Fine Music Magazine - July

JULY 2019

YOUTH IS BEAUTY, BEAUTY IS YOUTH ALBÉRIC MAGNARD: A FRENCH BRUCKNER? SYDNEY SYMPHONY’S PETER GRIMES CORRETTE’S ORGAN MUSIC REDISCOVERED

AYO’s International Tour Shared Musical Reverence and Nobility Stuart Skelton’s Role as the Antihero Music and the Revolution Explored

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Contents

THIS MONTH @ FINE MUSIC

VOL 46 No 7 2 4

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Youth is Beauty, Beauty is Youth A Dazzling Ballet Triumph A New Life on These Shores Albéric Magnard: ‘A French Bruckner’?

Sydney Symphony’s Peter Grimes Master Organist and Researcher Music Will Rise Like a Phoenix Corrette’s Organ Music Rediscovered Fine Tuning for Programs from 1 July Brahms’ Requiem at 35 Wimpole Street Program Guide and Composer List What’s On in Music Heroes and Heroines CD Reviews Musical Families A Tribute to Kevin Jones 1959: A Great Jazz Year Enhancing the Concert Experience The Spanish Operetta A Lifelong Love of Radio: Simon Moore Notes from the Editor

This month we launch our inaugural Weatherley Scholarship. This annual scholarship is made possible through the recent generous bequest of beloved Fine Music volunteer and jazz presenter Ken Weatherley.

Ken’s career in radio spanned 40 years.

After joining Fine Music in 2014 he regularly presented the Monday night program Jazz Nice and Easy. Ken’s wish was to support the progression of jazz broadcasting. His wishes will be honoured by this new scholarship. The Weatherley Scholarship will assist young, outstanding individuals to further their careers in the jazz field of music.

The scholarship is valued at over $10,000, with a cash component of $5000. The recipient will also receive support by Fine Music, with access to recording and broadcasting services, and to marketing support (valued at $5000).

The Weatherley Scholarship is not a performance-based competition but is awarded to the applicant who best meets the selection criteria.

The scholarship is open to young artists aged 21 to 30 years who can actively demonstrate interest, commitment and potential to build a viable career in the performance or composition of jazz music.

Applications for the 2020 Weatherley Scholarship open on Monday 15 July 2019. More information is available at finemusicfm.com/kws Rebecca Beare Fine Music Station Manager

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ABN 64 379 540 010 Advertising Enquiries: sponsorship@finemusicfm.com Editor: Elaine Siversen Assistant Editors: Paul Cooke, Elizabeth Hill Subeditors and Proof readers: Chris Blower, Paul Cooke, Di Cox, Elizabeth Hill, Sue Jowell, Pamela Newling Contributors: Rebecca Beare, Chris Blower, Rex Burgess, Paul Cooke, Nicky Gluch, Raj Gopalakrishnan, Ross Hayes, Elizabeth Hill, Laura-Jay Mathison, Jeannie McInnes, James Nightingale, Catherine Peake, Frank Presley, Elaine Siversen The views expressed by contributors to this magazine do not necessarily reflect or represent the views of the publisher, Fine Music 102.5 Images: Allen Ford Program Logos: Simon Moore Distribution Coordinator: Sissy 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 friends@finemusicfm.com Cover image: Jan Lisiecki © Christoph Köstlin, Deutsche Grammophon

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 Honorary Patron: Prof. Dame Marie Bashir AD CVO Artistic Patrons: Elena Kats-Chernin, Simon Tedeschi, Richard Tognetti AO Emerging Artists Patron: Toby Thatcher Young Composer Award 2018: Daniel Dean Young Virtuoso Award 2018: Anna Stephens Kruger Scholar 2019: Nicholas Gentile JULY 2019

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YOUTH IS BEAUTY, BEAUTY IS YOUTH NICKY GLUCH OUTLINES AYO’S INTERNATIONAL TOUR

AYO Great Wall, 7 June 1979

Youth is happy because it has the ability to see beauty. Anyone who keeps the ability to see beauty never grows old. — Franz Kafka It has perhaps been long forgotten that the first Australian orchestra to visit China was not one of the city Symphonies but rather the Australian Youth Orchestra. The year was 1979. In 1976, the Cultural Revolution ended in China opening up new opportunities for diplomacy between China and the West.

The early years of the new era were not, however, without difficulty and it was not until the beginning of 1979 that the United States formally recognised China and established an embassy in the capital.

It would thus have been with more than just a spirit of adventure that the AYO set off on its fourth international tour. With John Hopkins at the helm, and accompanied by the pianist Victor Sangiorgio, they were to be cultural ambassadors and agents of diplomacy, but in a way softened by the spirit of youth and sense of encounter. Tim Scott, a double bassist on the tour, and more recently Director of Students at Melbourne Grammar School, remembers it well. “In Nanking (now Nanjing),” he writes, “we joined a local orchestra and it was very special because the musicians were so excited about finally being allowed to play Western music. We played to massive halls with thousands of audience members; John Hopkins was a showman, and in one concert we played three encores with the audience clapping along. As an early cultural exchange everything was curious and strange for us and vice versa.”

Forty years on, it’s almost impossible to 2

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imagine. The world has in many ways grown so small, aided by cheap and easy travel and a more fluid sense of life and borders. It has given us wondrous freedoms, but it might also be why, in 2019, many countries seem to be reasserting their identities. Perhaps it is most apt that the AYO is to return to China as part of this year’s international tour. Let a new generation establish bonds and seek out that which youth sees so well: beauty.

The true beauty of music is that it connects people. It carries a message, and we, the musicians, are the messengers. — Roy Ayers Music connects those who share in the making of it and those who are its receivers. That music carries a message without words, that it conveys something and affects, are ideas that the conductor of this year’s tour, Krzysztof Urbański, would support. Speaking about

his recording with the NDR Elb Philharmonic Orchestra, Urbański expressed this view: “Music has such a strong influence on our minds, and I believe it’s a very powerful tool, so I love to work on music written by composers who know how to use the tool and how to create the right mood in people’s minds.”

Urbański was born in what was then Soviet Poland. Although he would have been seven when the Berlin Wall fell, his own family would have lived through the Stalin years.

Thus his decision to promote Shostakovich’s music might come from a sympathy with, or a desire to better understand, that part of history. On the tour, the AYO will perform both Shostakovich’s Cello concerto no 1 in E flat (with the wonderful soloist Daniel Müller-Schott) and his Symphony no 10 in E minor, the latter having been written after the composer’s second denunciation by the Soviet Government, and premiered after the death of Stalin.

Australian Youth Orchestra Photo: Oliver Brighton

These might seem simply like historical facts to the youth of today, but the privilege of music is that it makes this history tangible.

The students on the tour, many of whom will have been born in the 21st century, will have a unique way to engage with the past, and to question the place of these events in today’s world and looking to the future.

but while on tour he will play the music of an undeniable prodigy. Mendelssohn’s Piano concerto no 1 in G minor (written well into Mendelssohn’s career although he was only 22) was inventive for its time. The piano enters after only a few bars, forgoing the classical tradition of an extended orchestral introduction, and the movements flow into each other, rather than being distinct. It’s a palette of emotions, perhaps inspired by what Mendelssohn saw as he travelled through Italy, and with its dreamlike second movement is in some ways reminiscent of his music for A midsummer night’s dream.

Knowing how well Lisiecki conveyed the jazz element of Ravel’s concerto, and yet is known for his interpretation of Chopin, he is sure to make the Mendelssohn speak in a way that both honours the composer and speaks to his own experiences. From the politics of Shostakovich’s music, to the postcards of Mendelssohn’s, music is a looking glass through which to explore the world. It is like Alice taking a tumble down the rabbit hole, and encountering new worlds without altering one’s own.

After a month travelling through Europe and Asia, learning and exploring and performing in all Jan Lisiecki Photo: Christoph Köstlin, Deutsche Grammophon sorts of exciting venues, the AYO will celebrate its homecoming Embodying this idea of the next generation, is with a concert at the Sydney Opera House. the pianist Jan Lisiecki. He might be the tour There, it will perform Frumious by Australian soloist, but at just 24 he is also a peer of the composer Holly Harrison, the title taken from orchestral musicians. Like Urbański, Lisiecki one of Lewis Carrol’s portmanteaus. Harrison has Polish heritage but by the time of his birth, explains how Frumious blends furious and fuming (and is not simply a misspelling of his parents had moved to Canada. ‘humorous’, as she was once asked by a string Recently, I was privileged to watch him player). What she loves about these ‘unusual perform with Canada’s National Arts Centre word pairings’ is how ‘at first glance, they look Orchestra at Cadogan Hall. Walking on like nonsense, but actually make a lot of sense stage with a smile, he sat at the piano with or a new kind of sense’ when considered in a calm confidence, and seemed to delight in context. listening to the orchestra during the orchestral tutti sections of Ravel’s Piano concerto in G. Frumious was commissioned by the Melbourne Lisiecki appears to be a man of great talent Symphony Orchestra at a time when Harrison and integrity. There was no show that was was interested in exploring how she ‘might extraneous to the music, just a mature and be able to create a musical equivalent of a considered interpretation and a hug for the portmanteau, by bringing different styles of conductor, Alexander Shelley, at the work’s music together at the same time’. Inherent, too, was a sense of personal exploration as completion. she tried to embrace her persona as a rockDuring interval, members of the audience drummer and to incorporate this into her were not shy in expressing their praise. I heard writing of orchestral compositions. one woman exclaim (and it’s a pity that the Canadian accent doesn’t transfer to print): “So Audiences should therefore expect to hear can he play the piano or what!? Unbelievable!” threads of funk, jazz, ‘pop’, metal and rock woven into a classical texture. As with Her family could only agree.

Alice’s fragmented dreamworld, Frumious Lisiecki might eschew the title of child prodigy, encompasses ‘rapid changes in style, tempo,

mood, and character’, for the way in which a story is told is often as important as its content.

After Frumious, Lisiecki will join the orchestra to perform Rachmaninov’s Piano concerto no 2 in C minor. It’s a work that stirs the passions from the first bars, the piano entering with simple chords that grow louder and more urgent until the orchestra can only but burst forth. Echoing the idea that music can transcend even the thoughts that made it, the Russian-American novelist Ayn Rand referenced the piece in her book The Fountainhead. A character wishes to write music, seeking something which, to him, is embodied in the last movement of Rachmaninov’s Concerto. “Men have not found the words for it,” the man muses, “nor the deed nor the thought, but they have found the music. Let me see that in one single act of man on earth. Let me see it made real. Let me see the answer to the promise of that music.”

Perhaps Rand is right, and there is no answer better than music. This is why we must continue to support our youth, to send them abroad to learn, to share and to make music with others as different from them as they ever could be.

Perhaps when they return to Australia and sit on the stage of the Sydney Opera House, they can teach us something new through the way in which they play Shostakovich’s Symphony no 10. Perhaps they will have been inspired by places in Europe, understanding what came under attack in WWII and the Cold War, which was its aftermath. Or will they have found new perspectives in China after encountering Communism?

What will they have learned under Urbański’s baton, or alongside Lisiecki or Müller-Schott?

The possibilities are endless, for music knows no bounds, and each player in turn will absorb something different because music may unify but it makes no one the same. So let the AYO ‘galumph’ (gallop and triumph) as Lewis Carroll coined, and celebrate with ‘frabjous’ (fabulous and joyful) mirth.

For they are young, which is beautiful, and in beauty is youth.

EVENT 2019 AYO International Tour Homecoming Concert Venue and date Sydney Opera House 5 August 2019, 8pm Celebrate the achievements of Australia’s best young musical talent with a showcase featuring works by Rachmaninov, Shostakovich and Harrison JULY 2019

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A DAZZLING BALLET TRIUMPH RAJ GOPALAKRISHNAN DESCRIBES THE PREMIERE

“The enthusiasm … defies description. It was tremendous. There is no other word.” — Sporting Times, 26 July 1919 When the Great War broke out in 1914, it effectively dampened the meteoric rise of Sergei Diaghilev’s pioneering Ballets Russes. The company fled Paris, where it had been based since 1909, and went on tour to North and South America, Italy and Switzerland.

As the war raged on, and with finances dwindling, Diaghilev (a shrewd businessman always on the lookout for the Flamenco dancers next best talent) sought out Manuel de Falla during the are similarly present in Falla’s earlier ballet El company’s tour of Spain during 1916-17. amor brujo.

