, fl; Paul Rhodes, pf. ASV DCA 768 6 Grainger, P. English dance (1921). Philip Martin, Martin Jones, Richard McMahon, pf. Nimbus NI 5286 9 Holst, G. Ballet music from The perfect fool, op 39 (1918-22). London PO/Adrian Boult. Decca 440 318-2 11 Schmelzer, J. Balletto à quatro: Die Fechtschule (1668). Ensemble Masques/ Olivier Fortin. Zig-Zag ZZT334 8 Praetorius, M. Dances from Terpsichore (pub. 1612). Early Music Consort of London/David Munrow. Virgin 5 61289 2 22 11:30 ON PARADE Prepared by Chris Blower Elgar, E. Pomp and circumstance march in G, op 39 no 4 (1907; arr. Wills). Arthur Wills, org; Cambridge Co-operative Band/ David Read. Helios CDH88005 5 Schubert, F. Marche militaire, D733 no 1 (c1822). John Foster Black Dyke Mills Band/Geoffrey Brand. Chandos CHAN 6539 4 36
Rossini, G. Largo al factotum, from The barber of Seville (arr. Langford). John Clough, euphonium; John Foster Black Dyke Mills Band/Peter Parkes. Chandos CHAN 4505 5 Rimsky-Korsakov, N. Trombone concerto (1877; arr. Langford). Norman Law, tb; John Foster Black Dyke Mills Band/Peter Parkes. Chandos CHAN 8793 11 12:00 URBAN JAZZ LOUNGE with Leita Hutchings 13:00 IN A SENTIMENTAL MOOD with Maureen Meers Nostalgic music and artists from the 30s, 40s and 50s and occasionally beyond, in a trip down many memory lanes 14:00 THE VOICES, THE ROLES Prepared by Angela Cockburn Baritones: All at sea 14:30 SATURDAY MATINEE Operetta in the afternoon Prepared by Elaine Siversen Romberg, S. Maytime. Operetta in three acts. Libretto by Rida Johnson Young. Additional lyrics by Cyrus Wood. First performed New York, 1917. OTTILIE VAN ZANDT: Amy Pfrimmer, sop RICHARD WAYNE: Joshua Kohl, ten Ohio Light Opera Ch & O/Steven Byess. Albany records TROY 808/809 1:19 The story, set in New York, is told in episodes covering a long period, from 1840 to the 20th century. Wealthy young Ottilie van Zandt is in love with Richard Wayne, an apprentice in her father’s cooperage. Her father prefers her to marry a wealthy ‘drunken libertine’. Though Ottillie and Richard are never able to consummate their love, their descendants eventually meet and marry. Music from the film, The student prince. Norma Giusti, sop; Mario Lanza, ten; Cinecitta Studio O/Paul Barron. Sepia Records Sepia 1200 40 One alone, from The desert song (1926); Lover, come back to me, from The new moon (1928); You are my heart’s delight, from The land of smiles (1929). Richard Tauber, ten. LP Parlophone PMEO 9573 10 17:00 SYDNEY SCHUBERT SOCIETY Prepared by Ross Hayes Schubert, F. Der Tag entflieht, der Abend glüht, from Das Zauberglöckchen, D723 (1821). Daniel Behle, ten; L’Orfeo Baroque O/Michi Gaigg. Sony G010003653330K 7
Concert piece in D, D345 (1816-17). Gidon Kremer, vn; London SO/Emil Tchakarov. DG 431 168-2 10 Symphony no 5 in B flat, D485 (1816). Royal Concertgebouw O/Leonard Bernstein. Radio Nederland RCO 08005 30 On All Souls Day, D343 (1816). Konstantin Wolff, bass-bar; Ulrich Eisenlohr, pf. Naxos 8.572036 4 18:00 THE MAGIC OF STAGE AND SCREEN Prepared by Paul Cooke Morricone, E. Film score: For a few more dollars (1965). Cinema Italiano soloists & O. Recording Arts 5X056 17 Nitzsche, J. Excerpts from One flew over the cuckoo’s nest (1975). Soundtrack recording. Fantasy FCD-4531-2 17 Ricotti, F. Excerpts from The Beiderbecke trilogy (1985-88). Kenny Baker, cornet; Frank Ricotti All Stars. Network 7952536 19 19:00 THE ENGLISH SYMPHONY Prepared by Chris Blower Sibelius, J. The Oceanides, op 73 (1914). Scottish NO/Alexander Gibson. Chandos CHAN 6508 11 Simpson, R. Symphony no 8 (1981). Royal PO/Vernon Handley. Hyperion CDA66890 44 20:00 THE LIFE OF A COMPOSER Ferruccio Busoni Prepared by Madilina Tresca Busoni, F. Serenata, op 34 (1883). Raphaela Gromes, vc; Julian Riem, pf. Sony 88985413032 7 Violin concerto in D, op 35a (1896-97). Domenico Nordio, vn; Milano Guiseppe Verdi SO/Tito Cecchirini. Sony 19075865302 24 Liszt, F. Totentanz (1849). Joseph Banowetz, pf; Slovak RSO/Oliver Dohnányi. Naxos 8.557930-31 16 Goldmark, K. Four songs, op 34 (c1880). Cornelia Hübsch, sop; Charles Spencer, pf. Capriccio C3004 9 Sibelius, J. Dance intermezzo, op 45 no 2 (1907). Erik T. Tawaststjerna, pf. BIS CD-366 3 Busoni, F. Sarabande; Cortège, from Doktor Faust (c1916). Staatskapelle Dresden/Giuseppe Sinopoli. DG 457 614-2 19
Saturday 28 December Berceuse, from Elegien (1907). Geoffrey Tozer, pf. Chandos CHAN 9394 4 Indian fantasy, op 44 (1915). Jeffrey Swann, pf; Montpellier PO/Gianfranco Masini. Arkadia CDAK 126.1 26 22:00 SATURDAY NIGHT AT HOME Prepared by Chris Blower Dvorák, A. Suite in A, op 98b, American (1895). Royal Liverpool PO/Libor Pesek. Virgin VC 7 90723-2 23 Schubert, F. Violin sonata no 3 in G minor, D408 (1816). Isaac Stern, vn; Daniel Barenboim, pf. Sony SM2K 64528 17 Strauss, R. Symphonic fantasy from the opera Die Frau ohne Schatten. Rainer Honeck, vn; Vienna PO/Christian Thielemann. DG 479 1426 22 Meyerbeer, G. Incidental music to Struensee (1846). North German Radio Ch & PO/Michail Jurowski. cpo 999 336-2 52
Although he was known mainly for his piano transcriptions of other composers’ works (particularly those of Johann Sebastian Bach), Ferrucio Busoni was a respected composer in his own right as well as being a pianist, conductor, editor, influential writer on music and sought-after keyboard and composition teacher. He was a prodigy of the piano performing in public at the age of seven after having first been taught by his father, a clarinettist, about whom he later wrote: “My father knew little about the pianoforte and was erratic in rhythm, so he made up for these shortcomings with an indescribable combination of energy, severity and pedantry.” Ferrucio made his name as a touring virtuoso pianist in Europe and the United States where developed an interest in North American indigenous tribal melodies that he later incorporated into some of his compositions. One of his greatest compositional achievements was a massive piano concerto of around 70 minutes. Opposed to the prevailing notion that music should ‘bring a serious frown’ to the face of the listener, he praised Bach and Mozart as the ‘exponents of melody’.