After rejecting choreographer Léonide Massine and Diaghilev’s request to use Nights in the gardens of Spain, Falla proposed reworking his satirical pantomime The magistrate and the miller’s wife as a two-act ballet, now titled The three-cornered hat. Scored for mezzosoprano and a large orchestra, Falla’s music is a celebration of his homeland’s national dances; the farruca, seguidillas, fandango and jota are seamlessly woven into the colourful and exuberant score. Also evident is the influence of Stravinsky and modernism, which

The three-cornered hat premiered at the Alhambra Theatre on 22 July 1919 towards the end of the Ballets Russes’ first post-war London season. It was the second item in a triple-bill conducted by Ernest Ansermet, after the charming curtain-raiser of Schumann’s Papillons and before the visually spectacular exoticism of Les contes russes. Falla’s compatriot Pablo Picasso designed the sets, costumes and, according to contemporary accounts, an extraordinary stage curtain which, before it was raised, stunned the

audience as it was enveloped in rousing music during the ballet’s prologue.

The three-cornered hat was a dazzling triumph. Both the public and critics were quick to embrace it. Widely regarded as the highlight of the season, it became one of the Ballets Russes’ greatest achievements.

Falla, however, was unable to witness this rapturous response to his new ballet. After a month overseeing rehearsals, he received grave news of his mother’s illness just hours before the premiere. He decided to leave London immediately but she died before he could reach her.

Following the immense success of The threecornered hat, Diaghilev turned to Falla again, offering him Pulcinella. Falla turned down the commission which subsequently went to Stravinsky.

To celebrate the 100th anniversary of the ballet’s premiere, listen to The three-cornered hat, A Ballets Russe triple bill on Monday 22 July at 2.30pm.

A NEW LIFE ON THESE SHORES ELAINE SIVERSEN INTRODUCES A NEW SERIES Since then many musicians and composers have arrived on these shores and contributed greatly to the musical life of our country. They have come from the United Kingdom and from all points of the compass in Europe. Others have arrived from the Americas, Africa, New Zealand, Asia and the Middle East; in fact, from all over the world.

After a teenager and his older brother left Hungary illegally in 1949, the elder was able to continue his tertiary studies in Vienna, but the younger soon sailed for Australia.

Growing up with a love of music fostered by visits to the Budapest Opera with his parents, that teenager, Frank Morrison, became a successful businessman eventually owning and operating the music store, Tarantella, for 22 years and, in his retirement becoming a programmer for Fine Music.

Frank was our choice of programmer for A New Life on These Shores, a new series on immigrant musicians to be broadcast as 12 programs over six months.

Classical music-making began in the mid-19th century in the colonies that later formed the Commonwealth. English, French and German musicians were the first to arrive, among them French harpist Nicholas Bochsa who, facing 12 years’ imprisonment for forgery, fled to England and then to Sydney. Other early settlers were George Marshall-Hall, Director of the Melbourne Conservatorium, and John 4

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Isaac Nathan

Delany, Director of Music at Sydney’s St Mary’s Cathedral, while in Adelaide Carl Linger, a choral and brass band conductor, was the organist at St Francis Xavier Cathedral. The Sydney singing teacher Isaac Nathan, later known as ‘the father of Australian music’, composed the first opera to be written and produced in the colonies.

Many have had their music or performances recorded but others have never been recorded.

Many who taught music were known only to their students and associates. In fact, Frank’s wife, Eva, was an esteemed piano teacher for over 50 years. She left Hungary in 1956 and, after they met here in Sydney, a love of music drew them together.

Our musical heritage in Australia is similar to our genetic heritage where our native-born Australians and our immigrant Australians continue to contribute to our rich musical life.

The series begins on Tuesdays 9 and 23 July at 2pm and continues through to the end of the year.

ALBÉRIC MAGNARD: A ‘FRENCH BRUCKNER’?

REX BURGESS CONSIDERS THE NOBILITY OF HIS MUSIC ideals of artistic truth and formal classical perfection’. Another writer puts it rather more bluntly: “He guided his career in a manner that seems, in retrospect, to have intentionally restricted any chance that his works would gain adherents and enter as part of the active repertory.” Yet as Roberts also observes: “Generally sober, intense yet rather severe, and somewhat excessively formalistic, his music is distinguished by its great sincerity.”

In comparison with Albert Roussel and Charles Koechlin, two of his slightly younger French contemporaries, Albéric Magnard’s choice of music as his career came a little earlier in his life. It also ended earlier, and dramatically, in September 1914, at a time when Roussel still had more than 20 and Koechlin more than 30 years of composing ahead of them.

In mid-1886 Koechlin was still studying to be an engineer, and Roussel was just embarking on a seven-year period as a naval officer.

Meanwhile the 21-year-old Magnard was at Bayreuth in the company of the ill-fated Guillaume Lekeu for what, for him, would be a watershed experience: a performance of Wagner’s Tristan und Isolde. Wagner remained a lifelong influence upon Magnard’s musical personality, to such an extent that he even used the leitmotif technique in his operas.

After visiting Rome and upon returning to Paris Magnard enrolled at the Conservatoire, where he spent the next two years, taking harmony with Théodore Dubois and composition with Jules Massenet, although it seems neither man made much of an impression on him.

There followed four years studying fugue and orchestration with Vincent d’Indy, with whom Roussel later also studied, and during which Magnard’s first compositions began to emerge: a set of six songs, an orchestral suite in the ancient style, the first of four symphonies and a group of piano pieces, the early orchestral works being heavily dependent on the cyclical principle as espoused by César Franck. By 1891, Yolande, the first of his three operas (each with a libretto by the composer) and the Second Symphony also had appeared and constituted a distinct advance on their rather turgid and thickly-scored predecessors.

Magnard was born in 1865, the only child in an affluent family. Unfortunately his mother died before he was four, leaving him to be brought up by his father, a best-selling author and wellconnected journalist who edited Le Figaro between 1879 and 1894. The young Albéric studied piano for a time, and could easily have followed in his journalist father’s footsteps and had a comfortable and agreeable life, but this was not for him. Instead he chose to study for a law degree, although he never practised. While he’d not yet demonstrated much in the way of musical ability, by the time he graduated he’d already decided that music was to be his path. It was to be based solely on his own talent, without any help from family connections.

Fast forward to the third of September 1914:

Albéric Magnard

having sent his wife and daughters away to safety, and with his adopted son absent fishing, Magnard was alone, working in the study of his property at Baron-en-Oise, in northern France.

Observing a troop of German Uhlan cavalry riding across his estate grounds, he grabbed his old army shotgun and fired on them from an upstairs window, reportedly killing two.

Reprisal was swift: the troops returned fire and the house was set alight. Magnard, then aged 49, died that day, whether by gunshot or in the fire remains unclear. All existing copies of Yolande, a recently completed set of 12 songs, and the full score of two acts of his second opera, Guercoeur, were among the manuscripts destroyed by the fire. As a result, his extant oeuvre comprises only 22 opus numbers and less than 30 completed works.

Unfortunately Magnard’s personality was not a particularly pleasant one for he was aloof, taciturn and humourless. He rarely suffered fools gladly, and following the death of his father in 1894 it seems he purged himself of any desire to charm his audience.

His sole mission thereafter, according to Gareth Roberts in The New Grove, was ‘a quite ruthless pursuit of his Old guardhouse in Baron

Magnard had no interest in going outside the traditional forms such as sonata, variation, canon, chorale and fugue, through which, as Roberts explains, ‘he sought to express the resolution of dramatic conflicts’. As to style, in the preface to his final opera, Bérénice, Magnard offered this explanation: “Not having myself the necessary genius to create a new forme lyrique, I have chosen amongst the existing styles that which suits my wholly classical tastes and my completely traditional musical culture.” This naturally translated into a very different approach to that of most of his contemporaries including Debussy, Ravel, and of both Roussel and Koechlin.

Magnard’s music has sometimes been compared with that of Ernest Chausson. More frequently, though, he’s been referred to as a ‘French Bruckner’, doubtless on account of the undoubted reverence and nobility in both composers’ works. There are, of course, some quite significant differences between them, especially in their handling of the brass and string sections of the orchestra, where Magnard’s texture generally is rather lighter.

You can assess these comparisons for yourself in a Sunday Special devoted to Magnard’s music at 3pm on Sunday 21 July.

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SYDNEY SYMPHONY’S PETER GRIMES CATHERINE PEAKE DELVES INTO THE ROLE OF THE ANTIHERO In a major highlight for July, the Sydney Symphony Orchestra will present a concert performance of Peter Grimes featuring worldrenowned Heldentenor and former Sydney resident, Stuart Skelton, in the title role. One of the great English operas of the 20th century, Peter Grimes was Benjamin Britten’s first full-scale opera.

Premiering in 1945 just after the end of World War II, it quickly became a critical and popular success, catapulting Britten to international fame and establishing him as ‘the leading British composer of his generation, and almost single-handedly effecting the renaissance of English opera’.

which Britten builds the tension by portraying a tortured outsider antihero pitted against the cruelty of a small-town mob. The music reflects the theme of the libretto and its seaside setting, and an analysis of the opera from website The Opera 101 emphasises this: “While the classic forms of opera (arias, duets, choruses) are respected, they are integrated into a fluid, continuous orchestral fabric in which moving harmonies describe the power of the sea, a parable for the storms that toss about in our minds.”

The opera includes choral scenes that will Britten based his opera on be performed by the The Borough, a collection of Sydney Philharmonia poems published in 1810 by Choirs in the July concert, poet George Crabbe who was and there are, of course, born in Aldeburgh in Suffolk, more characters than Britten’s own hometown. The Peter Grimes in the poems were introduced to him opera. British theatre through an essay by novelist director Daniel Slater E.M. Forster when Britten was states: “Britten wrote a living in the United States with piece that is fantastically personal and professional Photo Sim Canetty-Clarke good theatre; he paces partner, tenor Peter Pears. Stuart Skelton the drama beautifully. He The setting of the opera in a fishing village allowed Britten to further his aim Peter Grimes is a three-act opera and follows also creates so many memorable characters. of ‘expressing my awareness of the perpetual the story of its eponymous ‘hero’, a fisherman It’s hard to think of another opera that has so struggle of men and women whose livelihood suspected of murdering his apprentice who many carefully drawn, distinct individuals. That depends on the sea’. has disappeared at sea. Advised not to take comes partly out of George Crabbe’s poem … another apprentice, Grimes nonetheless which features most of those characters. But After returning to the United Kingdom, Britten does so, and such is the fear of the new Britten wrote the music in a way to integrate drafted the plot for the opera with Pears, apprentice that he panics and falls from a cliff, all of these people into this story, which is who was to take the title role in the Sadler’s bringing the number of mysterious deaths expanded far beyond Crabbe. Peter Grimes is Wells premiere, and arranged for the libretto connected to Grimes to two. The support just very moving, it’s frightening and it’s to be written by poet and journalist Montagu of local schoolteacher Ellen Orford is to no complex.”

Slater. The opera was commissioned by avail and the village is now certain of Grimes’ Boston Symphony Orchestra conductor Serge guilt. Unhinged by his experiences, Grimes Despite the choral scenes and the cast Koussevitsky, who had previously conducted a believes that he can escape a public lynching of supporting characters including the performance of Britten’s Sinfonia da Requiem, only by setting out to sea, which he does sympathetic schoolteacher Ellen Orford, who and the American premiere of Peter Grimes and consequently disappears. This is not a perhaps provides a gentle contrast to the took place in 1946, conducted by Leonard cheerful opera, but Benjamin Britten said that harshness of the town and its people, the Bernstein at Tanglewood. The opera has the subject of Peter Grimes was a personal opera remains a vehicle for the title role with proved to be enduringly popular and is now one for him, and he gave an insight into his Britten’s music allowing shades in Grimes’ considered part of the standard repertoire. approach to it: “A subject very close to my character. The Act II aria, Now the Great heart: the struggle of the individual against Bear and Pleiades, shows ‘the wounded man Excerpts from the opera consisting of the the masses. The more vicious the society, the beneath the menacing façade … Grimes’s first, third, fifth and second interludes were more vicious the individual.” nastiness set against the overwhelming mobpublished separately as Four sea interludes, like behaviour of the townsfolk’. op 33a and are frequently performed as an Peter Grimes represents the loss of innocence. It is a psychological drama in Further drama is inevitable and the mad scene orchestral suite.

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of the character Grimes in the final act is a crucial point in the opera. In presenting the scene for dramatic effect Britten returns to the bel canto tradition, using a compositional technique that had fallen into disuse after the 19th century. His use of orchestration is also exceptional, as Trevor Jones states: “Regardless of the subject matter, Britten’s music is astounding. His use of the orchestra to depict the sea as an extra character in the drama shows his mastery. Britten’s ability to set the English language to music with conversational lilt is unparalleled.”