Sunday 29 December 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SUNDAY MORNING MUSIC with Peter Poole 9:00 MUSICA SACRA Prepared by Robert Small Dufay, G. Apostolo glorioso (c1434). Huelgas Ensemble/Paul van Nevel. Harmonia Mundi HMG 50 3 Handel, G. Salve Regina, HWV241 (1707). Lucy Crowe, sop; English Concert/Harry Bicket. Harmonia Mundi HMU 907559 12 Tallis, T. Christmas Mass: Puer natus est nobis (c1554). Tallis Scholars/Peter Phillips. Gimell 454 934-2 24 Telemann, G. Cantata: In dulci jubilo (c1717). Collegium Musicum 90/Simon Standage. Chandos CHAN 0634 14 10:00 THE CLASSICAL ERA Mozart, W. Overture to Don Giovanni, K527 (1787). Tasmanian SO/Sebastian Lang-Lessing. ABC 476 5949 6 Boccherini, L. Cello concerto no 6 in D (pub. 1770). Anner Bijlsma, vc; Concerto Amsterdam/Jaap Schröder. apex 0927 49805 2 15 Bach, C.P.E. Piano sonata in D minor, Wq51 no 4 (1758). Christopher Hinterhuber, pf. Naxos 8.557450 11 Myslivecek, J. Octet no 1 in E flat. Sabine Meyer Wind Ensemble. EMI 5 55512 2 16 Rossini, G. String sonata no 2 in A (1804). Elizabeth Wallfisch, vn; Marshall Marcus, vn; Richard Tunnicliffe, vc; Chichi Nwanoku, db. Hyperion CDA66595 12 Schobert, J. String quartet in F minor, op 7 no 2 (1764). Chiara Banchini, vn; Véronique Méjean, vn; Philipp Bosbach, vc; Luciano Sgrizzi, fp. Harmonia Mundi HMC 901294 13 Gossec, F-J. Symphony in F, op 12 no 6 (pub. 1769). London Mozart Players/ Matthias Bamert. Chandos CHAN 9661 15 Crusell, B. Clarinet concerto no 1 in E flat, op 1 (1803). Thea King, cl; London SO/Alun Francis. Helios CDH55203 23 12:00 CLASSIC JAZZ AND RAGTIME with Jeannie McInnes
13:00 WORLD MUSIC: Whirled Wide 14:00 CELEBRATING 2MBS / FINE MUSIC RECORDINGS From the 1990s Recordings by Denis Eddy and Belinda Webster
Haydn, J. Piano sonata no 60 in C, Hob. XVI:50 (1794-95). Ray Lemond, pf. Recorded October 1992 12 Beethoven, L. Piano sonata no 29 in B flat, op 106, Hammerklavier (1817-18). Geoffrey Tozer, pf. Recorded November 1993 42 Fine Music concert recordings (2 above) 15:00 ALFRED HILL SESQUICENTENARY Prepared by Ron Walledge
A Sesquicentenary Event
Hill, A. Waiata poi (1896-1902). Peter Dawson, bass bar. ASV AJA 5114 3 Violin concerto (1932). Alywn Elliott, vn; Sydney SO/Joseph Post. LP ABC/WRC RO 2596 23 The poet dreams; Dancing fawn. Tamara Anna Cislowska, pf. Artworks AW005 5 Symphony no 3 in B minor, Australia (1951). Queensland SO/Wilfred Lehmann. Marco Polo 8.223537 27 String quartet no 17 in C (1938). Dominion String Quartet. Naxos 8.573416 18 Piano concerto. David Bollard, pf; West Australian SO/Georg Tintner. LP ABC/Festival L42019 24 Glora in excelsis, from Symphony no 2, Joy of life (1941). Adelaide Singers; Adelaide Philharmonic Choir; Adelaide SO/Patrick Thomas. ABC 442 377-2 6 17:00 HOSANNA Prepared by Meg Matthews James, W. The three drovers; The silver stars; Christmas bush for His adorning; Sing Gloria. Sydney Philharmonia Motet Choir; David Miller, pf; Antony Walker, cond. ABC 446 975-2 6 DECEMBER 2019
Sunday 29 December Various. Ding dong merrily on high; Coventry carol; Angel song; Away in a manger. Choir of Trinity College, Melbourne/Christopher Watson. ACIS APL 17427 13 Hymns: Of the Father’s heart begotten; O worship the Lord in the beauty of holiness. 9 Hassler, H. The word was made flesh. 3 Rutter, J. What sweeter music. 5 Trad. The carol of the bells (arr. Leontovich). 2 Choir of Christchurch St Laurence; Peter Jewkes, org; Neil McEwan, cond (4 above) CCSL 05 Various. Awake glad heart; Patapan; I wonder as I wander. Australian Youth O/ Graham Abbott. Tall Poppies TPO 16 8 Carols: Joseph and Mary; I sing of a maiden; Hark the herald angels sing. Choir of St Peter’s Cathedral, Adelaide; Shirley Gale, org; Leonie Hempton, cond. 9 18:00 SOCIETY SPOT Sydney Society of Recorder Players Prepared by Susan Foulcher Bassano, J. Almande 15 à 6; Fantasia à 5, no 3. Opus 111 OPS 30-239 4 Bach, J.S. Passacaglia in G, BWV582. Aeolus AE-10286 10 Lully, J-B. Chaconne des Africains. Aeolus AE-10276 4 Ahlert, F. I don’t know why I love you like I do. Aeolus AE-10276 3 Prima, L. Sing, sing, sing! Aeolus AE-10276 3 Swerts, P. Excerpts from The six wives of Henry VIII. Passacaille 948 14
Locke, M. Fantazie in F, from Consort of fower parts, suite III. Aeolus AE-10286 5 Ashton, H. Hugh Ashton’s maske. Aeolus AE-10286 3 Anon. Capriccio; Volta du Tambour. Aeolus AE-10286 3 Flanders Recorder Quartet (all above) 19:00 SUNDAY NIGHT CONCERT Prepared by Krystal Li Saint-Saëns, C. Overture: Spartacus (1863). Orchestral Ensemble of Paris; Jean-Jacques Kantorow. EMI 5 55587 2 15 Rubinstein, A. Violin concerto in G, op 46 (1857). Takako Nishizaki, vn; Slovak PO/Michael Halász. Marco Polo 8.220359 37 Tubin, E. Symphony no 2, Legendary (1937). Swedish RSO/Neeme Jarvi. BIS CD-304 32 20:30 NEW HORIZONS Prepared by Robert Small Smetanin, M. If stars are lit (2010). Michael Duke, sax; David Howie, pf. Cala CACD 77013 9 Brandman, M. Cosmic wheel of the zodiac (2016). Prague Mixed Chamber Choir; Peter Ožana, pf; Jiri Petrdik, cond. Navona records NV 6160 35 Schwantner, J. Chasing light (2008). Nashville SO/Giancarlo Guerrero. Naxos 8.559678 20 Rautavaara, E. Into the heart of light (2012). Gerald Finley, bass-bar; Helsinki PO/John Storgards. Ondine ODE 1274-2 13 22:00 AFTER HOURS JAZZ
Margaret Brandman says of her song cycle Cosmic wheel of the zodiac: “I hope that listeners will tune into the spine-tingling musical effects so that the music resonates with them on a deep level.” These 12 songs cover each assigned characteristic of the signs of the zodiac and at the same time ponder on each soul’s ‘most heartfelt desire for spiritual expression’. The cycle is a setting of lyrics by astrologer Benita Rainer who acts as a guide through the labyrinth of the cosmos, which she compares to the labyrinth of the mind seeking among other things, security and protection, freedom, depth of experience and humanity. Brandman is an accomplished pianist, composer, arranger, and music educator. As well as performing in concert in Australia and abroad, she has played some of her piano compositions and been recorded in the Fine Music studios. Stephen A. Kennedy, reviewing the song cycle in Cinemusical writes: “Most telling are the closer harmonic clusters that lend the music an almost ethereal quality from time to time.” 38
Monday 30 December 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: 1775 Prepared by Rex Burgess Mozart, W. Violin concerto no 2 in D, K211 (1775). Takako Nishizaki, vn; Capella Istropolitana/Johannes Wildner. Naxos 8.550414 23 Salieri, A. Sinfonia, Il giorno onomastico (1775). London Mozart Players/Matthias Bamert. Chandos CHAN 9877 18 Gretry, A-E-M. Comme un éclair, from La fausse magie. Christiane Karg, sop; Arcangelo/Jonathan Cohen. Berlin 0300389BC 6 Haydn, J. Divertimento in D for baryton, horns and strings, Hob.X:1 (1775). Members of Haydn Sinfonietta/Manfred Huss. BIS CD-1796/98 16 Boccherini, L. String quintet in G, op 20 no 4 (1775). La Magnifica Comunità. Brilliant Classics 94386 18 10:30 CONCERT HALL Prepared by Rhys Larkin Telemann, G. Overture in C. Concentus Musicus Vienna/Nikolaus Harnoncourt. Teldec 8.42589 24 Mozart, W. Clarinet concerto in A, K622 (1791). Jack Brymer, cl; Royal PO/ Thomas Beecham. EMI CDC 7 47864 2 31 Hill, A. Symphony no 3 in B minor, Australia (1951). Queensland SO/Wilfred Lehmann. Marco Polo 8.223537 27 12:00 SWING SESSIONS with John Buchanan 13:00 CAPRICES Prepared by Jacky Ternisien Rachmaninov, S. Bohemian caprice, op 12 (1892/94). Sydney SO/Vladimir Ashkenazy. Exton EXCL-00018 17 Bozza, E. Caprice-improvisation. John Russo, cl; Lydia Walton Ignacio, pf. CRS 9257 7 Dvorák, A. Scherzo capriccioso, op 66 (1883). London SO/István Kertész. Decca 452 946-2 12
Monday 30 December Rimsky-Korsakov, N. Capriccio espagnol, op 34 (1887). Berlin PO/Lorin Maazel. DG 449 769-2 15 14:00 THREE FIVES Prepared by Derek Parker Mozart, W. Clarinet quintet in A, KV581 (1789). David Rowden, cl; Omega Ensemble. ABC 481 4667 33 Elgar, E. Piano quintet in A minor, op 84 (1918-19). Piers Lane, pf; Goldner String Quartet. Hyperion CDA67857 39 Schubert, F. Piano quintet in A, D667, Trout (1819). Clifford Curzon, pf; Amadeus String Quartet. BBC BBCL 4009-2 39 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm 19:00 JAZZ PULSE with Chris Wetherall 20:00 STORMY MONDAY with Austin Harrison and Garth Sundberg 22:00 THE AUSTRALIAN JAZZ SCENE with Susan Gai Dowling and Peter Nelson
Sandwiched between two of the most iconic quintets in the repertoire (Mozart’s Clarinet and Schubert’s Trout), we find the lesser-known Piano quintet in A minor, op 84 by Elgar who is mostly known for his orchestral and choral works. It is said to have been influenced by ‘the quiet and peaceful surroundings during that wonderful summer’ of 1918 while holidaying in Sussex. Elgar’s wife, Alice, on hearing this, and two other newly-composed chamber works, noted ‘E. writing wonderful new music’. More than 50 years later, in The Gramophone a commentator agreed: “Alice Elgar was quite right: it is a new urgency, pointed and refined by the discipline of writing chamber music, a discipline that clearly rejuvenated Elgar’s imagination. It is big chamber music, with at times an almost orchestral sonority to it.” Although not generally accepted at the time, the work is now well-established in the chamber repertoire.