The role of Peter Grimes is emotionally charged and powerful, and one in which Stuart Skelton has excelled in several previous productions. Praise for Skelton’s performance extends internationally: “Stuart Skelton is one of the finest Heldentenors on the stage today, critically acclaimed for his outstanding musicianship, tonal beauty and intensely dramatic portrayals.” Technically, a Heldentenor (or heroic tenor) is a powerful tenor voice ideal for singing heroic operatic roles that require acting ability as well as a wide vocal range. Matt Hutchinson says: “Stuart Skelton‘s Grimes is nothing short of stunning. I don’t mean ‘very, very good’; I mean stunning, both vocally and dramatically.

His portrayal of Peter as an angry, bewildered figure rather than a thuggish brute is, by turns, terrifying and heart-breaking.”

Skelton himself says of the character Grimes: “I think it’s easy to find the sympathy in a character, even one like Grimes, if you just listen to what Benjamin Britten gives him musically. When Britten wants a character to be sympathetic that’s how he writes it; all you have to do is sing what he wrote and it works.”

Although he has performed it multiple times, Skelton says he always seeks for something new and fresh when he performs the role, often finding that it comes simply by having different colleagues on stage with him or in the pit.

Bavarian State Opera, Berlin State Opera and the Vienna State Opera. Winner of the International Opera Awards Male Singer of the Year in 2014 and the recipient of numerous other awards, Skelton has twice received the Sir Robert Helpmann Award, including Best Male Performer in a Lead Role for his performance as Peter Grimes with Opera Australia in 2010.

Of his early development as a tenor, proceeding from his singing treble in the St Andrew’s Cathedral Choir at the age of eight, Skelton says: “I wasn’t aware of having had role models until a little bit later, once I left to continue my studies in the United States. If I had to name some, I would say Ben Heppner, James King and Jon Vickers.” He admits that he does have favourite composers and ‘sings a lot of Wagner and Britten, with some Strauss and Janácek thrown in for good measure!’ Of his current visit to Sydney, Skelton says that he is very pleased to be singing in his hometown again and that working with Chief Conductor and Artistic Director David Robertson and the Sydney Symphony Orchestra makes it extra special.

Also in the July concert series, the Sydney Symphony Orchestra led by David Robertson will be performing with American mezzosoprano Susan Graham who will star in a concert of French music. She will be singing Songs of the Auvergne, a collection of folksongs from the Auvergne region of France, arranged in the 1920s by Joseph Canteloube for soprano and orchestra. Graham is known for her interpretation and performance of French songs which, it is said, she ‘performs with insight and affection’. David Vance has said that ‘Graham’s voice is an instrument of extraordinary tonal control, yet seems utterly effortless in production’.

The concert will also include a performance of Saint-Saëns’ Symphony no 3 in C minor,

EVENTS BRITTEN’S PETER GRIMES Stuart Skelton, Nicole Car, Alan Held, Deborah Humble, Jacqueline Porter, Cleo Lee-McGowan, Christopher Richardson, Elizabeth Campbell, Michael Honeyman, Robert MacFarlane, John Longmuir, Jud Arthur, Sydney Philharmonia Choirs, Sydney Symphony Orchestra, conductor David Robertson Dates and times Thursday 25 July, 7pm Saturday 27 July, 7pm SAINT-SAËNS’ ORGAN SYMPHONY Sydney Symphony Orchestra, conductor David Robertson Chabrier: España Canteloube: Songs of the Auvergne with Susan Graham, mezzo-soprano Saint-Saëns: Symphony no 3 in C minor, Organ Dates and times Thursday 18 July, 1.30pm Friday 19 July, 8pm VENUE: Sydney Opera House BOOKINGS: Sydney Symphony website or Sydney Opera House op 78. Although it is known as the Organ Symphony, it is an orchestral symphony rather than a true organ symphony with the pipe organ prominent only in the last movement.

Chabrier’s España, rhapsody for orchestra completes the program, with ‘an image of guitars and flamenco sketched in the brightest colours’.

When performing the role on the concert platform, Skelton says that he presents the character in a way that is no different from the way he would present him in the staged setting of an opera house. He says: “You have to be fully invested in the character both dramatically and vocally. It’s the only way to make the characters really three-dimensional and palpable for the audience.” To Skelton, the story is important. “I’d much rather go to see a performance that is dramatically galvanising, that draws you in, even if it might not be perfect vocally, than go to hear something vocally perfect but which is somehow detached from the story.”

Skelton has performed in opera houses around the world, including the Metropolitan Opera, English National Opera, Paris Opera,

Stuart Skelton

Photo Sim Canetty-Clarke

JULY 2019

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MASTER ORGANIST AND RESEARCHER ELIZABETH HILL CELEBRATES PASTÓR DE LASALA’S WORK “It is my aim to propagate French music wherever I perform. It is a lifelong passion and one where I see myself as instrumental in allowing it to flourish and influence others who hear it.” – Pastór de Lasala Orléans, St Omer, Poitiers, Houdan, Toulouse and Strasbourg and, most notably, NotreDame de Paris, where he has been invited twice to give solo recitals.

Pastór de Lasala, despite his first name, is not a clergyman but a master organist. Born in Sydney in 1958, Pastór was educated by the Jesuit Fathers at Aloysius College, then graduated from the University of Sydney where he studied French, Latin and Music. In 1985 he studied organ with Norman Johnston, himself a student of the great French organist André Marchal and also Jean-Jacques Grunenwald, and with a direct line going back to César Franck.

Taking an active part in the safeguarding of English 19th century organs in Australia, he has served on the Committee of the Organ Society of Sydney and presently serves as a Director on the NSW Committee of Council of the Organ Historical Trust of Australia. He has acted as consultant on several historic organs and, in 2018, was awarded an OAM for his work as Australian consultant in the restoration of the 1890 French-built Puget organ at Kincoppal, Rose Bay. Pastór developed a passion for French music in the mid-1970s. Fascinated by the French Classical Organ he visits France regularly, giving recitals and playing on a wide range

Pastór also plays the harpsichord and clavichord. His discography includes performances on the 1890 Hill organ at SS Peter and Paul, Goulburn, and on the 1882 Forster & Andrew’s organ at Sacred Heart Mosman where has been organist since 1978.

He is concurrently organist at Mosman Uniting Church, St Joseph’s Neutral Bay and St John’s College (within the University of Sydney).

Pastór de Lasala at the 17th C organ, Basilica St Nazaire-St Celse, Carcassonne, France

of celebrated instruments including in the châteaux of Versailles and Fontainebleau, and in the cathedrals and churches of Bourges,

Pastór seriously considers it his duty to initiate and collaborate in the publishing of obscure and forgotten French music and to initiate performances of recently published French works. He has published a number of transcriptions for organ and harpsichord, most notably of Vivaldi, Mozart, Gluck and Marais, with his most adventurous publication being the first modern edition of Michel Corrette’s six organ concertos.

On the opposite page is an article based on a treatise sent by Pastór de Lasala to Fine Music magazine.

MUSIC WILL RISE LIKE A PHOENIX ELAINE SIVERSEN REFLECTS ON NOTRE DAME’S ORGAN some of the medieval pipes. Thankfully, the cathedral and the organ survived the French Revolution.

One Sunday afternoon in 1985, I sat in the Concert Hall of the Sydney Opera House soaking in the beauty of the Ronald Sharp organ as Peter Hurford played a recital. It was the first time I had attended an organ recital there since the grand organ, described as neo-baroque in style, was completed in 1979.

It was an enjoyable experience.

On the following Sunday afternoon, on my first visit to Paris, I encountered a completely different experience as I sat in the Cathedral of Notre Dame attending an organ recital.

As I walked around I had marvelled at the magnificence of the cathedral’s architecture but my feeling of awe on viewing this ancient church was nothing compared to what I felt a little later as I listened to the mighty sound of the grand organ and the wonderful echoes that seemed to bounce endlessly throughout the building. This was an unforgettable experience!

As we have been reminded lately after the disastrous fire that destroyed so much of 8

JULY 2019

Organ and rose window, Notre Dame de Paris

Notre Dame, the cathedral, built in the 12th century, is about 650 years old. In those early days when Léonin was organist and founder of the Notre Dame School, and Pérotin le Grand was Maître de Chapelle, organs would have been very small instruments. From the 14th century onwards new organs were added to the cathedral, gradually becoming larger with pipes and more keyboards. By the 18th century, after much reconstruction, the main organ had become very large but still retained

In 1868, the organ underwent its transformation into the grand organ that we know today. The great organ designer and builder Aristide Cavaillé-Coll expanded it to symphonic proportions with five keyboards (called manuals) and pedal board. Other modifications were made by titular organists Louis Vierne and Pierre Cochereau with a complete restoration undertaken in 1992.

Fortunately, the organ has survived the 2019 fire but the extent of the water damage is not known at this stage. No doubt, this grand organ will rise again as the cathedral will also rise from the ashes. Like the mythical phoenix, music will rise once again to the lofty arches from the voices of the choir and from a restored and once-again magnificent organ.

Music from the choir and organ of Notre Dame de Paris can be heard at 2.30pm on 8 July.

CORRETTE’S ORGAN MUSIC REDISCOVERED ELIZABETH HILL EXPLORES MUSIC AND THE REVOLUTION With his lifelong passion for French music, Sydney organist and franco-latin linguist, Pastór de Lasala, has been instrumental in initiating and collaborating in the publishing of obscure and forgotten French music. His ongoing collaboration with Dr Yves Jaffrès to typeset Michel Corrette’s works from the original sources and translate prefaces into English has also led to the discovery and publication of some Corrette organ works that had long been thought lost.

But why is it that Corrette, whose life encompassed the reigns of Louis XIV, XV and XVI, and spanned pre- and post-revolutionary France, is today virtually unnoticed, and all but forgotten?

Ste Marie du Temple

The Correttes of Rouen, father and son, are at once among the most attractive and the most obscure of 18th century French musical ‘dynasties’. Michel Corrette was born in Rouen and received his early musical training at the hands of his father, Gaspard, a church organist. Michel left for Paris at an early age and apparently spent the rest of his life in the capital. By 1733 he had acquired a wife, a house in the Rue St Honoré and the beginnings of his reputation as a popular teacher. As a performing organist, he played in several noble establishments and occupied the prestigious organ lofts of Ste Marie du Temple and the Jesuit Church of St Louis.

Corrette holds a unique place in the music of 18th century France. He was a prolific composer of motets and Masses, secular vocal works, and operas and ballets. He also arranged other music which, it is said, is much more interesting than the music he composed outright. His joyous setting of Psalm 48, Laudate Dominum, based on Vivaldi’s Spring concerto, is deemed to be one of his best works. His best-known works are the Concerts comiques, based on popular tunes of the day. Other sets of concertos were written

on well-known noëls. He wrote light music with programmatic content for amusement, with titles like The taking of Jericho, The seven-league boots and, taking advantage of the French enthusiasm for the American Revolution, Echoes of Boston.

The great number and variety of his compositions make him a sort of French Telemann, not least in his exceptional grasp of instrumental technique. To music scholars, he is counted as exceptionally important for leaving nearly 20 method books for various instruments, although they were not always viewed as valuable when he wrote them. While these books are full of humorous stories, they provide invaluable information on performance practice of the 18th century. Among the topics treated are contemporary English music, the differences between French and Italian styles, and the art of accompanying song at the harpsichord.

It seems odd that so small a proportion of his total output was written for organ. Nonetheless, his five volumes of organ music considerably outweigh the individual legacies of most of his Parisian colleagues. Corrette’s 1787 organ book was the last to be published in pre-revolutionary France.

With the Revolution came a monumental upheaval. The old order was trampled, with every attempt made to suppress and methodically annihilate it. This period left its destructive mark and, with it, cultural deprivation. The organ, an instrument of the

church and, by association, of the nobility, was headed towards doom. The Church and the nobility collectively comprised the two most powerful groups of the three classes in the Estates General. The only way to safeguard the organ was to secularise it, and organists saw to this by playing revolutionary music on it. Apart from bells and cannon, no manmade artefact was louder than the organ.

Yves Jaffrès writes: “In the Revolutionary era organists found themselves at different times performing patriotic tunes in the shadow of the noël and battle pieces in the shadow of the Te Deum, demonstrating the ability to return readily to the earlier genres as the political climate of France changed.” Organists who weathered those extraordinarily tumultuous years succeeded in leaving compositions that preserved a highly specialised musical culture for following generations. Not only did they save their instruments, but also their heads.

Pastór de Lasala’s search for some of Corrette’s missing original manuscripts has led to a great and continuing friendship with Dr Jaffrès, and the publication of a modern, scholarly edition of the complete organ works of Corrette, until now a missing link in the French classical repertoire. However, the work is not over. In the search for the 12 Offertoires of 1766, in the only known copy only numbers 1 to 8 and 12 are complete. As for numbers 9 and 11, only the first and last parts respectively survive; number 10 is entirely missing. Pastór de Lasala says he ‘can only hope for a second [complete] copy to come to light one day’.

A selection of Michel Corrette’s music in all genres will be broadcast in Sunday Special at 3pm on Sunday 14 July.

The storming of the Bastille by Jean-Pierre-Louis-Laurent Houel JULY 2019

9

MORNING TEA & BISCUITS

JULY 3 JUDI DENCH IN

$12

AUGUST 14 BRYAN BROWN/SAM NEILL

ALL TIX

RED JOAN

PALM BEACH

SHAWSHANK REDEMPTION JUL 7 BILL & TED'S EXCELLENT ADVENTURE JUL 12 GONE WITH THE WIND JUL 14 PEANUT BUTTER SOLUTION JUL 19 ROAD HOUSE JULY 26 10 THINGS I HATE ABOUT YOU AUG9 THE WIZARD OF OZ AUG 11 THE WARRIORS AUG 30

JUNE 24 JUDI DENCH ‘ RED JOAN” JULY 22 RALPH FIENNES’ THE WHITE CROW. AUGUST 5. EMMA THOMPSON “LATE NIGHT”

RARELY SEEN ARCHIVAL FOOTAGE OF THIS ICONIC AUSTRALIAN ROCK BAND 80S-90S LEGEND.

DANNY BOYLE’S GLOWING TRIBUTE TO THE BEATLES AND THEIR MUSIC.

MYSTIFY: MICHAEL HUTCHENCE

FEATURING LILY JAMES AND JAMES CORDEN.

YESTERDAY

SELECTED SCREENINGS FROM JULY 5

NOW SHOWING A COMEDY DRAMA ABOUT A MALE SYNCHRONISED SWIMMING TEAM. AFFECTING MOMENTS, AN UPLIFTING TONE, AND AN INFECTIOUS SENSE OF HUMOUR, ALL OF WHICH COMBINE TO KEEP IT AFLOAT.

SINK OR SWIM FROM JULY 18

“AWE INSPIRING” NYTIMES. “ENTHRALLING” VARIETY. “BREATHTAKING” H/WOOD REPORTER.

APOLLO 11 SELECTED SCREENINGS FROM JULY 19

THE WHITE CROW FROM JULY 18

SIX INSPIRATIONAL AUSTRALIAN AND NEW ZEALAND PILGRIMS SET OUT TO CONQUER THE ALMIGHTY 900KM CAMINO DE SANTIAGO.

DONALD GLOVER SETH ROGEN JAMES EARL JONES

THE LION KING

CAMINO SKIES

FROM JULY 23

BRYAN BROWN SAM NEILL RICHARD E.GRANT GRETA SCACCHI IN RACHEL WARD’S

RALPH FIENNES FILM OF RUDOLF NUREYEV. “ LOVELY, ELEGANT…THE BALLET SCENES ARE STUNNING. ”VARIETY.

FROM AUG 1

BRAD PITT MARGOT ROBBIE JAMES MARSDEN LEONARDO DICAPRIO

PALM BEACH

ONCE UPON A TIME HOLLYWOOD

FROM AUG 8

FROM AUG 15

HUGH BONNEVILLE MAGGIE SMITH MICHELLE DOCKERY

DOWNTON ABBEY FROM SEPT 12

FINE TUNING FOR PROGRAMS FROM 1 JULY Every six months the Fine Music Programming Committee reviews all program domains on Fine Music. As a result, from 1 July 2019, there will be some theme changes in Diversions in Fine Music on weekdays and one new domain will begin on Saturday nights. The long-running ambient program Ultima Thule returns to the FM band late on Thursdays.

Weekday morning listeners can look forward to two new themes for Diversions in Fine Music at 9am. On Wednesdays we begin Inspired by Literature, a program of music that takes the written word as its genesis: whether telling a story, reflecting a text, or putting a poem into words, the creativity of composers and writers will be the focus of this new program. Thursday mornings see a program called The Instruments.

Each month a different section of the orchestra will be featured and our programmers will bring to you the best of these instruments as they appear in the orchestra as well as in performances by the finest exponents of each speciality. We begin with the string instruments in July.

Saturday night features a new domain program called The Life of a Composer at 8pm. The concept is simple: two hours of music that tells the story of a prominent composer, put together in a way that showcases some of the finest pieces of that composer.

Ultima Thule, a program of ambient music has been featured on Fine Music DAB+ for the last few years. It has a following of listeners all over the world and is a cornerstone of the diversity of musical genres featured on Fine Music. It returns to Fine Music 102.5 FM and will air at 10.30pm on Thursday nights.

There will be changes to the starting times of some programs on Saturday afternoons. Saturday Matinee will begin at 2.30pm followed by the Society Spot programs at 5pm and The Magic of Stage and Screen at 6pm.

From 1 July all Fine Music programs will now be simulcast. Please join us for these new programs on Fine Music 102.5, Fine Music DAB+ or via streaming on finemusicfm.com.

Fine Music Programming Committee

BRAHMS’ REQUIEM AT 35 WIMPOLE STREET ELAINE SIVERSEN FINDS A RESOURCEFUL HOSTESS Lady Thompson’s drawing rooms at 35 Wimpole Street can accommodate a choir of ‘30 good musicians’ but there is no room for an orchestra. This is the dilemma facing the society hostess and wife of the eminent London surgeon Sir Henry Thompson, when planning an evening of Brahms’ music in the summer of 1871. The problem is that she wishes to have A German Requiem performed for their guests. The work had taken Europe by storm and she planned to be the first to have it performed in England.

The piano score of the orchestral parts that is used for rehearsal is too gruelling for a single pianist to play over the whole length of the work.

However, Lady Thompson, as Kate Loder, was formerly a concert pianist and composer. With the assistance of Cipriani Potter, her former colleague at the Royal Academy of Music, she turned to Brahms’ transcription for piano duet. Between them, with careful editing to remove notes that duplicated vocal lines, they produced a very effective accompaniment for two pianos.

Although persuaded by his publisher to make

the duet arrangement, Brahms was pleased with the result, writing: “I have devoted myself to a noble occupation: arranging my immortal work so that it can also be enjoyed by fourhanded souls. Now it cannot perish!” This was the Requiem without voices; a massive ‘song without words’. All of the musical material of soloists and choir had been divided between four hands using one piano. To solve the problem of the drawing room capacity for this London performance, the work was now divided between two pianists playing two pianos.

While Brahms is known mainly for his largescale compositions, more than half of his work was composed for more intimate gatherings: solo songs, duets, vocal quartets and short piano works much of which he composed for the enjoyment of friends. For instance, his Intermezzo in B minor is a sophisticated and deeply introspective piece with some harmonic ambiguities. Clara Schumann described it as a ‘grey pearl’, calling it veiled and precious and combining ‘passion and tenderness in the smallest of spaces’.

Lady Thompson, formerly Kate Loder

A German Requiem accompanied by this transcription for two pianos also becomes more introspective. It further enhances the tender message of ‘Blessed are they that mourn for they shall be comforted’.

The above is based on Yvonne Frindle’s program notes for the concert performance to be broadcast at 1pm on Monday 1 July.

JULY 2019

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Monday 1 July 0:00 CLASSIC-ALL THROUGH THE NIGHT

0:00 CONTEMPORARY COLLECTIVE

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

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 A year in retrospect: 1820 Prepared by Madilina Tresca

9:00 DIVERSIONS IN FINE MUSIC Colours of the keyboard Prepared by Rex Burgess

Arriaga, J. Overture to The happy slaves (c1820). Le Concert des Nations; La Capella Reial de Catalunya/Jordi Savall.

Astrée E 8532 8 Mendelssohn, F. Violin sonata in F (1820).

Nomos Duo. Naxos 8.554725 13 Schubert, F. Quartettsatz in C minor, D703 (1820). Artis Quartett.

Sony SK 66720 9 Beethoven, L. Piano sonata no 30 in E, op 109 (1820). James Rhodes, pf.

ABC 476 4593 22 Hummel, J. Potpourri, op 94 (1820). James Ehnes, va; London Mozart Players/Howard Shelley.

Chandos CHAN 10255 19 Paganini, N. Ghiribizzi (1820). Marco Tamayo, gui.

Naxos 8.557598 9 10:30 CONCERT HALL Prepared by James Nightingale Meale, R. Scenes from Mer de glace (1991).

Adelaide SO/David Porcelijn.

ABC 446 477-2 20 Mozart, W. Piano concerto no 13 in C, K415 (1782-83). Berlin PO/Daniel Barenboim, pf & dir.

Teldec 0630-13162-2 26 Cooke, A. Symphony no 1 (1947). London PO/Nicholas Braithwaite.

Lyrita SRCD.203 37 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 AN INTIMATE EVENING WITH BRAHMS Recorded for FINE MUSIC by Peter Bell Brahms, J. Intermezzo in B minor, op 119 (bef. 1893). Claire Howard Race, pf. 4 Wie Melodien zieht es mir, op 105 no 1 (1886); Wiegenlied, op 49 no 4 (1868). Emma Pearson, sop; Marlowe Fitzpatrick, pf. 4 Verzagen, op 72 no 4 (1876-77); O Tod, wie bitter bist du, op 121 no 3 (1896); Mondnacht, WoO21 (1854). Claire Howard Race, pf. 11 12

Tuesday 2 July

JULY 2019

Emma Pearson

Es rauschet das Wasser, op 28 no 3. Emma Pearson, sop; Marlowe Fitzpatrick, pf. 3 A German Requiem, op 45 (1865-66; arr.

Loder, Potter 1871). Emma Pearson, sop; Sydney Philharmonia Symphony Ch; Claire Howard Race, pf; Marlowe Fitzpatrick, pf; Simon Halsey, cond. 1:01 Sam Roberts-Smith, bar (3 above) 14:30 POSTCARD FROM PARIS Prepared by Jacky Ternisien Offenbach, J. Overture to La vie parisienne (1866). Polish National RSO/Richard Hayman.

Naxos 8.553264 6 Gershwin, G. An American in Paris (1928).

New York PO/Leonard Bernstein.

CBS MYK 42611 18 Svendsen, J. Carnival in Paris, op 9 (1872).

Bergen PO/Neeme Järvi.

Chandos CHAN 10693 12 Telemann, G. Suite no 1 in E minor, from Paris quartets (1736). Musica ad Rhenum.

Brilliant Classics 94104 17 Schmitt, F. Rhapsodie parisienne (1900).

Invencia Piano Duo. Grand Piano GP730X 6 Couperin, L. Les carillons de Paris. Richard Egarr, hpd.

Harmonia Mundi HMU 907511.14 2 Mozart, W. Symphony no 31 in D, K297, Paris (1778). Academy of Ancient Music/ Christopher Hogwood.

L’Oiseau-Lyre 421 085-2 17 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

Alkan, C-V. Chamber concerto in C sharp minor, op 10 no 2 (1834). Marc-André Hamelin, pf; BBC Scottish SO/Martyn Brabbins.

Hyperion CDA66717 8 Schumann, R. Fantasiestücke, op 88 (1842).

Florestan Trio.

Hyperion CDA67175 18 Brahms, J. Three intermezzi, op 117 (1892).

Radu Lupu, pf.

Decca 478 5609 17 Séjan, L. Duo concertante no 1, op 10 (pub. 1828). Marielle Nordmann, hp; Brigitte Haudebourg, pf.

Arion ARN 68285 13 Beethoven, L. 15 Variations and a fugue in E flat on an original theme, op 35, Eroica (1802). Jenö Jandó, pf.

Naxos 8.550676 25 10:30 CONCERT HALL Prepared by Paul Hopwood Rossini, G. Overture to Semiramide (1823).

European CO per Musica/Julian Reynolds.

Globe GLO 6014 12 Mozart, W. Horn concerto no 3 in E flat, K447 (1784-87). Dennis Brain, hn; Philharmonia O/ Herbert von Karajan.

EMI CDM 1 66423 2 16 Myaskovsky, N. Symphony no 8 in A, op 26 (1925). Russian Federation SO/Yevgeny Svetlanov.