Tuesday 31 December 0:00 CONTEMPORARY COLLECTIVE 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Julie Simonds 9:00 DIVERSIONS IN FINE MUSIC Colours of the keyboard Prepared by Rex Burgess Schubert, F. Fantasie in F minor, D940 (1828). Darryl Cooke, Max Cooke, pf. Move MD 3158 17 Albéniz, I. Suite: España, op 165 (pub. 1890). Ray Lemond, pf. Fine Music concert recording 17 Bach, J.S. Four chorales transcribed for trumpet and organ. Crispian SteelePerkins, tpt; Leslie Pearson, org. LDR 1006 10 Janácek, L. Sonata IX (1905). Tamas Vesmas, pf. MANU 1443 15 Beethoven, L. Quintet in E flat for piano and winds, op 16 (1796). Kathryn Selby, pf; Australian Wind Virtuosi. Fine Music concert recording 22 10:30 CONCERT HALL Prepared by Giovanna Grech Boïeldieu, A. Overture to Zoraïme and Zulnar (1798). English CO/Richard Bonynge. Decca 466 434-2 9 Tchaikovsky, P. Francesca da Rimini, symphonic fantasy after Dante, op 32 (1876). Montreal SO/Charles Dutoit. Decca 421 814-2 25 Brahms, J. Symphony no 1 in C minor, op 68 (1876). Columbia SO/Bruno Walter. Sony SMK 64 470 44 12:00 JAZZ RHYTHM with Jeannie McInnes 13:00 PICTURES FROM A DREAM Prepared by Anne Irish Arensky, A. Overture to The dream on the Volga (1891). Ukraine NSO/Theodore Kuchar. Naxos 8.554843 7 Ries, F. The dream, op 49 (1813). Susan Kagan, pf. Naxos 8.572204 19 Lumbye, H. Pictures from a dream, fantasia (1846). Odense SO/Peter Guth. Unicorn-Kanchana DKP(CD)9089 9 Elgar, E. Dream children, op 43 (1902). Welsh National Opera O/Charles Mackerras. Argo 433 214-2 7
Liszt, F. Dreams of love (1845-49). Marilyn Meier, pf. Mala-Daki MAM 29464 16 Nielsen, C. Saga-dream, op 39 (1908). South Jutland SO/Niklás Willén. Naxos 8.557164 10 Waldteufel, E. My dream, op 151 (1877). Slovak State PO/Alfred Walter. Marco Polo 8.223451 10 14:30 SKETCHBOOKS Burleigh, H. Southland sketches (1916). Arnold Steinhardt, vn; Victor Steinhardt, pf. Naxos 8.559235 11 Bloch, E. Supplication, from Three sketches from Jewish life (1924). Raphael Wallfisch, vc; Linn Hendry, pf. Chandos CHAN 6552 2 Chadwick, G. Symphonic sketches (1895-1904). Eastman-Rochester O/ Howard Hanson. Mercury 475 6274 31 Beach, A. Four sketches, op 15 (1892). Virginia Eskin, pf. Koch 3-7254-2 11 Ippolitov-Ivanov, M. Caucasian sketches, op 10 (1894). BBC PO/Fedor Gluschenko. Chandos CHAN 9321 25 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm 19:00 THE JAZZ BEAT with Lloyd Capps 20:00 RECENT RELEASES with Robert Small 22:00 CHAMBER SOIRÉE Prepared by Rex Burgess Telemann, G. Overture in B flat, from Musique de table III (pub. 1733). King’s Consort/Robert King. Hyperion CDA66278 28 Beethoven, L. Cello sonata in C, op 102 no 1 (1815). Daniel Müller-Schott, vc; Angela Hewitt, pf. Hyperion CDA67755 16 Jolivet, A. Chant de Linos (1944). Emmanuel Pahud, fl; Éric Le Sage, pf. EMI 5 56488 2 11 Françaix, J. Octet for winds and strings (1972). Gaudier Ensemble. Hyperion CDA67036 20 Shostakovich, D. String quartet no 3 in F, op 73 (1946). Jerusalem String Quartet. EMI 5 74349 34 DECEMBER 2019
The following composers have works of at least five minutes on the December dates listed Chopin, F. 1810-1849 7,9,10,19,20,27 Clarke, R. 1886-1979 17 Clementi, M. 1752-1832 10,23 Corelli, A. 1653-1713 3,13 Corrette, M. 1709-1795 20 Couperin, F. 1668-1733 26,27 Couperin, L. c1626-1661 18 Cowen, F. 1852-1935 14 Creston, P. 1906-1985 18 Crusell, B. 1775-1838 2,29 Czerny, C. 1791-1857 21,26
Gottschalk, L. 1829-1869 23,27 Gounod, C. 1818-1893 5,24 Grainger, P. 1882-1961 15,28 Granados, E. 1867-1916 21 Grandage, I. b1970 3 Grétry, A-E-M. 1741-1813 15,26,30 Grieg, E. 1843-1907 5,11,12,22 Grigoryan, E. b1955 3 Bacewicz, G. 1909-1969 27 Grigoryan, L. b1985 3 Bach, C.P.E. 1714-1788 Grigoryan, S. b1976 3 d’Indy, V. 1851-1931 12,16,23 14,15,16,24,29 Gross, E. 1926-2011 24 Bach, J. Christian 1735-1782 10 Damase, J-M. 1928-2013 26 Guridi, J. 1886-1961 4 Danzi, F. 1763-1826 22,23 Bach, J.S. 1685-1750 Davies, P. Maxwell Handel, G. 1685-1759 3,5,6,7,10,11,13,18,20,29,31 1934-2016 23 1,5,6,8,10,14,19,20,24,27,29 Balada, L. b1933 19 Hanson, H. 1896-1981 22 Balakirev, M. 1837-1910 4,19 Davis, C. b1936 18,20 Debussy, C. 1862-1918 Harbison, J. b1938 26 Banks, D. 1923-1980 20 1,3,6,18,27 Harty, H. 1879-1941 12,20 Barber, S. 1910-1981 15 Devienne, F. 1759-1803 8,15 Hasse, J. 1699-1783 4 Bartók, B. 1881-1945 4,13 Diamond, D. 1915-2005 15 Hauff, W. 1793-1858 12 Bax, A. 1883-1953 20 Haydn, J. 1732-1809 Beach, A. 1867-1944 12,15,31 Dittersdorf, C. 1739-1799 5,13,22 3,5,6,10,16,17,19,23,24,29,30 Beethoven, L. 1770-1827 1, Dohnányi, E. 1877-1960 13 Haydn, M. 1737-1806 6,8,17 3,8,9,15,18,19,20,22,24,25,2 Donizetti, G. 1797-1848 18,21 Heinichen, J. 1683-1729 4 6,29,31 Doppler, F. 1821-1883 27 Helsted, E. 1816-1900 13 Benda, F. 1709-1786 12 Dukas, P. 1865-1935 2,23 Herbert, V. 1859-1924 14 Benda, G. 1722-1795 22 Duparc, H. 1848-1933 14,22 Herman, J. b1932 14 Benjamin, A. 1893-1960 10 Herzogenberg, H. Berlioz, H. 1803-1869 6,7,9,11 Dupré, M. 1886-1971 26 Duruflé, M. 1902-1986 8 1843-1900 5 Bernstein, L. 1918-1990 20 Higdon, J. b1962 8 Berwald, F. 1796-1868 6,9,13 Dvorák, A. 1841-1904 6,19,28,30 Hill, A. 1870-1960 30 Beving, J. b1976 15 Dyson, G. 1883-1964 16 Hill, F. b1948 1 Biscogli, F. fl..c1740 19 Hindemith, P. 1895-1963 Bizet, G. 1838-1875 6,7,19 Edwards, R. b1943 1,20 3,5,11,12 Blankenburg, Q. 1654-1739 8 Elgar, E. 1857-1934 2,7,30,31 Holst, G. 1874-1934 14,20,28 Boccherini, L. 1743-1805 Enescu, G. 1881-1955 24 Hovhaness, A. 1911-2000 8 11,16,23,24,29,30 Esterházy, P. 1635-1713 8,22 Howells, H. 1892-1983 15 Bock, J. 1928-2010 1 Eyck, J. c1590-1657 27 Hughes, R. 1912-2007 10 Boïeldieu, A. 1775-1834 31 Hummel, J. 1778-1837 Boiko, R. 1931-2002 22 Falla, M. de 1876-1946 3 6,17,19,20 Boismortier, J. de 1689-1755 5 Farrar, E. 1885-1918 9 Humperdinck, E. 1854-1921 Boito, A. 1842-1918 12 Fauré, G. 1845-1924 19 12 Borne, F. 1840-1920 11 Ferguson, H. 1908-1999 24 Borodin, A. 1833-1887 13 Fibich, Z. 1850-1900 16 Ibert, J. 1890-1962 11,16 Bottesini, G. 1821-1889 5,12 Field, J. 1782-1837 12 Ippolitov-Ivanov, M. Boulanger, L. 1893-1918 1,7 Foerster, J. 1859-1951 10 1859-1935 31 Bozza, E. 1905-1991 30 Förster, C. 1693-1745 6 Iturralde, P. b1929 14 Brahms, J. 1833-1897 Fox, C. b1955 1 Ives, C. 1874-1954 2,20 6,7,8,13,14,19,20,21,22,31 Frahm, N. b1982 15 Brandman, M. b1951 29 Françaix, J. 1912-1997 18,31 Jadin, H. 1769-1802 15 Brian, H. 1876-1972 20 Franck, C. 1822-1890 14,19 James, W. 1895-1977 29 Bridge, F. 1879-1941 16 Janácek, L. 1854-1928 4,31 Gabrieli, G. c1556-1612 6,8 Britten, B. 1913-1976 Janequin, C. c1485-1558 27 Gade, N. 1817-1890 9,17,24 6,15,18,19,21,22 Joachim, J. 1831-1907 7 Gallon, N. 1891-1966 11 Bruce, D. b1970 8 Jolivet, A. 1905-1974 2,31 Galuppi, B. 1706-1785 26 Bruch, M. 1838-1920 Jommelli, N. 1714-1774 27 Gassmann, F. 1729-1774 26 13,15,20,23,24 Gershwin, G. 1898-1937 12,20 Kabalevsky, D. 1904-1987 7 Brumby, C. 1933-2018 8,13 Gesualdo, C. c1561-1613 6 Brumel, A. c1460-c1515 17 Kalinnikov, Vasily. 1866-1901 Giuliani, M. 1781-1829 Burleigh, H. 1866-1949 31 13 1,3,9,26 Busi, G. 1808-1871 17 Kalkbrenner, F. 1785-1849 5 Glanville-Hicks, P. 1912-1990 Busoni, F. 1866-1924 28 Karlowicz, M. 1876-1909 27 18 Byrd, W. 1543-1623 3 Kern, J. 1885-1945 7 Glazunov, A. 1865-1936 Ketèlbey, A. 1875-1959 3 Campra, A. 1660-1744 8 3,18,23 Khachaturian, A. 1903-1978 Canteloube, J. 1879-1957 4,12 Glière, R. 1875-1976 26 18,26,28 Carr-Boyd, A. b1938 8 Glinka, M. 1804-1857 11,27 Knüpfer, S. 1633-1676 22 Carulli, F. 1770-1841 7 Goldmark, K. 1830-1915 13,28 Kodály, Z. 1882-1967 13,18 Chadwick, G. 1854-1931 31 Górecki, H. b1933 20 Koechlin, C. 1867-1950 11,12 Charpentier, M-A. 1635-1704 8 Gossec, F-J. 1734-1829 8,29 Abel, C. 1723-1787 27 Adam, A. 1803-1856 8 Agricola, A. c1446-1506 17 Albéniz, I. 1860-1909 31 Anchieta, J. de 1462-1523 4 Anderson, L. 1908-1975 13,21 Arensky, A. 1861-1906 8,25,31 Arnold, M. 1921-2006 11,17 Arriaga, J. 1806-1826 4,25 Arutiunian, A. b 1920 10
Koehne, G. b1956 6 Korngold, E. 1897-1957 7,18 Kreisler, F. 1875-1962 10 Krommer, F. 1759-1831 19 Krumpholtz, J-B. 1742-1790 15 Kuhnau, J. 1660-1722 13
Ortiz, D. c1510-c1570 20
Pachelbel, J. 1653-1706 6 Paganini, N. 1782-1840 5,16 Page, R. b1956 1,22 Panvino, C. b1972 1 Parry, H. 1848-1918 12 Pascha, E. 1714-1772 22 Lambert, C. 1905-1951 5 Pasculli, A. 1842-1924 11 Lann, V. b1968 22 Pertout, A. 20th c 24 Latilla, G. 1711-1788 26 Petrassi, G. 1904-? 21 Le Gallienne, D. 1915-1963 26 Picchi, G. fl 1600-1625 21 Le Jeune, C. c1529-1600 20 Pierné, G. 1863-1937 9 Linley, T. the younger Planquette, R. 1848-1903 20 1756-1778 27 Pleyel, I. 1757-1831 8,17 Liszt, F. 1811-1886 Porpora, N. 1686-1768 4 3,4,7,8,9,12,13,24,28,31 Poulenc, F. 1899-1963 Loeillet de Gant, J.B. 11,19,26 1688-c1720 19 Praetorius, H. 1560-1629 22 Lord, J. 1941-2012 20 Praetorius, M. c1571-1621 28 Lumbye, H. 1810-1874 31 Prokofiev, S. 1891-1953 Lutoslawski, W. 1913-1994 27 1,3,5,6,17,24,26 Lutyens, E. 1906-1983 5 Purcell, H. 1659-1695 20 Lyatoshynsky, B. 1895-1968 Quantz, J. 1697-1773 4 22 Rachmaninov, S. 1873-1943 Mackenzie, A. 1847-1935 1 11,30 Maclean, C. b1958 10 Rameau, J-P. 1683-1764 11,27 Mageau, M. b1934 24 Rautavaara, E. 1928-2016 Mahler, G. 1860-1911 17 18,29 Marais, M. 1656-1728 26 Ravel, M. 1875-1937 Marson, J. b 1932 7 4,11,17,26 Martin, F. 1890-1974 16 Reger, M. 1873-1916 10 Martinu, B. 1890-1959 14 Reicha, A. 1770-1836 8 Mascagni, P. 1863-1945 5 Reinecke, C. 1824-1910 14 Massenet, J. 1842-1912 7,21 Reisteter, S. b1957 7 Matalon, M. b1958 22 Respighi, O. 1879-1936 Mayer, J. 1930-2004 19 4,13,21,23 Méhul, É-N. 1763-1817 15 Ricotti, F. b1949 28 Mendelssohn, F. 1809-1847 Ries, F. 1784-1838 19,31 1,2,4,6,10,14,22,24 Rimmer, J. b1939 8 Menotti, G. 1911-2007 14 Rimsky-Korsakov, N. Mercadante, S. 1795-1870 12 1844-1908 5,8,12,28,30 Meyerbeer, G. 1791-1864 Rode, P. 1774-1830 8 13,28 Rodrigo, J. 1901-1999 6,22 Milhaud, D. 1892-1974 10,18 Rojas, D. b1974 10 Minkus, L. 1826-1917 21 Romberg, S. 1887-1951 28 Moeran, E.J. 1894-1950 10,21 Rossini, G. 1792-1868 2,27,29 Moniuszko, S. 1819-1872 27 Roussel, A. 1869-1937 9 Monti, V. 1868-1922 14 Rózsa, M. 1907-1995 14 Morricone, E. b1928 28 Rubbra, E. 1901-1986 20 Moszkowski, M. 1854-1925 12 Rubinstein, A. 1829-1894 9,29 Mouton, J. c1470-1522 17 Rutter, J. b1945 1 Mozart, L. 1719-1787 6 Ryba, J. 1765-1815 1 Mozart, W. 1756-1791 1,2,3, 4,5,7,10,12,14,15,17,21,22,23, Saint-Saëns, C. 1835-1921 4,10,11,18,29 24,28,29,30 Salieri, A. 1750-1825 30 Mussorgsky, M. 1839-1881 Sarasate, P. de 1844-1908 4 8,20,27 Satie, E. 1866-1925 13 Myaskovsky, N. 1881-1950 Scarlatti, D. 1685-1757 20 5,17,26 Scharwenka, L. 1847-1917 27 Myslivecek, J. 1737-1781 29 Schein, J. 1586-1630 13 Nardini, P. 1720-1793 27 Schelle, J. 1648-1701 13 Neukomm, S. 1778-1858 12 Schenck, J. 1660-1712 8 Nicolai, O. 1810-1849 9 Schmelzer, J. c1620-1680 Nielsen, C. 1865-1931 4,31 27,28 Nitzsche, J. 1844-1900 28 Schobert, J. 1740-1767 29 O’Boyle, S. b1963 10 Schubert, F. 1797-1828 Offenbach, J. 1819-1880 1,3,7,8,10,14,15,21,22,28,30,31 5,14,17 Schumann, R. 1810-1856 Onslow, G. 1784-1853 8,15 1,9,13,14,18,24,26
Schwantner, J. b1943 29 Scott, B. 20th c 6 Sculthorpe, P. 1929-2014 26 Shostakovich, D. 1906-1975 1,3,4,6,13,20,21,22,26,31 Sibelius, J. 1865-1957 13,15,20,28 Simpson, R. 1921-1997 28 Sitsky, L. b1934 20 Smetana, B. 1824-1884 9 Smetanin, M. b1958 29 Söderman, A. 1832-1876 13 Soper, K. b1981 22 Spohr, L. 1784-1859 2 Stamitz, C. 1745-1801 15 Stanford, C. Villiers 1852-1924 2,12,21 Stradella, A. 1644-1682 15 Strauss, R. 1864-1949 7,18,19,26,27,28 Strouse, C. b 1928 14 Sullivan, A. 1842-1900 7 Sutherland, M. 1897-1984 13 Svendsen, J. 1840-1911 5 Swerts, P. b1960 29 Szymanowski, K. 1882-1937 27 Tallis, T. c1505-1585 29 Taneyev, S. 1856-1915 26 Tansman, A. 1897-1986 26 Tartini, G. 1692-1770 20 Tchaikovsky, P. 1840-1893 2,5,6,7,9,20,22,25,31 Telemann, G. 1681-1767 1,6,16,17,29,30,31 Thalben-Ball, G. 1896-1987 1 Tippett, M. 1905-1998 5 Tjeknavorian, L. b1937 7 Torelli, G. 1658-1709 6 Tubin, E. 1905-1982 29 Vasks, P. b1946 22 Vaughan Williams, R. 1872-1958 11,18,22,28 Verdi, G. 1813-1901 4,5 Vierne, L. 1870-1937 10,14 Villa-Lobos, H. 1887-1959 26 Vine, C. b1954 20 Vivaldi, A. 1678-1741 12,20,27 Wagner, R. 1813-1883 2,8,13,27 Waldteufel, E. 1837-1915 6,31 Walther, J.J. c1650-1717 27 Walton, W. 1902-1983 12 Weber, C.M. 1786-1826 1,4,15,20 Weinberg, M. 1919-1996 1,27 Weiner, L. 1885-1960 14 Weiss, S. 1686-1750 4 Westlake, N. b1958 3 Whitehead, G. b1941 24 Wilby, P. b1949 14 Williams, J. b1932 14 Williamson, M. 1931-2003 5,10,26 Wolf-Ferrari, E. 1876-1948 11 Ysaye, E. 1858-1931 16 Zelenka, J. 1679-1745 1,4 Zemlinsky, A. 1871-1942 7
Key Music duration is shown after the record and citation Ch & O: Chorus & Orchestra CO: Chamber Orchestra FO: Festival Orchestra NO: National Orchestra NSO: National Symphony Orchestra PO: Philharmonic Orchestra RO: Radio Orchestra RSO: Radio Symphony
Orchestra RTO: Radio & Television Orchestra RTV SO: Radio and Television Symphony Orchestra SO: Symphony Orchestra TO: Theatre Orchestra alto: male alto ban: bandoneon
bar: baritone bshn: basset horn bass: bass bn: bassoon bass bar: bass baritone cl: clarinet clvd: clavichord cont: contralto cora: cor anglais ct: counter-tenor
db: double bass dbn: double bassoon did: didjeridu elec: electronic fl: flute fp: fortepiano gui: guitar hn: french horn hp: harp hpd: harpsichord
mand: mandolin mar: marimba mezz: mezzo-soprano narr: narrator ob: oboe org: organ perc: percussion pf: piano picc: piccolo rec: recorder
sax: saxophone sop: soprano tb: trombone ten: tenor timp: timpani tpt: trumpet treb: treble voice va: viola vc: cello vn: violin
OPERAS FOR THE FESTIVE SEASON ANGELA COCKBURN OUTLINES THREE COMEDIES Against a water nymph! Not very well thought through by Juno!