Warner Classics 69689-8 52 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 ROMANTIC STRINGS Prepared by Chris Blower Berwald, F. String quartet in A minor (1849).

Frydén String Quartet.

Caprice CAP 21334 20 Wieniawski, H. Étude-caprice op 10 no 7, La cadenza. Michal Grabarczyk, vn.

Olympia OCD 309 4 Suk, J. Serenade for strings in E flat, op 6 (1892). Czech PO/Jiri Bélohlávek.

Chandos CHAN 9640 30

Tuesday 2 July

Wednesday 3 July

Stephen Kovacevich

Bernard Gregor-Smith

Miklós Perényi

14:00 MUSICAL FAMILIES Former couples Prepared by Jennifer Foong

Beethoven, L. Piano quartet no 3 in C, WoO36 (1785). Renaud Capuçon, vn; Lida Chen, va; Gautier Capuçon, vc; Martha Argerich, pf.

EMI 3 58472 2 18

0:00 CONTEMPORARY COLLECTIVE

Rossini, G. Overture to The barber of Seville (1816). Montreal SO/Charles Dutoit.

Decca 460 590-2 8 Mozart, W. Andante and five variations in G, K501. Stephen Kovacevich, pf.

DG 477 9523 7 Chopin, F. Ballade no 1 in G minor, op 23 (1832).

DG 477 7557 8 Tchaikovsky, P. Piano concerto no 1 in B flat minor, op 23, mvt 2 (1875/79/89). Royal PO/ Charles Dutoit.

DG 477 9523 7 Martha Argerich, pf (3 above) Brahms, J. Four piano pieces, op 119 (1892).

Stephen Kovacevich, pf.

Philips 456 880-2 16 Berlioz, H. Night of intoxication and infinite ecstasy, from The Trojans (1856-58).

Françoise Pollet, sop; Gary Lakes, ten; Montreal SO/Charles Dutoit.

ABC 480 6412 8 Schubert, F. Rondo in A, D951, Grand rondeau (1828). Nelson Freire, pf; Martha Argerich, pf.

DG 477 8570 11 Beethoven, L. Cello sonata no 5 in D, op 102 no 2 (1815). Jacqueline du Pré, vc; Stephen Kovacevich pf.

EMI CZS 5 68132 2 21

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 22:00 CHAMBER SOIRÉE Prepared by Paul Hopwood Brahms, J. Clarinet trio in A minor, op 114 (1891). Alan Hacker, cl; Jennifer Ward Clarke, vc; Richard Burnett, pf.

Amon Ra SAR 37 24 Beethoven, L. String quartet in C minor, op 18 no 4 (1800). Tokyo String Quartet.

RCA 09026 61284 2 24 Debussy, C. Violin sonata (1916-17). Kyung Wha Chung, vn; Radu Lupu, pf.

Decca 421 154-2 13 Boccherini, L. Guitar quintet no 9 in C, La ritirata di Madrid (1798). Alexander Schneider, vn; Felix Galimir, vn; Michael Tree, va; David Soyer, vc; Alirio Diaz, gui.

Vanguard OVC 8006 23 Dohnányi, E. Cello sonata in B flat minor, op 8 (1899). Bernard Gregor-Smith, vc; Yolande Wrigley, pf.

ASV DCA 796 26

CONTINUING PROGRAM SERIES Musical Families prepared by Jennifer Foong: Tuesdays 2, 16 at 2pm A Musical Caravan prepared by Frank Morrison: Fridays 5, 19 at 2pm British Symphonists prepared by Ron Walledge: Friday 12 at 2pm Come to the Opera prepared by Derek Parker: Saturday 20 at 1pm Evenings with the Orchestra, Music from the New World prepared by David Brett: Friday 19 at 8pm New: A New Life on These Shores prepared by Frank Morrison: Tuesdays 9 and 23 at 2pm

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 Williams, J. Jane Eyre (1971). Boston Pops O/John Williams.

Philips 420 946-2 13 Debussy, C. Suite bergamasque (1905).

Claude Helffer, pf.

Harmonia Mundi HMA 190954 16 Castelnuovo-Tedesco, M. Shakespeare duets, op 97 (1937). Valentina Coladonato, sop; Mirko Guadagnini, ten; Filippo Bettoschi, bar; Claudio Proietti, pf.

Brilliant Classics 95548 11 Delius, F. The walk to the Paradise Garden, from A village Romeo and Juliet (1907).

Melbourne SO/Charles Mackerras.

ABC 476 3224 11 Wallace, V. Fantasie brillante on themes from Verdi’s La traviata (pub. 1856). Rosemary Tuck, pf.

Naxos 8.572774 12 Sarasate, P. de Carmen fantasy, op 25 (c1883). Joshua Bell, vn; Samuel Sanders, pf.

Decca 475 6715 15 10:30 CONCERT HALL Prepared by Anne Irish Scharwenka, X. Overture to Mataswintha.

Poznan PO/Lukasz Borowicz.

Naxos 8.572637 7 Chopin, F. Piano concerto no 1 in E minor, op 11 (1830). German SO/Vladimir Ashkenazy.

Decca 460 019-2 39 Spohr, L. Symphony no 1 in E flat, op 20 (1811). Czecho-Slovak PO/Alfred Walter.

Marco Polo 8.223363 35 JULY 2019

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Wednesday 3 July

Katia Ricciarelli

Simon Standage

Howard Shelley

12:00 JAZZ SKETCHES with Robert Vale

Overture in D, Hob.Ia:7 (1777). Haydn Sinfonietta, Vienna/Manfred Huss.

Schwann 3-1484-2 4

0:00 CONTEMPORARY COLLECTIVE

World-wide contemporary jazz including contributions from Australian artists and those from culturally emerging nations 13:00 FROM THE CELLO REPERTOIRE Prepared by Frank Morrison Boccherini, L. String trio in F, op 6 no 4 (1769). Lubotsky Trio.

Brilliant Classics 95493 16 Kodàly, Z. Cello sonata, op 4 (1910/21).

Miklós Perényi, vc; Jenö Jandó, pf.

Hungaroton HCD 31046 18 Saint-Saëns, C. Cello concerto no 1 in A minor, op 33 (1872). Yo-Yo Ma, vc; French NO/Lorin Maazel.

CBS M2K 44562 19 14:00 IN CONVERSATION with Michael Morton-Evans Each week we meet one of the world’s great musicians, singers, composers or conductors, along with up-and-comers and some of the men and women who influence the arts landscape. The program goes live to air so you never quite know what’s going to happen.

15:00 HAYDN EXPLORED Part 1 Prepared by Michael Morton-Evans Haydn, J. To you is due glory and praise, Hob.XXVc:8 (1796). Vienna Boys’ Choir; Ch Viennensis; Georg Stangelberger, org; Peter Marschik, cond.

ABC 480 6690 3 Fux, J. Sonata à 3. Accentus Austria.

DHM 88985411892 5 Haydn, J. Symphony in A flat, Hob.I:5 (c1760). Vienna CO/Ernst Märzendorfer.

Musical Heritage Society OR H-201-249 14 Divertimento in A, op 2 no 1. Australian CO. LP MBS 2 16

14

Thursday 4 July

String quartet in B flat, op 3 no 4 (pub. 1777).

Kodály Quartet.

Naxos 8.555704 10 JULY 2019

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 Elaine Siversen Donizetti, G. Poliuto. Opera in three acts. Libretto

by Salvadore Cammerano. First performed Paris, 1848.

POLIUTO: José Carreras, ten PAOLINA: Katia Ricciarelli, sop SEVERO: Juan Pons, bar CALLISTENE: László Polgár, bass NEARCO: Paolo Gavaelli, bass Vienna Academy Choir; Vienna SO/Oleg Caetani.

CBS M2K 44821 1:46 Synopsis at finemusicfm.com/Opera 22:00 DOUBLES Prepared by Chris Blower Bach, J. Christian Symphony in E flat for double orchestra, op 18 no 1 (1779).

Academy of Ancient Music/Simon Standage.

Chandos CHAN 0540 14 Hoffmeister, F. Quartet no 2 in D for double bass and string trio. Ernö Sebestyén, vn; Helmut Nicolai, va; Martin Ostertag, vc; Norbert Duka, db.

Naxos 8.572187 19 Stanford, C. Villiers Magnificat in B flat for double choir (1918). Vasari Singers/Jeremy Backhouse.

Naxos 8.572504 12 Spohr, L. Double quartet no 2 in E flat, op 77 (1827). Academy of St Martin in the Fields Chamber Ensemble.

Hyperion CDD22014 27 Mendelssohn, F. Double concerto in D minor (1823). Gidon Kremer, vn; Martha Argerich, pf; Orpheus CO. DG 427 338-

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: strings Prepared by Paul Cooke Debussy, C. Danse sacrée et danse profane (1904). June Loney, hp; Sydney SO/Willem van Otterloo.

LP RCA VRL1 0122 10 Bridge, F. Songs, op 91 nos 1 and 2 (pub.

1884). Victoria Lambourn, mezz; Paul Silverthorne, va; Phillip Shovk, pf.

Fine Music concert recording 11 Dussek, J. Harp sonata no 2, op 34 (1797).

Roberta Alessandrini, hp.

Naxos 8.553622 10 Telemann, G. Viola concerto in G. Collegium Musicum 90/Simon Standage, va & dir.

Chandos CHAN 0593 12 Mozart, W. Trio for clarinet, viola and piano, K498, Kegelstatt (1786). Alan Vivian, cl; Irena Morozova, va; Kathryn Selby, pf.

Fine Music concert recording 18 Bax, A. Sonata for flute and harp (1928).

Lorna McGhee, fl; Alison Nicholls, hp.

Naxos 8.554507 18 10:30 CONCERT HALL Alfvén, H. Festival overture, op 52 (1944).

Iceland SO/Niklas Willén.

Naxos 8.557284 10 Dohnányi, E. Piano concerto no 1 in E minor, op 5 (1897). Howard Shelley, pf; BBC PO/ Matthias Bamert.

Chandos CHAN 10599 X 44 Boccherini, L. Symphony in D, op 12 no 1 (1771). London Mozart Players/Matthias Bamert.

Chandos CHAN 10604 25

Thursday 4 July

Friday 5 July 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 Avison, C. Concerto grosso in D after Scarlatti (pub. 1744). Berlin Ensemble.

Schwann 316 015 F1 12

Lorin Maazel

Deborah Riedel

12:00 JAZZ, PURE AND SIMPLE with Maureen Meers

20:00 THE WORLD OF A SYMPHONY Prepared by Madilina Tresca

Covering the many aspects of jazz from Swing to Mainstream, with the Great American Songbook making regular appearances

Langgaard, S. Piano concerto in E flat (c1885). Oleg Marshev, pf; Danish PO/ Matthias Aseschbacher.

Danacord DACOCD 535 34

13:00 ORCHESTRAL SHOWCASE Prepared by Rex Burgess

Gade, N. Capriccio in F, op 57 (1881). Anker Blyme, pf.

Marco Polo DCCD 9117 3

Sibelius, J. Tapiola, op 112 (1926). Vienna PO/Lorin Maazel.

Decca 478 8541 19 Vaughan Williams, R. Piano concerto in C (1926-30). Piers Lane, pf; Royal Liverpool PO/Vernon Handley.

EMI 5 65742 2 27 Berlioz, H. Grande symphonie funèbre et triomphale, op 15 (1840). John Alldis Choir; Dennis Wick, tb; London SO/Colin Davis.

Philips 442 290-2 35 14:30 MUSIC FOR WINTER Prepared by Paul Cooke Torke, M. December. Philharmonia O/Michael Torke.

Argo 452 101-2 9

Wagner, R. Excerpts from Die Walküre (1854-56). Lisa Gasteen, sop; Deborah Riedel, sop; Stuart Skelton, ten; Adelaide SO/ Asher Fisch.

Melba MR 301133-34 13 Tchaikovsky, B. Suite: The murmuring forest (1953). Saratov Conservatory SO/Kirill Ershov.

Naxos 8.570195 13 Strauss, J. II Till Eulenspiegel’s merry pranks, op 28 (1895). Guy Baunstein, vn; Berlin PO/Gustavo Dudamel.

DG 479 1041 16 Langgaard, R. Symphony no 14, The morning (1947-48/51). Danish National Symphony Ch & O/Thomas Dausgaard.

Dacapo 6.220517 29

Schubert, F. The linden tree; The signpost, from Winterreise (1827). Alexander Kipnis, bass-bar; Frank Bibb, pf.