In line with December merriment, our end of year operas are all comedies and all are about thwarted love. First is Mozart and the delightful The abduction from the Seraglio. Now the Seraglio is not just any harem, but specifically the one in Istanbul, which is part of Topkapi Palace. If you visit the splendid palace you can also go round the Seraglio, which is quite a surprise. After some guard rooms, you come into the Queen Mother’s public rooms, set up rather like the office of a headmistress. Essentially the Seraglio was a school for both girls and boys where they learned useful skills. Sure, some girls made it into the current sultan’s personal harem but others were married to deserving noblemen, or prosperous townsmen; yet others became laundresses and Pierre Jélyotte (1713-1797) in the role of the nymph seamstresses. Platée
Not that Mozart or his librettist cared about any of that. A harem was a harem, an exotic place from which every kidnapped heroine must be eager to escape. The plot concerns the hero Belmonte, and his servant Pedrillo, both tenors, trying to rescue his beloved Konstanze, via ladder, from the Seraglio of Pasha Selim. The Pasha turns out to be quite a decent chap but his servant, Osmin, is not.
The first singers were top notch: Mozart even adapted his music to show them off, writing: “I have sacrificed Konstanze’s aria a little to the flexible throat of Mlle. Cavalieri”. This was probably the cause of Emperor Joseph II’s complaint: “That is too fine for my ears. There are too many notes.” Mozart replied: “There are just as many notes as there should
be.” The Emperor was obviously not a fan of coloratura. We move on in the following week to a frog pond; no, not for Iolanthe but for Rameau’s Platée. The story deals with one of those interminable quarrels between Jupiter and Juno, his permanently jealous queen. In order to cure Juno of her jealousy, Jupiter is persuaded to pretend to be in love with Platée, a particularly ugly water nymph. Juno will be encouraged to interrupt the wedding, and once she realises how ugly Platée is, she’ll see how silly it was to be jealous. I can think of any number of things that can go wrong with that plot, not least the moment when Juno unleashes an angry storm. A rainstorm!
Written for the wedding of the French Dauphin to the Infanta Maria Teresa Rafaela of Spain, a bit of a plain Jane herself, you might think the choice of libretto was a bit tactless, but no. The opera-ballet’s one performance at Versailles was a success and quite made Rameau’s reputation. The success was more than a little due to the excellence of the character actor and hautecontre Pierre Jélyotte, in drag, as Platée. There’s a portrait of him in the role, complete with flowers in his hair, rouge and too many beauty spots, looking rather cuddly. A few years later an even higher haute-contre, M. de La Tour, made the role his own in a revised version for the opera in Paris. The whole piece is a delight, well worth a listen. Our last opera in the week before Christmas is Donizetti’s Don Pasquale. It was an instant hit in 1843, and is still one of the top three Italian comic operas in the repertoire. The roles were carefully tailored for four of the top singers working in Paris at the Théâtre-Italien at the time, including the beautiful soprano Giulia Grisi. The bass was Luigi Lablache, a French/Irish singer with a fine sense of comic timing, who as a boy ran away from his Italian music school several times to go on the stage as an actor. No surprise, then, that Leporello in Don Giovanni was a favourite role of his. Donizetti hired Giovanni Ruffini to revise an old story, but (as he complained to his mother) he would need to be ‘a working stonemason of verses to remake the old libretto, to cut, change, add, plaster, and I don’t know what … It’s not a question of doing it well or doing it badly, but of doing it fast’. Added to that Donizetti (no good at letting other people get on with their jobs) tweaked and changed and refined the libretto to the point that Ruffini took his name off the project. Rehearsal, too, went badly, star cast or not. Nobody liked the piece, neither the management nor the musicians. Until Donizetti, sunnily optimistic, produced a stunning new aria for the tenor, at the dress rehearsal. Naturally the new opera was a hit with its story about the foolish old man who wants a young wife, who takes him for a ride and spends all his money, until it all turns out to be a hoax and she marries her true love, Don Pasquale’s nephew. Shades of the Commedia del’Arte, with lovely, lovely music.
Inside the Seraglio in the Topkapi Palace Photo: Angela Cockburn
These three comedies will conclude our 2019 opera season on the first three Wednesdays of December at 8pm. DECEMBER 2019
THE ‘CREOLE CHOPIN’ STEPHEN WILSON REVEALS PRODIGIOUS TALENT famous) with huge orchestras and ten pianos.
After a piano recital by the teenage Louis Moreau Gottschalk at the Salle Pleyel in Paris, Frédéric Chopin remarked: “Give me your hand, my child; I predict that you will become the king of pianists.” Franz Liszt and CharlesValentin Alkan also recognised Gottschalk’s extreme talent. Gottschalk was born in New Orleans in 1829. His father was a Jewish businessman from London, and his mother was a Creole of French descent. He displayed the usual signs of prodigal genius at an early age and one day, when he was seven, he substituted at Mass for the organist who was his teacher. He was soon recognised as a prodigy by the New Orleans bourgeois establishment and made his informal public debut there in 1840, aged 11. Two years later his father shipped him off to Paris, over the protests of his mother, but the Paris Conservatoire rejected his application for admission on the grounds of nationality. However, through family friends, he gained access to tuition and the Paris musical establishment. After a successful recital, Gottschalk toured Switzerland, where he was showered with jewels by Grand Duchess Anna of Russia, and
From 1853 he travelled extensively in the United States with a sojourn in Cuba that was the beginning of a series of trips to Central and South America. Many of his compositions took on a Latin flavour. In 1865, he was forced to flee his homeland because of a scandalous affair involving a young inmate of the Oakland Female Seminary in California whom he kept out past hours and unchaperoned. He never returned to the United States.
Louis Moreau Gottschalk
he performed throughout France. In Spain, he became the darling of both the public and Queen Isabella II. There he inaugurated the monster concerts (for which he became
Gottschalk stowed away to South America, where he continued to give frequent concerts. Known as the ‘Creole Chopin’, Gottschalk, a performer and composer of prodigious talent died, far too young. During one of his concerts in Rio de Janeiro, in November 1869, he collapsed with yellow fever. Before his collapse, he had just finished playing his romantic piece Morte (Death). Three weeks later on 18 December 1869, he died at the age of 40, probably from an overdose of quinine. Much of Gottschalk’s music has been lost but to commemorate the 150th anniversary of his death, we’re broadcasting some of the surviving music at 1pm on Monday 23 December.
MIECZYSLAW WEINBERG CENTENARY NICKY GLUCH OFFERS A PERSONAL PERSPECTIVE To celebrate someone’s centenary, it helps to know a date of birth, so, for argument’s sake, let’s agree with Soviet records that the composer Mieczyslaw Weinberg was born on 8 December 1919. Indeed, after having been forgotten by history, Weinberg has been lauded in his centenary year, with a conference held in Manchester and concerts performed around the globe. On 1 December I’ll present a Sunday Special dedicated to Weinberg’s life. My offering is perhaps not a unique perspective, but it is very much a personal one.
mother, Sonja, was an actress. After learning at his parents’ knees, Weinberg entered the Warsaw Conservatory at the age of 12. He had just graduated when World War II broke out; he was fortunate to be able to flee to Minsk and then Tashkent. Weinberg’s family, however, remained in Poland and became victims of the Holocaust, something which would haunt the composer for the rest of his life. In Minsk, Weinberg turned his hand to composition. In Tashkent, he met Dmitri
My family, like Weinberg’s, came from Yiddish-speaking Europe; Weinberg’s father, Shmuel, fled the Moldavian town of Kishinev for Warsaw following antiSemitic pogroms in much the same way as my family fled Eastern Europe for South Africa. Our more extreme migration protected us from the horrors in Europe which were about to unfold. The Weinbergs were a creative family. Shmuel was a conductor and composer for the Yiddish theatre and Weinberg’s Mieczyslaw Weinberg 42
Shostakovich who was impressed by his talent. It was Shostakovich who encouraged Weinberg, as well as his new wife Natalia Vovsi, to move to Moscow. What might be termed the second stage of Weinberg’s life began. Weinberg composed prolifically. His music is infused by aspects of his prismatic identity: Moldavian folk songs, Jewish tunes and the sounds of the theatre. Shostakovich was another undeniable influence, the two men consulting each other on scores. It is thought that Shostakovich’s interest in Jewish music, most notable in his piece From Jewish folk poetry, may have emerged from this friendship. In remembering Weinberg we recognise not only his music but the record he left of a forgotten world. He paints a fascinating sonic picture and it has been a privilege to be part of this exploration. I look forward to sharing it with you.
Listen to Nicky’s unique presentation of Sunday Special to celebrate Weinberg’s centenary at 3pm on 1 December.
MUSICAL FAMILIES ELIZABETH HILL LOOKS AT BROTHERS Although the Grigoryan brothers are regarded as Australia’s finest classical guitar duo, their repertoire also embraces jazz and contemporary music. For the brothers ‘there are no boundaries, only new frontiers to cross’ and they are passionate about expanding their repertoire through new arrangements, their own compositions and commissions. Their diversity, their improvisation and their technical virtuosity add a new dimension to their performances which are ‘marked by an intangible connection to the soul of the music they play’.
groundbreaking contemporary jazz ensemble FGHR. He regularly tours in Australia, Africa, Europe, the United States, Russia and Asia. In 2006, he made his debut performance, with Slava, at Wigmore Hall in London.