Nimbus NI 7885/6 9

22:00 REMEMBERING CATHY BERBERIAN Prepared by Rex Burgess

Britten, B. Winter words, op 52 (1953). Peter Pears, ten; Benjamin Britten, pf.

Decca 478 5364 21

Anon. Mio amore; La luna sorse, Luciano Sgrizzi, pf. 5

Tchaikovsky, P. Symphony no 1 in G minor, op 13, Winter dreams (1866/74). New Philharmonia O/Riccardo Muti.

EMI 7 67742 2 43

Satie, E. Five songs. Dario Müller, pf. 8

16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm 19:00 THE NEW JAZZ STANDARD with Frank Presley

Weill, K. Song of sexual slavery; Le grand Lustucru; Surabaya Johnny. 10

Canto dell’Azerbaijan. Bruno Canino, pf. 3 Cathy Berberian, mezz (3 above) Ermitage ERM 1036 22:30 ULTIMA THULE Ambient and atmospheric music “All music is folk music. I ain’t never heard a horse sing a song.” — Louis Armstrong

Krumpholtz, J-B. Variations on an air by Mozart, op 10, after Serenade in D, Haffner (c1780). Jan Walters, hp.

ASV GAU 209 8 Schubert, F. Introduction, theme and variations, D968a (c1818; transcr. Piatigorsky).

Georg Pedersen, vc; Natalia Sheludiakova, pf.

Fine Music concert recording 12 Liszt, F. Müllerlieder, after Franz Schubert (1879). Leslie Howard, pf.

Hyperion CDS44576 17 Beethoven, L. String quartet in F, after Piano sonata in E, op 14 no 1 (1802). Kodály Quartet.

Naxos 8.554592 12 Ravel, M. Le tombeau de Couperin (1913-17; transcr. Walter for piano and string quintet).

Claire Désert, pf; Moraguès Quintet.

Le Chant du Monde LDC2781116 17 10:30 CONCERT HALL Prepared by Elaine Siversen Mozart, W. Serenade no 8 in D, K286, Notturno (1776-77). London SO/Peter Maag.

Decca 466 500-2 16 Rosetti, F. Horn concerto in D minor (c1782).

Michael Thompson, hn; Philharmonia O/ Christopher Warren-Green.

Nimbus NIM 5018 21 Raff, J. Symphony no 3 in F, op 153, In the forest (1869). Milton Keynes City O/Hilary Davan Wetton.

Hyperion CDA66628 45 12:00 A JAZZ HOUR with Barry O’Sullivan 13:00 FROM THE USA Prepared by Frank Morrison Chadwick, G. String quartet no 2 in C (1878).

Portland String Quartet.

Northeastern NR 236 27 Gottschalk, L. Bamboula, danse des nègres, op 2 (1844-45). Eugene List, pf.

Vanguard OVC 4050 7 Copland, A. Four dance episodes, from Rodeo (1942). Detroit SO/Antal Dorati.

Decca 414 273-2 20 JULY 2019

15

Friday 5 July

0:00 CLASSIC-ALL THROUGH THE NIGHT

14:00 A MUSICAL CARAVAN Prepared by Frank Morrison

6:00 SATURDAY MORNING MUSIC with David Garrett

Bach, J.S. Brandenburg concerto no 5 in D, BWV1050 (1720). Scottish Ensemble/ Jonathan Rees.

Virgin VJ 7 91564-2 21

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

Humperdinck, E. Weihnachten. Elisabeth Schwarzkopf, sop; Ambrosian Singers; Philharmonia O/Charles Mackerras.

EMI CDM 7 63574 2 3 Beethoven, L. Piano sonata no 13 in E flat, op 27 no 1 (1800-01). Claudio Arrau, pf.

Philips 416 146-2 18 Reger, M. Ave Maria, op 80 no 5 (1904).

Lionel Rogg, org.

BIS CD-242 4 Hindemith, P. Morning music (1932). Summit Brass.

Summit DCD 115-2 5 Schumann, R. Aus den hebräischen Gesängen, from Myrthen, op 25 no 17 (1840).

Peter Schreier, ten; Christoph Eschenbach, pf.

Teldec 2292-46154-2 4 Brahms, J. String quintet no 1 in F, op 88 (1882). Norbert Brainin, vn; Siegmund Nissel, vn; Peter Schidlof, va; Cecil Aronowitz, va; Martin Lovett, vc.

DG 419 875-2 26 Mendelssohn, F. Symphony no 4 in A, op 90, Italian (1833). Vienna PO/Christoph von Dohnányi.

Decca 460 239-2 26 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 American classics Prepared by Robert Small Copland, A. Suite: Appalachian Spring (1943-44). Melbourne SO/Benjamin Northey.

ABC 481 0863 25 Beach, A. Piano concerto in C sharp minor, op 45 (1897-99). Danny Driver, pf; BBC Scottish SO/Rebecca Miller.

Hyperion CDA68130 35 Hovhaness, A. Symphony no 25, op 275, Odysseus (1973). Polyphonia O/Alan Hovhaness.

Crystal Classics CD807 36 Gershwin, G. Rhapsody in blue (1924; orch.

Grofé 1926/42). Benjamin Grosvenor, pf; Royal Liverpool PO/James Judd.

Decca 478 3527 15 16

JULY 2019

Saturday 6 July

9:05 THE PIANO ALONE Prepared by Mariko Yata Schumann, R. Scenes from childhood, op 15 (1838). Marc-André Hamelin, pf.

Hyperion CDA68030 20 Elisabeth Schwarzkopf

22:00 BAROQUE AND BEFORE Purcell kaleidoscope Prepared by Susan Foulcher Purcell, H. One charming night; Chaconne, from The fairy queen (1692). Tim Mead, ct; Les Musiciens de Saint-Julien/François Lazarevitch.

Alpha Classics 419 5 Sonata no 10 in D; Sonata no 9 in F, Golden, from Ten sonatas in four parts. Catherine Mackintosh, vn; Elizabeth Wallfisch, vn; Richard Boothby, bass viol; Robert Woolley, org.

Chandos CHAN 8763 12 Anthems: I was glad (1685); Praise the Lord, O my soul (c1683); Hear my prayer, O Lord (c1680). Chanticleer; Capriccio Stravagante/ Skip Sempé.

Teldec 2564 60290-2 18 Fantasias nos 4, 5, 7 and 11 (1680).

Fretwork.

Harmonia Mundi HMU 907502 14 Act III, from Dido and Aeneas, The ships (1690). Emma Kirkby, sop; Judith Nelson, sop; Judith Rees, sop; Jantina Noorman, mezz; David Thomas, bass; Taverner Choir; Taverner Players/Andrew Parrott.

Chandos CHAN 0521 19 Suite of musicks and dances, from The fairy queen (arr. Balsom). Alison Balsom, tpt; English Concert/Trevor Pinnock.

EMI 4 40329 2 10 Music for the funeral of Queen Mary (1695).

Tessa Bonner, sop; Patrizia Kwella, sop; Kai Wessel, alto; Paul Agnew, ten; William Kendall, ten; Peter Kooy, bass; Collegium Vocale Ch & O/Phillipe Herreweghe.

Harmonia Mundi HMC 901462 15 Fairest isle, from King Arthur; Here let my life with as much silence slide; Strike the viol, from Come ye sons of Art. Tim Mead, ct; Les Musiciens de Saint-Julien/François Lazarevitch.

Alpha Classics 419 11

Koehne, G. Blues, from Nearly beloved (1986). Ian Munro, pf.

Tall Poppies TP186 5 Rachmaninov, S. Piano sonata no 2 in B flat minor, op 36 (1913/31). Van Cliburn, pf.

Philips 456 748-2 25 10:00 MUSIC OF THE DANCE Prepared by Chris Blower Strauss, J. II Emperor waltz, op 437 (1889).

Vienna SO/Robert Stolz.

Eurodisc 258 663 11 Koehne, G. Palm Court suite (1984).

Tasmanian SO/Richard Mills.

ABC 476 6502 24 Tippett, M. Ritual dances, from The midsummer marriage (1955). Rita Cullis, sop; Margaret McDonald, mezz; Mark Curtis, ten; Matthew Best, bass; Opera North Ch; English Northern Philharmonia/Michael Tippett.

Nimbus NI 5217 24 Luigini, A. Ballet égyptien, op 12 (1875).

London SO/Richard Bonynge.

Decca 452 767-2 22 11:30 ON PARADE Music that’s band Prepared by Owen Fisher Anon. The floral dance. Brighouse and Rastrick Band/James Scott.

LP Transatlantic MLR-217 3 Boccalari, E. Dance of the serpents.

Allentown Band/Ronald Demkee.

WWFM 1 8 Fucik, J. The Florentina march. Yorkshire Imperial Metals Band/Trevor Walmsley.

LP Astor GGS 1508 5 Bruch, M. Theme from Violin concerto no 1, mvt 2. Philip McCann, cornet; Black Dyke Mills Band/Peter Parkes.

AMP 2G 102 4 Joplin, S. The entertainer. Hendon Band/ Donald Morrison.

LP Astor GH 641 5 12:00 URBAN JAZZ LOUNGE with Leita Hutchings

Saturday 6 July 13:00 ORCHESTRATIONS Prepared by Chris Blower Schubert, F. Wanderer fantasy, D780 (1822, orch. Koechlin 1933). Florian Hoelcher, pf; South West German RSO/Heinz Hollinger.

SWR Music 19046 21

20:00 THE LIFE OF A COMPOSER Robert Schumann Prepared by James Nightingale Schumann, R. Abegg variations, op 1 (1830).

Vladimir Ashkenazy, pf.

Decca 443 322-2 8

Korngold, E. Fairy tale pictures, op 3 (1910; orch. 1913). BBC PO/Matthias Bamert.

Chandos CHAN 9631 19

Dichterliebe, from Book of songs by Heine, op 48 (1840). Olaf Bär, bar; Geoffrey Parsons, pf.

EMI CDC 7 47397 2 29

Albéniz, I. Suite española, op 47 (1886; orch. Frühbeck de Burgos). Mexico State SO/ Enrique Bátiz.

ASV DCA 888 42

String quartet in F, op 41 no 2 (1842). Fine Arts Quartet.

Naxos 8.570151 21

14:30 SATURDAY MATINEE Rosenmüller Vespers Rosenmüller, J. Vespro della beata Vergine (c1670-80). Cantus Cölln; Canticum; Concerto Palatino/Konrad Junghänel.

Harmonia Mundi HMC 901611.12 2:11 Bach, C.P.E. Symphony in D, Wq183 no 1 (1780). English Concert/Andrew Manze.

Harmonia Mundi HMX 2908601.30 11 17:00 SOCIETY SPOT Folk Federation of NSW 18:00 THE MAGIC OF STAGE AND SCREEN Hitchcock music Prepared by Adam Bowen Herrmann, B. The wrong man. Royal PO/ Elmer Bernstein.

Milan 7313835643-2 2 Vertigo. Royal Scottish NO/Joel McNeely. 25 North by North West. MGM Studio O/Bernard Herrmann. 9 Psycho. Los Angeles PO/Esa-Pekka Salonen.

Sony SK 62700 14 19:00 A SPANISH HOUR Prepared by Di Cox Sarasate, P. de Carmen fantasy, op 25 (c1883).

Itzhak Perlman, vn; Royal PO/Lawrence Foster.

EMI CDB 7 62988 2 12

Night song, op 108 (1849). Monteverdi Choir; O Révolutionnaire et Romantique/John Eliot Gardiner.

DG 479 1044 9 Schumann, C. Evening in Venice; Forwards; Gondoliera, from Three songs for mixed choir on poems by Geibel (1848). Heidelberg Madrigal Choir/Gerald Kegelmann.

BIS CD-1115 9 Brahms, J. Ballade in D minor, op 10 no 1 (1854). Ivo Janssen, pf.

Globe GLO 5036 5 Schumann, R. Violin concerto in D minor (1853). Joshua Bell, vn; Cleveland O/ Christoph von Dohnányi.

Decca 444 811-2 28 22:00 SATURDAY NIGHT AT HOME Prepared by Krystal Li Guridi, J. Basque impressions (1922).

Orfeón Donostiarra; Basque NO/Miguel Gómez Martínez.

Claves 50-9709 17 Falla, M. de Nights in the gardens of Spain (1909-15). Alicia de Larrocha, pf; London PO/ Rafael Frühbeck de Burgos.

Decca 466 128-2 25 Turina, J. Piano trio no 1, op 35 (1927).

Beaux Arts Trio.

Philips 446 684-2 22

Granados, E. Coloquio en la reja, from Goyescas (pub. 1911). Alicia de Larrocha, pf.

Decca 433 920-2 11

Rodrigo, J. Concierto andaluz (1939). Los Romeros, guitars; San Antonio SO/Victor Alessandro.

Mercury 434 369-2 25

Turina, J. La oración del torero, op 34 (1925).

Mexico City PO/Enrique Bátiz.

ASV DCA 735 7

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

Naxos 8.557628 23

Bretón, T. Jota, from La Dolores (1895).

Plácido Domingo, ten; Madrid Zarzuela Theatre Ch; Madrid Rondalla Liríca; Madrid SO/Manuel Moreno-Buendia.

EMI CDC 7 49148 2 5 Boccherini, L. Guitar quintet no 4 in D, Fandango (1798). Pepe Romero, gui; Academy of St Martin in the Fields Chamber Ensemble.

Philips 438 769-2 17

Johann Rosenmüller’s Marian cycle of devotions is one of the finest of the 17th century Vesper settings. It includes five Psalms and a Magnificat, interspersed with plainsong, motets and two sonatas.

An exemplary command of the Venetian aesthetic in a grand style with brilliant colouring is tempered by Teutonic contrapuntal discipline.

Sunday 7 July 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SUNDAY MORNING MUSIC with Terry McMullen 9:00 MUSICA SACRA Prepared by Stephen Matthews Fasch, J. Mass in G. Rheinische Kantorei; Das Kleine Konzert/Hermann Max. cpo 555 176-2 34 Kuhnau, J. Cantata, Welt adieu, ich ben dein müde. Opella Musica; Camerata Lipsiensis/ Gregor Meyer. cpo 777 868-2 17 10:00 THE CLASSICAL ERA Prepared by Rex Burgess Pichl, V. Sinfonia in D, Diana (c1803).

Toronto CO/Kevin Mallon.

Naxos 8.557761 22 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 Benda, G. Cantata: Cephalus und Aurore (c1780). Emma Kirkby, sop; Timothy Roberts, fp.

Hyperion CDA66649 9 Dussek, J. Piano quintet in F minor, op 41 (1799). Nepomuk Fortepiano Quintet.

Brilliant Classics 94377 24 Myslivecek, J. Chi per pietà mi dice, from Abramo ed Isacco (1770). Magdalena Kozená, mezz; Prague PO/Michel Swierczewski.

DG 471 334-2 6 Vorisek, J. Symphony in D, op 24 (1823).

Scottish CO/Charles Mackerras.

Hyperion CDA66800 27 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 BALLADES, BOLEROS AND BOURÉES Prepared by Jacky Ternisien Reinecke, C. Ballade, op 288 (c1908).

Patrick Gallois, fl; Swedish CO/Fabrice Pierre.

Naxos 8.557404 10 Chopin, F. Ballade no 1 in G minor, op 23 (1836). Nina Fan, pf.

4MBS-FM recording 9 Ravel, M. Bolero (1928). Sydney SO/Stuart Challender.

ABC 434 716-2 15 JULY 2019

17

Sunday 7 July German, E. Bolero (1883). Andrew Long, vn; Ian Buckle, pf.

Naxos 8.573407 6

Josquin Desprez. Kyrie; Gloria, from Missa Pange lingua (1515). 7

Bach, J.S. Bourrées 1 and 2, from Cello suite no 3 in C, BWV1009 (c1720). Umberto Clerici, vc.

ABC 481 5408 3

Choir of Clare College, Cambridge (2 above)

Chabrier, E. Bourrée fantasque (1891).

Detroit SO/Paul Paray.

Mercury 478 5092 6 15:00 SUNDAY SPECIAL Two sevens Prepared by Krystal Li Weber, C.M. Overture to Der Freischütz, op 77 (1817-21). Philharmonia O/Neeme Järvi.

Chandos CHAN 8766 9 Sibelius, J. Serious melodies, op 77 (191415). Torleif Thedéen, vc; Folke Gräsbeck, pf.

BIS CD-817 9 Coleridge-Taylor, S. Petite suite de concert, op 77 (1910). RTE Concert O/Adrian Leaper.

Marco Polo 8.223516 16 Mendelssohn, F. Three duets, op 77 (183647). Carolyn Sampson, sop; Iestyn Davies, ct; Joseph Middleton, pf.

BIS BIS-2279 6 Castelnuovo-Tedesco, M. Sonata in D, op 77; Omaggio a Boccherini (1934). Norbert Kraft, gui.

Chandos CHAN 9033 16 Beethoven, L. Fantasy in G minor, op 77 (1809). Rachel Valler, pf.

LP ABC R.02424 10 d’Indy, V. Poème des rivages, op 77 (191921). Iceland SO/Rumon Gamba.

Chandos CHAN 10660 40 17:00 HOSANNA Prepared by Stephen Matthews Hymns: O God of earth and altar; I cannot tell why He whom angels worship. Choir of Salisbury Cathedral/David Halls.

Priory PRCD 1173 8 Byrd, W. O lux beata trinitas. Choir of Clare College, Cambridge/Graham Ross.

Harmonia Mundi HMM 902270 5 Bach, J.S. Erschallet, ihr Lieder, from Cantata, BWV172/1. Bach Collegium Japan/ Masaaki Suzuki BIS CD-1951 4 Britten, B. Festival Te Deum, op 32. Choir of Clare College, Cambridge/Graham Ross.

Harmonia Mundi HMM 902270 6 Sullivan, A. Jerusalem, from The light of the world (1873). BBC Symphony Ch & Concert O. Dutton Epoch 2CDLX7356 10 Bach, J.S. Toccata in C, BWV564. David Goode, org.

Signum Records 6 18

JULY 2019

Monday 8 July

Bairstow, E. Let all mortal flesh. 4 Harmonia Mundi HMM 907688 18:00 SMALL FORCES Prepared by Rex Burgess Paganini, N. Grand sonata in A, op 39 (180304). Monica Huggett, vn; Richard Savino, gui.

Harmonia Mundi HMU 907116 23 Bach, J.S. Flute partita in A minor, BWV1013 (c 1723). Vernon Hill, fl.

Move MD 3118 12 Enescu, G. Pièce de concert (1906). Roger Chase, va; Michiko Otaki, pf.

Naxos 8.572293 9 Debussy, C. Two arabesques (1888-91).

Richard Stoltzman, cl; Nancy Allen, hp.

RCA RD 60198 8 19:00 SUNDAY NIGHT CONCERT Prepared by Paul Cooke Bach, J.S. Toccata and fugue in D minor, BWV565 (bef. 1708; transcr. Stokowski).

Sydney SO/Robert Pikler.

Chandos CHAN 6532 10 Brahms, J. Violin concerto in D, op 77 (1878). Hilary Hahn, vn; Academy of St Martin in the Fields/Neville Marriner.

Sony SK 89649 40 Madetoja, L. Symphony no 3 in A, op 55 (1926). Iceland SO/Petri Sakari.

Chandos CHAN 9036 32 20:30 NEW HORIZONS Prepared by Calogero Panvino Takemitsu, T. A flock descends into the pentagonal garden (1977). Melbourne SO/ Hiroyuki Iwaki.

ABC 426 998-2 11 Xenakis, I. Psappha (1975). Gert Mortensen, perc.

BIS CD-256 11 Takemitsu, T. Dreamtime (1981). Melbourne SO/Hiroyuki Iwaki.

ABC 426 998-2 12 Xenakis, I. Mikka ‘S’ (1976). Irvine Arditti, vn.

Disques Montaigne 782005 4 Keqrops (1986). Roger Woodward, pf; Gustav Mahler Youth O/Claudio Abbado.

DG 447 115-2 17 Á R, Homage to Ravel (1987). Claude Helffler, pf.

Disques Montaigne 782005 2 Takemitsu, T. From me flows what you call time. Synergy; Sydney SO/Edo de Waart.

ABC 454 516-2 28 22:00 AFTER HOURS JAZZ

Salvatore Accardo

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

Hyperion CDA67276 15 Spohr, L. Violin concerto no 12 in A, op 79 (1828). Ulf Hoelscher, vn; Berlin RSO/ Christian Fröhlich. cpo 999 187-2 16 Chopin, F. Polonaise in B flat, op 71 no 2 (1828). Anatol Ugorski, pf.

DG 477 5430 8 Glinka, M. Viola sonata (1828). Igor Boguslavsky, va; Anna Litvinenko, pf.

Le Chant du Monde LDC 288 068 17 Kuhlau, F. Overture to The elf’s hill, op 100 (1828). Odense SO/Othmar Maga.

Unicorn-Kanchana DKPCD 9110 11 Schubert, F. Excerpts from Schwanengesang, D957 (1828): no 1, Love’s message; no 3, Spring longing; no 4, Serenade; no 5, Resting place. Dietrich Fischer-Dieskau, bar; Alfred Brendel, pf.

Philips 411 051-2 12 10:30 CONCERT HALL Prepared by Derek Parker Arnold, M. Overture: Tam O’Shanter, op 51 (1955). Derek James, tb; Royal PO/Vernon Handley.

Sony 88875181702 8 Paganini, N. Violin concerto no 4 in D minor (1830). Salvatore Accardo, vn; London PO/ Charles Dutoit.

DG 437 210-2 35 Herrmann, B. Symphony no 1 (1941).

National PO/Bernard Herrmann.

Unicorn-Kanchana UKCD2063 35

Monday 8 July

Tuesday 9 July

Maria Kliegel

Carlo Maria Giulini

Asmira Woodward-Page

12:00 SWING SESSIONS with John Buchanan

Mawby, C. Allelulia. 4 La Maîtrisse de Notre Dame (4 above) Cochereau, P. Postlude improvisation (1977). 3 Pierre Cochereau, grand org (3 above) Tolling of Le Bourdon.

FYCD 001 (all above)

0:00 CONTEMPORARY COLLECTIVE

13:00 FEATURING MARIA KLIEGEL Prepared by Chris Blower Schumann, R. Five pieces in folksong style, op 102 (1849). Kristin Merscher, pf.

Naxos 8.550654 17 Dohnányi, E. Concert piece in D for cello and orchestra, op 12 (1904). Nicolaus Esterházy Sinfonia/Michael Halász.

Naxos 8.554468 29 Beethoven, L. Duet in E flat, WoO32, Duet with two obbligato eyeglasses (1796-97).

Tabea Zimmermann, va.

Naxos 8.555787 13 Haydn, J. Cello concerto in D, Hob.VIIb:4 (1783). Cologne CO/Helmut Müller-Brühl.

Naxos 8.555041 23 Maria Kliegel, vc (all above) 14:30 FROM NOTRE DAME DE PARIS Bells of the North Tower.

Gregorian chant. Te Deum. Pierre Cochereau, grand org. 6 Anon. O filii et filiae (15th C). Léon Souberbielle, choir org; Jacques Marichal, choir org. 5 d’Haudimont, J. Prose de la dédicace: Jerusalem et Sion filiae. 5

15:00 RAVEL IN THE AFTERNOON Prepared by Ray Lemond Ravel, M. Ballet: Mother Goose (1908-11).

Ulster O/Yan Pascal Tortelier.

Chandos CHAN 8711 27 Piano sonatine (1903-05). Jean-Yves Thibaudet, pf.

Decca 433 515-2 11

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 G, op 17 no 1 (c1779). Alberto Nosè, pf.

Naxos 8.570361 12 Trad. The foggy, foggy dew; Sally in our alley. 7 Dibdin, C. Tom Bowling (1789; arr. Britten). 4

Suite no 2 from Daphnis et Chloé (1905).

Philharmonia O/Carlo Maria Giulini.

EMI CZS 7 67723 2 17

Trad. The Lincolnshire poacher. 2

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

Farnaby, G. Fantasia, MB5. Glen Wilson, hpd.

Naxos 8.570025 5

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

Stravinsky described Ravel’s ballet Daphnis et Chloé as ‘one of the most beautiful products of all French music’. Ravel called it a choreographic symphony rather than a ballet but he composed it on commission from Diaghilev as a vehicle for Nijinsky, the star of the Ballets Russes.

The story dates from around the Second Century AD: a romance by the Greek Longus about the love between the goatherd Daphnis and the shepherdess Chloé. Chloé is captured by pirates but escapes. Daphnis wakes by a murmuring stream bathed in the colours of dawn and searches for his love. He finds her with a group of shepherdesses.

They embrace passionately and the ballet ends with a joyous bacchanale.

Full of lush harmonies, the ballet is one of Ravel’s most passionate works. It is most often heard in concert as one of two suites arranged later by Ravel, each of which can be performed with or without the wordless chorus that makes the ballet sound so ‘otherworldly’.