Their father, Eduard, has arranged the music on most of their albums. “Because he taught us he understands intimately about the guitar and us,” says Slava. His arrangements are challenging: “While it may cause us moments of grief, we also know that without his incredible arranging skills, the music we play would not sound anywhere near as good.” However, no two of their performances are the same. For Slava and Leonard music is an organic art form, which changes depending on the mood of the performer and the audience. The more they play a piece the more they feel The Grigoryan Brothers at Liverpool Philharmonic Hall Photo: Alamy comfortable about making subtle changes to keep it When Leonard started studying guitar with interesting. his father at the age of four, his older brother Slava had already forged a career in music. More than 250 years before this another set Despite the nine-year gap, each matured of brothers was destined for musical fame as along his own path and it was inevitable that they matured. The elder, Franz Joseph Haydn, once Slava returned to Australia after working was one of the most prolific and prominent overseas the two would perform together. The composers of the Classical period. He was brothers are blessed with an ‘uncanny ability particularly important in the development to perform so seamlessly as a duo that they of the piano trio, the string quartet and the play and breathe as one’. They have toured symphony, being the first composer to indicate internationally since 2003, and between them dynamic markings in his music and they have won three ARIA awards and have setting the standards by which all later efforts have been measured. been nominated 24 times. Slava was born in Kazakhstan to Eduard and Irina Grigoryan, both professional violinists. The family came to Australia in 1981 and, at the age of seven, Slava began to study guitar with his father. At 12 he was performing professionally and he made his solo debut in Sydney at the age of 14. He performs internationally and in Australia and since 2010 has been Artistic Director of the Adelaide International Guitar Festival. Australian-born Leonard has dedicated himself to both classical and jazz genres and is an active arranger and composer, notably for the
After Prince Nikolaus Esterházy’s death, Haydn moved to Vienna. In December 1790, shortly before his first visit to England, he dined with Mozart and the impresario Johann Peter Salomon. Mozart, a seasoned traveller himself, expressed concern for his 58-yearold friend in London: “You have too little experience of the great world, and you speak too few languages.” To which Haydn replied: “My language is understood throughout the whole world.” Indeed, it was the greatest adventure of his life. Haydn’s reputation had been growing steadily, and by 1790 he was an international superstar, with publishers falling over each other to acquire his latest symphonies, quartets and keyboard works. No composer, not even Handel, had ever been as widely celebrated in his own lifetime. Although Michael Haydn’s fame was overshadowed by that of his older brother, Joseph considered Michael his superior as a religious composer. Michael Haydn wrote over 300 religious works, among them 38 Masses, six Te Deums and three Requiems. His secular music includes 40 symphonies, 11 concertos for various instruments, 12 string quartets, and an opera. As a child he studied singing, keyboard and violin, but was mainly self-taught as a composer. His first notable post was as Kapellmeister for Hungary’s Bishop of Grosswardein. In 1763 he became Concertmaster to the Archbishop of Salzburg and organist of the Holy Trinity Church, positions he held for the rest of his life. He was well acquainted with Mozart during his early years in Salzburg and replaced him as Cathedral organist in 1781. Michael Haydn taught such notable composers as Carl Maria von Weber, Antonin Reicha and Anton Diabelli. The Grigoryan and Haydn brothers will be the focus of Musical Families on Tuesdays 3 and 17 December at 2pm.
Haydn spent much of his career as court composer and Kapellmeister for the wealthy and influential Esterházy family on its remote estate at Eisenstadt. Isolated from other composers and trends in music until the latter part of his long life, he was, as he put it, ‘forced to become original’, and at the time of his death was one of the most celebrated composers in Europe and he left behind more than 1,200 Joseph Haydn playing in a string quartet at Esterháza compositions. Photo: Alamy DECEMBER 2019
WHAT’S ON IN MUSIC THE STAR OF BETHLEHEM: A CHRISTMAS CONCERT Sydney University Choir & O/Christopher Bowen Sunday 8 December, 5pm The Great Hall, University of Sydney $50 Adults, $40 Full Pensioners (not NSW Seniors Card), $25 Full time students and children under 16 years Bookings: https://www.trybooking.com/eventlist/ sydneyunigraduatechoir or at the door from 4.15pm
Sydney University Graduate Choir invites you to a concert of timeless carols and sacred music, featuring Joseph Rheinberger’s Christmas cantata, The star of Bethlehem. Christopher Bowen OAM, conducts
ENJOY, LEARN, DISCUSS Was Shakespeare actually Emilia Bassano? Presenter: Robert Small Sunday 8 December 2.30pm Fine Music Centre, 72-76 Chandos St, St Leonards
the choir and full orchestra in an Australian premiere of this charming work. We are also performing the Christmas overture by the German early Romantic composer, Otto Nicolai.
Henry VIII vied with the Doge of Venice for the services of the super musical Bassano family; six brothers skilled in performing, composing, instrument making and repairing. In 1540 he appointed them ‘in the science of art and music’, after which members of the family provided court musicians continuously for 125 years, and incredibly, Bassanos are prominent musicians in England to this day.
Bookings: finemusicfm.com/ELD or call 9439 4777
By far the most controversial member of the family is daughter Emilia, the Dark Lady of Shakespeare’s sonnets, who according to the latest research may well have actually been Shakespeare himself!
You are invited to stay for light refreshments after the talk.
Intrigued? Judge for yourself and discover more at Robert Small’s talk where he will be joined by Consort 8, who will play compositions by the Bassanos and their contemporaries.
Tickets $5 for subscribers or $15 general
CD REVIEW MUSIC FROM 4 TO 40 PARTS
Vaughan McAlley Ensemble Gombert; Four Seasons Quartet Move MD 3437 HHH½
Vaughan McAlley is a Melbourne-based singer with the a cappella choir Ensemble Gombert. The soaring harmonies and mysterious counterpoint of the choral repertoire of the high renaissance has inspired him to compose new works in a similar style. The CD opens with the charming A Birthday in 5 parts, very much of the 16th century, reminiscent of John Dowland, and beautifully sung. This intimate work stands in complete contrast to the spectacular Omnes angeli for 40 voices that concludes the CD. This is the first motet with 40 completely separate parts to be composed in 340 years. I enjoyed Rosamounde, a ballade for 8 to 18 voices, a rousing work that really does soar when all 18 voices have entered. Michael Keiran Harvey plays McAlley’s Four chorale
preludes for piano, thoughtful and beautiful pieces providing a welcome contrast in a program of weighty choral works. The Four Seasons Quartet follows with the Lento from McAlley’s String quartet. This is a fine modern work, with expressive silences and pizzicato playing for effect. The Lord bless you and keep you is an attractive chorale with an obligato for alto recorder that lilts nicely above the voices and is another welcome contrast in the program. The choir sings McAlley’s fine compositions creditably, but occasionally shows the difficulties in the music more than would a professional choir such as the Tallis Scholars. Altogether this is an impressive recording which I recommend to all music lovers. Robert Small
CD REVIEWS 50 CHINESE FOLK SONGS
Julian Yu, composer; Ke Lin, piano Move MD 3436 HHHH
The first of the two collections on this CD, the 50 Chinese folk songs, consists of pieces arranged or composed for piano by Julian Yu. Chinese folk songs date back thousands of years and are extremely diverse. The CD also includes 15 other piano pieces, a mixture of arrangements of well-known Chinese songs and original compositions. All 65 works are played by the pianist Ke Lin, who was born in Shanghai and started learning the piano at the age of three. While these arrangements are very short with some pieces lasting no more than 30 seconds, all were created with the utmost attention to detail. A number of the folk songs use western harmonic progressions from the works of Bach and Brahms. One, Flowing stream, is based on only one chord from beginning to end; it captures the breathtaking beauty of southern China perfectly.
ALL TOO SOON
The Music of Duke Ellington Rodney Whitaker Origin Records 82789 HHHHH
For the second instalment of an ambitious five-CD project to mark his 50th birthday, American jazz bassist Rodney Whitaker pays homage to the oeuvre of Duke Ellington and Billy Strayhorn with a world class sextet and a vocalist who just happens to be his daughter. This is music and a subject close to the Michigan State University Professor’s heart. Whitaker played every major work by Ellington, and studied all of his scores, for eight years when he was a member of the Lincoln Center Jazz Orchestra under the direction of Wynton Marsalis. Opening with Cotton tail and paying homage to Ellington’s 1940s recording, Whitaker tones down to a medium swing on the title track, All too soon, a romantic ballad from the same era with Diego Rivera (tenor saxophone),
John Coltrane Quartet Impulse! 80030157-02 HHHH
There is a virtual gold mine of long-forgotten master tapes awaiting discovery in vaults, cupboards and desk drawers of recording studios. Over the past couple of years, there have been a number of quality new releases of original recordings undiscovered for many decades. The latest example is Blue World, a new release of music recorded by the John Coltrane Quartet 55 years ago. It was never intended for release on an album; it was specially recorded for the soundtrack of Le Chat dans le Sac, a seminal film directed by Gilles Groulx in 1964 for the Canadian National Film Board. Many years later, the film has been largely forgotten and so was the recording of the music for the film, until now that is. The music is superb. Some tracks like Naima,
Julian Yu studied at the Central Conservatory of Music in Beijing during the Cultural Revolution. During this time he composed his rather conservative 15 Early piano pieces. Julian’s distinctive sense of humour can be found in these works. For example, in The ping-pong match contrapuntal techniques have been adopted to depict two ping-pong players. As the match intensifies, the music approaches hair-raising speed! This album offers a cultural snapshot of China’s last 200 years. The music would be a perfect fit in a Chinese restaurant, a Chinese language school or any other venue showcasing this complex and ancient land. It helped me find peace during a recent traffic jam! Robert Gilchrist
Brian Lynch (trumpet) and Michael Dease (trombone) providing the essential obbligato for Rockelle Whitaker’s vocals. The musicians give the recording its exotic tone, weaving somewhat effortlessly through the familiar It don’t mean a thing, Do nothing ‘till you hear from me and Take the A train as well as the not-so-familiar Harlem air shaft and Azure. It concludes with a contemporary gospel feel in Come Sunday and an undulating version of Ellington’s and Tizol’s Caravan with a bass line borrowed from Dizzy Gillespie’s Tin tin deo. The players never wander off into solos but focus on the structural and melodic beauty of the music and songs, showcasing a beautifully crafted session and a tribute that is nothing less than exceptional. Barry O’Sullivan traneing in and Like Sonny were not new for Coltrane but their re-recording for this soundtrack is new and beautiful. There is added enjoyment from the performance of Village blues and the album’s title track, Blue world. What else would you expect from the hallmark ensemble of John Coltrane (tenor sax), McCoy Tyner (piano), Jimmy Garrison (bass) and Elvin Jones (drums). Blue World is a thoroughly enjoyable new release, not only for John Coltrane lovers but also for most jazz aficionados. The synthesis between the film and the music is remarkable, with each music track being played in its entirety within the film. As an added enjoyment, you can look at the film Le Chat dans le Sac on YouTube. Lloyd Capps DECEMBER 2019
A MASTER OF THE THEATRE CHRISTOPHER WATERHOUSE DEFINES NOËL COWARD “There are probably greater painters than Noël, greater novelists than Noël, greater librettists, greater composers of music, greater singers, greater dancers, greater comedians, greater tragedians, greater stage producers, greater film directors, greater cabaret stars, greater TV stars. If there are, they are 12 different people. Only one man combined all 12 labels: The Master.” — Lord Louis Mountbatten on Noël Coward’s 70th birthday. I was introduced to the music of Noël Coward while watching The Last Night of the Proms in 1999, when Jeremy Irons took to the stage of the Royal Albert Hall to present a collection of works by the great man on the 100th anniversary of Coward’s birth. Now, 20 years on, I have a rather better understanding of Noël Coward and his art. I have myself sung his songs in concert, gone in search of his paintings (and found some!) and read enough books about him to make me seem a little obsessed. While living in London I had the opportunity to see a few plays written by him, which still remain popular with audiences all these years later. Noël Coward was born in London on 16 December 1899. He showed early promise as a performer and loved to read books and to learn everything he could. He was always very driven, unlike his father (a piano Noël Coward salesman) who showed little personal ambition, resulting in poor family jazz repertoire, helped along by hit recordings finances. Encouraged by his mother, Noël by Dinah Washington, Frank Sinatra and attended a dance academy in London and others. made his stage debut at the age of 11. Soon Then there are the comedy songs like he was writing and starring in his own plays. Don’t put your daughter on the stage Mrs In 1924 he received his lucky break as an actor Worthington, about a pushy stage mother and and playwright with his controversial offering her less-than-talented daughter; Nina, about The Vortex, a play dealing with sex, drugs and a rather disagreeable young lady from South a host of other taboo subjects that must have America who refused to dance; and a personal given the Lord Chamberlain heart palpitations. favourite of mine, Why must the show go on, He went on to enjoy an extraordinary career, about the theatrical obsession to carry on, no some hits and some misses, but overall his matter what. His ballads are often overlooked contribution to the arts is profound: through his but are rather haunting and beautiful in their plays, his music and his paintings. way. Sail away was introduced in his musical Coward penned some 50 plays during his Ace of Clubs in 1950. It’s a sad little song lifetime, the best known of them probably Hay about the burdens of life, but nonetheless Fever (1925), Private Lives (1929), and Blythe maintains a hopeful air. The most potent for Spirit (1941). He also wrote a host of musicals me is London pride, a song he wrote during the and musical revues in which he introduced Second World War while sitting on a railway songs that are incredibly familiar. Songs like platform in London after the blitz, surrounded Mad about the boy, I’ll see you again and by the devastation. The title is taken from the Dance little lady have found their way into the name of a little wildflower that Coward had 46
spied growing up through the cracks in the cobbles and along the fence line. It was a perfect metaphor for the British resolve to fight on and to carry on, no matter what. There’s a little city flower every spring unfailing / Growing in the crevices by some London railing, / Though it has a Latin name, in town and country-side / We in England call it London Pride. London Pride has been handed down to us. / London Pride is a flower that’s free. / London Pride means our own dear town to us, / And our pride it for ever will be.
Then, in the closing verse of the song, Coward transitions from the flower to the patriotic sentiment of his fellow Londoners, declaring: Every blitz / Your resistance / Toughening, / From the Ritz / To the Anchor and Crown, / Nothing ever could override / The pride of London Town.
He was patriotic, and although he saw out his days in the sunshine of Jamaica, his heart never left England. I’ll let him have the last word: “I was a flagrant, unabashed sentimentalist and likely to remain so until the end of my days. I did love England and all it stood for. I loved it for its follies and apathies and curious streaks of genius; I loved standing to attention for God Save the King; I loved British courage, British humour, and British understatement ... I loved the people, the ordinary, the extraordinary, the good, the bad, the indifferent, and what is more I belonged to that exasperating, weather-sodden little island with its uninspired cooking, its muddled thinking and its unregenerate pride, and it belonged to me, whether it liked it or not. — Noël Coward, Future Indefinite, 1954. A few days before the 120th anniversary of Noël Coward’s birth, a special edition of Friday Jazz Session showcases his music on 13 December at 7pm.
A FOUNDING MEMBER OF FINE MUSIC ELAINE SIVERSEN TALKS TO DAVID JAMES wished to leave the commercial television industry.
“When in school I was always told to mime if the rest of the class burst into song,” says David James. However, as one of the earliest Fine Music volunteers, David has been surrounded by music and involved in broadcasting for all of his working life. “My original employer, Robin Hill Recordings (whose premises were on the site where the Fine Music Studios now stand) added the sound to Skippy the Bush Kangaroo, among other TV shows.” David joined the Music Broadcasting Society of NSW in 1972 and, as such, is a founding member of 2MBS/Fine Music. In the early days after the radio station became operational, he recorded some concerts but he says that now he dabbles ‘in and around the technical area, probably getting in the way’. He says that his volunteer ‘work’ at Fine Music involves a variety of different tasks, mostly operational and organisational, and currently he serves on the Board of Directors. His particular interest is doing the artwork and press preparation of the Fine Music magazine which he has been doing since July 2018.
While most of David’s time with 2MBS/Fine Music has been as a volunteer, he was employed as Station Manager for two periods. His original appointment (even before broadcasts began) was when the principal founder, Trevor Jarvie, decided that a fulltime manager was needed. Because of his experience in the broadcasting industry, he was nominated; or, as he says, ‘chosen’. The offer came at an opportune time, as David
When asked about his tastes in music David replied: “I have eclectic tastes. My preference is broadly ‘classical’, encompassing early music, baroque, sacred (particularly organ and choral works) and some symphonic. I have also been known to hover around jazz and rock music.” He regularly attends concerts of the Australian Brandenburg Orchestra and the Sydney Philharmonia Choirs but is also a devotee of the theatre and films. Twice a year he attends a 12-lecture season of appreciation of world movies in a class led by David Stratton. David attributes much of his personal development to his many years of work at the radio station. “Had it not been for 2MBS/Fine Music I believe my confidence level in dealing with people would not have been where it is today. I am a better manager and have more compassion for fellow volunteers because I can understand their excitement, joys, anguish and frustrations.”
PERSONNEL MUSIC BROADCASTING SOCIETY OF NEW SOUTH WALES CO-OPERATIVE LTD, registered under the Co-operatives Act 1992 (NSW); owner and operator of Australia’s first community-operated stereo FM station, 2MBS-FM now known as Fine Music 102.5; annual membership fee is $33 and members are entitled to vote at Society general meetings. Enquiries: email@example.com VOLUNTEERS Fine Music 102.5 is run by volunteers supported by a small team of staff. To find out how to join our volunteers, visit finemusicfm.com or call 9439 4777. DIRECTORS Chair: David James; Deputy Chair: Christopher Waterhouse; Secretary: Katy Rogers-Davies; Roger Doyle, Robert Gilchrist, Peter Kurti, Jayson McBride, Susan Ping Kee COMMITTEE CHAIRS Management: Rebecca Beare; Programming: James Nightingale; Presenters: Michael Field; Jazz: Barry O’Sullivan; Technical: Roger Doyle; Library: Rex Burgess; Volunteers: Cynthia Kaye; Finance: Peter Poole; Work Health and Safety: Angela Cockburn; Emerging Artists: Rebecca Beare PROGRAMMERS AND PRESENTERS FOR DECEMBER Charles Barton, David Bearne, Peter Bell, Nena Beretin, Dan Bickel, Chris Blower, Adam Bowen, David Brett, John Buchanan, Andrew Bukenya, Rex Burgess, Lloyd Capps, Vince Carnovale, Adam Cockburn, Angela Cockburn, Liam Collins, Paul Cooke, Marc Cottee, Di Cox, George Cruickshank, Nick Dan, Jackson Day, Nev Dorrington, Susan Gai Dowling, Annabelle Drumm, Brian Drummond, Andrew Dziedzic, Rita Felton, Michael Field, Troy Fil, Owen Fisher, Jennifer Foong, Tom Forrester-Paton, Susan Foulcher, Carole Garland, David Garrett, Robert Gilchrist, Nicky Gluch, Joe Goddard, Albert Gormley, Giovanna Grech, Austin Harrison, Celeste Haworth, Ross Hayes, Gerald Holder, Paulo Hooke, Paul Hopwood, James Hunter, Leita Hutchings, Anne Irish, Sue Jowell, Peter Kurti, Rhys Larkin, Ray Lemond, Ray Levis, Krystal Li, Christina MacGuinness, Lachlan Mahoney, Linda Marr, Meg Matthews, Stephen Matthews, Sue McCreadie, Neil McEwan, Jeannie McInnes, Terry McMullen, Maureen Meers, Camille Mercep, Heather Middleton, Peter Mitchell, Saufian Mokhtar, Simon Moore, Frank Morrison, Michael Morton-Evans, Richard Munge, Gerry Myerson, Peter Nelson, James Nightingale, David Ogilvie, Barry O’Sullivan, Calogero Panvino, Derek Parker, Keith Pettigrew, Peter Poole, Frank Presley, Karoline Ren, Katy Rogers-Davies, Marilyn Schock, Debbie Scholem, Julie Simonds, Elaine Siversen, Robert Small, Garth Sundberg, Jacky Ternisien, Anna Tranter, Madilina Tresca, Robert Vale, Richard Verco, Ron Walledge, Christopher Waterhouse, Chris Wetherall, Stephen Wilson, Glenn Winfield, Chris Winner, Mariko Yata, Orli Zahava, Tom Zelinka, Iris Zeng PROGRAM SUBEDITORS Jan Akers, Chris Blower, Maureen Chaffey, Di Cox, Amal Fahd, Noelene Guillemot, Elaine Siversen, Jill Wagstaff, Teresa White LIBRARIANS Jan Akers, Rex Burgess, Maureen Chaffey, John Clayton, Di Cox, Helen Dignan, Lynden Dziedzic, Peter Goldner, Daniela Hartman, David Hilton, Dawn Jackson, Michael Marchbank, Phillip McGarn, Judy Miller, Rachel Miller, Helen Milthorpe, Susan Ping Kee, Mark Renton, Gary Russ, Daria Sosna, Jacky Ternisien, Andrew Treloar, Ricky Yu STATION OPERATIONS Transmitter: Max Benyon, John Shenstone; Studio operations: Roger Doyle, Robert Tregea; Live broadcasts and recordings: Jayson McBride; IT: Alice Roberts; Digitisation: John Xuereb STAFF General Manager: Rebecca Beare; Office Manager: Sharon Sullivan; Community Engagement Manager: Mona Omar; Studio and Production Manager: Joe Goddard; Executive Assistant: Eddie Bernasconi
FINE MUSIC PATRONS Fine Music Honour Roll (Bequest Received 2009-2019) Dr Alison Burrell, Mr Keith John Cosack, Mr Paul de Leuil, Ms Jean Priscilla Deck, Mr Colin Enderby, Ms Rose Gibb, Mr David Henry James, Mr Leslie Kovacs, Mr Stefan Kruger, Mrs Myra Christina Polson, Mr Michael Patrick Sheehan, Mr Charles Herbert Stokes, Mr Ronald Tinslay, Mrs Rose Varga, Mrs Norma Walledge, Mr Ken Weatherley, Mr Colin Webb, Mr Barry Willoughby, Mr John Albert Wright
Fine Music Guardians (Known Future Bequests) Mr Geoffrey Anderson, Mr David Bell, Mr David Brett, Mrs Halina Brett, Mr Rex Burgess, Mr Lloyd Capps, Ms Marilyn Endlein, Mr Robin Gandevia, Mr Bruce Graham, Mr James Hunter, Mr David James, Ms Maureen Meers, Mr Glenn Morrison, Mr Desmond Mulholland, Mr Derek Parker, Dr Neil Radford, Mr Gregory Sachs, Ms Elaine Siversen, Mr Bruce Smith, Mr Anthony Tenney, Mr Ron Walledge
Titanium Patrons ($50,000 and above) Mr Max Benyon OAM, Mr Roger Doyle, Dr Jennifer Foong, Anonymous 1
Platinum Patrons ($25,000 – $49,999) Mr Michael Ahrens, Family Frank Foundation, Prof Clive Kessler, Garrett Riggleman Trust, Mr Ron Walledge, Mr Cameron Williams, Anonymous 2
Diamond Patrons ($10,000 – $24,999) Mr Robert Albert, Mr J D O Burns, Mr Bernard Coles QC, Mrs Dorothy Curtis, Ms Jill Hickson Wran, Dr Janice Hirshorn, Mr Peter & Dr Linda Kurti, Mrs Patricia McAlary, Anonymous 4
Ruby Patrons ($5,000 – $9,999) Mrs Barbara Brady, Mr David Brett, Ms Janine Burrus, Mr Lloyd Capps, Mrs Mary Jo Capps AM, Hon Mr Justice David Davies SC, Mr Francis Frank, Mr Ian & Mrs Pam McGaw, Ms Jeannie McInnes, Mrs Judith McKernan, Ms Nola Nettheim, Dr W J Poate, Mr John Selby, Mr Anthony Strachan, Mr Stephen and Mrs Therese Wilson, Anonymous 5
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NOT E S FROM T HE E DI TOR
Mrs Halina Brett, Mrs Lorna Alison Carr, Mrs Margaret Epps, Prof Michael Field AM, Mr Heinz Gager, Mrs Freda Hugenberger, Dr Peter Ingle,
Happy faces and balloons on our front cover herald the beginning of the 45th anniversary celebrations of the founding of 2MBS/Fine Music. The photo epitomises the camaraderie that exists among the volunteers of Fine Music. Apart from those who normally work on a Tuesday, many other volunteers answered the call in October to be part of the photo on our magazine cover. Just as we were about to go ahead, another volunteer came running up the street. “Wait for me!” she cried, and squeezed in with the rest. There was much laughter and excitement but finally it was over. It might look to you as though we would have a party afterwards (we’ll save that for the anniversary) but, following a few conversations and greetings between those who hadn’t seen each other for a while, the volunteers went back to work at their various Fine Music tasks.
Ms Sue Jowell, Mr Ian Juniper, Mr D & Mrs R Keech, Mr Ray McDonald, Ms Maureen Meers, Dr Andrew Mitterdorfer, Mr Jude Rushbrooke, Mr Richard Thompson, Ms Wendy Trevor-Jones, Mr A G Whealy QC, Mr Richard Wilkins, Yim Family Foundation, Anonymous 6
Gold Patrons ($1,000 – $2,499) Ms Jan Bowen AM, Mrs Di Cox, Dr Carolyn Currie, Prof C E Deer, Mr David Jacobs, Mrs Barbara Johnson, Mr Reginald John Lamble AO, Mr Verdon Morcom, Mr Trevor Parkin, Mr Iain Thompson, Ms Caroline Wilkinson, Anonymous 4
Silver Patrons ($500 – $999) Mr Claus Blunck, Mr Colin Boston, Mr Robert E S Clark, Mrs T Cox, Mr David Cummins OAM, Ms Prudence Davenport, Mr Ian de Jersey, Mr Peter Dunn, Mr John Fairfax AO, Dr David Gorman, Mr Paul Hopwood, Ms Georgina Horton, R & M Juchau, Hon David Kirby QC, Mr Nicholas Korner, Jennifer Lewis, Dr Peter Lindberg, Mrs Meryll Macarthur, Mr M F Madigan, Mrs E M McKinnon, Mr Michael MortonEvans OAM, Mr Julius Opit, Mr Andrew Patterson, Ms Susan Ping Kee, Dr Neil A Radford, Mr J A Roberts, Ms Catherine Ruff, Mrs Ruth Staples, Mr John Stevenson, Mr Larry Turner, Dr Paul Wormell, Anonymous 23
Bronze Patrons ($250 – $499) Ms Jacqui Axford, Ms Lily Bao, Ms Jane Barnes, Dr Helen Bashir, Mr Don Bennett, Mrs Susan Berger, Mr Stephen Booth, Mr David Branscomb, Mr Barrie Brockwell, Mrs Alexandra Buchner, Mr Ron Burgess, Dr Rhonda Buskell, Mr Dom Cottam & Ms Kanako Imamura, Ms Dora Den Hengst, Dr David Dixon, Hon J R Dunford QC, In Memory of David W Allen, Mrs Margaret Gibson, Mr Robert Gilchrist, Mrs Jocelyn Hackett, Mr Geoffrey Hogbin, Prof Wendy Hu, Mr Paul Jackson, Mr Bill and Mrs Eva Johnstone, Mr Darren Jones, Mr Robert F King, Mr Gerhard Koller, Mr Geoffery Magney, Mrs Robyn Manoy, Dr Jim Masselos, Mr Stephen Matthews, Ms Kerrin McCormack, Mrs Shirley McEwin, Mr Simon Moore, Ms Ursula Mooser, Mr Geoffery Murphy, Ms C M Pender, Mr Peter Poole, Mr James Poulos QC, Mr Mike Price, Mr Gwynn Roberts, Dr Gideon Schoombie, Mrs Zvjezdana Skopelja, Ms Mei Wah So, Ms Kathryn Tiffen, Mr Peter van Raalte, Mr Kevin James Vaughan, Miss Rachel Westwood, Mr Richard Williamson, Mr Alastair Wilson, Walkerville Pty Ltd, Anonymous 38 This is so typical of the commitment of the ‘Fine Music family’ and embodies the title of our cover story: “You wouldn’t want any money, would you?” As the first broadcast of 2MBS began at noon on 15 December 1974, so this year we commence our program celebrations at noon on 15 December and continue through to February recognising that the 45th anniversary of the official opening took place on 1 February 1975. In this edition we begin a series of short articles highlighting the longest-running programs written by those programmer/presenters who either began the programs or have continued them in much the same format. As usual, along with our regular features, we acknowledge significant anniversaries of premieres and of the composers and musicians, Alfred Hill (150), Louis Moreau Gottschalk (150), Mieczyslaw Weinberg (100) and Nelson Cooke (100). Elaine Siversen
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