Peter Pears, ten; Benjamin Britten, pf (4 above) Decca 467 236-2

Clementi, M. Piano sonata in D, op 40 no 3 (pub. 1802). Nikolai Demidenko, pf.

Hyperion CDA66808 20 Benjamin, A. Violin sonatina. Asmira Woodward-Page, vn; Scott Davie, pf.

Artworks AW034 15 Handel, G. Piano suite no 3 in D minor, HWV428 (pub. 1720). Murray Perahia, pf.

Sony SK 62785 13 10:30 CONCERT HALL Prepared by Dan Bickel Gade, N. Overture: Echoes from Ossian, op 1 (1840). Danish National RSO/Dmitri Kitaienko.

Chandos CHAN 9075 15 Sibelius, J. Violin concerto in D minor, op 47 (1903). Leonidas Kavakos, vn; Lahti SO/ Osmo Vänskä.

BIS CD-500 39 Nielsen, C. Symphony no 1 in G minor, op 7 (1890-92). Royal Scottish O/Bryden Thomson.

Chandos CHAN 8880 32 JULY 2019

19

Tuesday 9 July

Lily Laskine

Susie Park

Nicholas McGegan

12:00 JAZZ RHYTHM with Jeannie McInnes

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

0:00 CONTEMPORARY COLLECTIVE

13:00 SYDNEY SYMPHONY 2019 Produced by Andrew Bukenya

19:00 THE JAZZ BEAT with Lloyd Capps

What’s on in concerts during the next month

20:00 RECENT RELEASES

6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Troy Fil

14:00 A NEW LIFE ON THESE SHORES Part 1 Prepared by Frank Morrison Bochsa, N. Harp concerto no 1 in D minor, op 15. Lily Laskine, hp; Lamoureux Concerts Association O/Jean-Baptiste Mari.

Erato 2292-45084-2 21

22:00 CHAMBER SOIRÉE Prepared by Mariko Yata

Martinez-Parada, V. Fantasy on a song by Stevie Wonder. Victor Martinez-Parada, gui.

MBS 32 13 Beethoven, L. Quintet in E flat, op 16 (1796).

Alexander Oguey, ob; Francesco Celata, cl; Andrew Barnes, bn; Robert Johnson, hn; Tamara-Anna Cislowska, pf.

Fine Music concert recording 26 Bach, J.S. Bassoon sonata in E minor, BWV1030 (c1730). Matthew Wilkie, bn; Kees Boersma, db; Neal Peres da Costa, hpd.

Melba MR 301124 18 Leclair, J-M. Deuxième recréation de musique d’une exécution facile composée, op 8 (pub. c1737). Florilegium/Neal Peres da Costa.

Channel Classics CCS 7595 29

Albinoni, T. Concerto in A, San Marco.

Maurice André, tpt; Paris Clarinet Sextet.

Decca 478 4664 6 Ravel, M. Violin sonata no 2 in G (1923-27).

Alina Ibragimova, vn; Cédric Tiberghien, pf.

Hyperion CDA67820 18 Rimsky-Korsakov, N. Quintet in B flat (1876). Hans Reznicek, fl; Leopold Wlach, cl; Karl Öhlberger, bn; Gottfried von Freiberg, hn; Roland Raupenstrauch, pf.

Westminster RC 8808678121735 30 Haydn, J. String quartet in E flat, op 33 no 2, Joke (1781). Kodály Quartet.

Naxos 8.550788 17 Schubert, F. Piano trio in E flat, D929 (1827).

Susie Park, vn; Timo-Veikko Valve, vc; Kathryn Selby, pf.

Fine Music concert recording 41

In his memoirs, Nicolai Rimsky-Korsakov writes a detailed description of the genesis of his Quintet in B flat for winds and piano and the initial misfortune that befell it. He relates that in a Russian Musical Society competition it had ‘fallen into the hands of Cross [the pianist], a mediocre sight-reader who had made such a fiasco of it that the work was not even heard to the end’. Consequently the jury disregarded the work. This was a huge disappointment for the still inexperienced composer but the next phase was success. “Its fiasco at the competition was undeserved ... it pleased the audience greatly when Y Goldstein played it subsequently at a concert of the St Petersburg Chamber Music Society.”

He describes the Quintet in great detail, likening the first movement to the ‘classic style of Beethoven’ and mentioning its two themes as lively and hymn-like. He writes that in the second movement the bassoon and clarinet each have a solo role against ‘a series of luscious accompaniments’ and, in the third, that all except the bassoon play cadenzas ‘according to the character of each instrument’.

20

Wednesday 10 July

JULY 2019

3:00 CLASSICAL TILL DAWN

9:00 DIVERSIONS IN FINE MUSIC Inspired by literature Prepared by Jacky Ternisien Massenet, J. Suite from ballet, Cendrillon (1899). Academy of St Martin in the Fields/ Neville Marriner.

Brilliant Classics 94355 21 Rameau, J-P. Excerpts from Incidental music to Voltaire’s The princess of Navarre (1745).

Marilyn Hill-Smith, sop; Eiddwen Harrhy, sop; Frances Chambers, sop; Judith Rees, sop; Michael Goldthorpe, ct; Peter Savidge, bar; Ian Caddy, bass; Richard Wigmore, bass; English Bach Festival Singers & Baroque O/ Nicolas McGegan.

LP Erato STU 71283 16 Lalliet, T. Fantasy on Massenet’s Le Cid. Bert Lucarelli, ob; Susan Jolles, hp.

Price-Less D 21062 14 Berlioz, H. Overture: King Lear, op 4 (1831).

Scottish NO/Alexander Gibson.

Chandos CHAN 8316 14 Locke, M. The fantastick and corant, from Incidental music to Shakespeare’s The tempest (1674). La Rêveuse.

Theatre of Musick K617194 3 Charpentier, M-A. Excerpts from La malade imaginaire (1672). Les Arts Florissants/ William Christie.

Harmonia Mundi HMX 290605.07 11 10:30 CONCERT HALL Prepared by Frank Morrison Bizet, G. Suite no 1 from L’arlésienne (1872).

Philharmonia O/Herbert von Karajan.

EMI CDM 1 66424 2 17 Mozart, W. Piano concerto no 25 in C, K503 (1786). English CO/Murray Perahia.

Sony SX4K 46 444 32

Wednesday 10 July

Thursday 11 July

Florent Schmitt

Amilcare Ponchielli

Kyrill Kondrashin

Prokofiev, S. Symphony no 7, op 131 (195052). Los Angeles PO/André Previn.

Philips 426 306-2 33

To Iris, Hob.XXVIa:7; The too-late arrival of the mother, Hob.XXVIa:12, from 12 songs for keyboard, bk 1 (1781). Jane Edwards, sop; Geoffrey Lancaster, fp.

ABC 465 693-2 6

0:00 CONTEMPORARY COLLECTIVE

12:00 JAZZ SKETCHES with Robert Vale 13:00 POSTCARD FROM LONDON Prepared by Nicky Gluch Schmitt, F. Suite no 1 from Incidental music to Antony and Cleopatra, op 69a, mvt 1 (1920). Buffalo PO/JoAnn Falletta.

Naxos 8.573521 12

Introduction in D minor to The seven last words of our Saviour from the cross, Hob. XX:1 (1787). Haydn Sinfonietta of Vienna/ Manfred Huss.

Schwann 3-1484-2 5 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm

Bartók, B. Contrasts (1938). Benny Goodman, cl; Joseph Szigeti, vn; Béla Bartók, pf.

Hungaroton HCD 12326-28 17

19:00 JAZZ STARS AND STRIPES with Peter Mitchell

Stanford, C. Villiers Ballata and ballabile, op 160 (1918). Gemma Rosefield, vc; BBC Scottish SO/Andrew Manze.

Hyperion CDA 67859 19

Ponchielli, A. La Gioconda. Opera in four acts. Libretto by Arrigo Boito. First performed, Milan, 1876.

LA GIOCONDA: Renata Tebaldi, sop ALVISE BADOERO: Nicolai Ghiuselev, bass LAURA ADORNO: Marilyn Horne, mezz ENZO GRIMALDO: Carlo Bergonzi, ten BARNABA: Robert Merrill, bar Saint Cecilia National Academy Ch & O/ Lamberto Gardelli.

Decca 430 042-2 2:35

Barton, W. Didjeridu solo no 1. William Barton, did.

ABC 476 4834 5 14:00 IN CONVERSATION with Michael Morton-Evans 15:00 HAYDN EXPLORED Part 2 Prepared by Michael Morton-Evans Haydn, J. Symphony in D minor, Hob.I:26, Lamentation (c1763). Vienna CO/Ernst Märzendorfer.

Musical Heritage Society OR H-201-249 18 Clementi, M. Piano trio, op 22 no 1 (pub.

1788). Trio Fauré.

Dynamic CDS 93 9 Haydn, J. Piano trio in D, Hob.deest (c1759).

Natalie Chee, vn; Peter Hörr, vc; Tamara Anna Cislowska, pf.

Fine Music concert recording 5 Symphony in C, Hob.I:2 (c1759). Vienna CO/ Ernst Märzendorfer.

Musical Heritage Society OR H-201-249 9

20:00 AT THE OPERA Prepared by Elaine Siversen

Synopsis at finemusicfm.com/Opera Capriccio. Heinz Holliger, ob; Gabriel Bürgin, pf.

Philips 426 288-2 11 23:00 SCHEHERAZADE Tales from the East Prepared by Ray Lemond Szymanowski, K. Masque, Shéhérazade, op 34 no 1 (1916). Martin Jones, pf.

Nimbus NI 5435/6 9 Rimsky-Korsakov, N. Scheherazade, symphonic suite after 1001 Nights, op 35 (1888). London PO/Mariss Jansons.

EMI 5 55227 2 45

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: strings Prepared by Madilina Tresca Sor, F. Trois pièces de société, op 36 (1828).

Marc Teicholz, gui.

Naxos 8.553722 23 Dowland, J. Flow my tears. Garth Knox, va d’amore; Agnès Vesterman, vc.

ECM New Series 2157 4764501 4 Prokofiev, S. Violin concerto no 1 in D, op 19 (1916-17). David Oistrakh, vn; Moscow PO/ Kyrill Kondrashin.

Brilliant Classics 9239 20 Viotti, G. Harp sonata. Claudia Antonelli, hp.

Naxos 8.554252 17 Glazunov, A. Minstrel song (1900). Zoe Knighton, vc; Amir Farid, pf.

Move MD 3390 4 Dauprat, L. Variations on a Scottish air, op 22.

Sören Hermansson, hn; Erica Goodman, hp.

BIS CD-648 10 10:30 CONCERT HALL Prepared by Rex Burgess Bach, J.S. Brandenburg concerto no 3 in G, BWV1048 (1720). Tasmanian Symphony Chamber Players/Geoffrey Lancaster.

ABC 438 192-2 10 Rameau, J-P. Suite from Pygmalion (1748).

European Union Baroque O/Roy Goodman.

Naxos 8.557490 20 Chaminade, C. Concertstück in C sharp minor, op 40 (1888). Danny Driver, pf; BBC Scottish SO/Rebecca Miller.

Hyperion CDA68130 15 Spohr, L. Symphony no 4 in F, op 86 (1832).

Swiss Italian O/Howard Shelley.

Hyperion CDA67622 36 JULY 2019

21

Thursday 11 July

Joseph Bodin de Boismortier

Diana Damrau

William Sterndale Bennett

12:00 JAZZ, PURE AND SIMPLE with Maureen Meers

Bax, A. Winter legends (1930). John McCabe, pf; BBC Northern SO/Raymond Leppard.

Lyrita REAM.1137 43

0:00 CONTEMPORARY COLLECTIVE

13:00 ONLY SIXTEEN Prepared by Jacky Ternisien Mozart, W. Symphony no 17 in G, K129 (1772). Mozart Akademie Amsterdam/Jaap ter Linden.

Brilliant Classics 94295 15 Clementi, M. Piano sonata in G (1768).

Susan Alexander-Max, pf.

Naxos 8.555808 11 Mendelssohn, F. Violin sonata in F minor, op 4 (1825). Jean-Jacques Kantorow, vn; Jacques Rouvier, pf.

Denon CO 78964 21 Mozart, W. Keyboard concerto in G after J.C. Bach, K107 no 2 (1772). English CO/Murray Perahia, pf & dir.

CBS 39222 10 Chopin, F. Rondo à la mazur in F, op 5 (1826). Lilya Zilberstein, pf.

DG 477 8445 9 Mozart, W. String quartet no 6 in B flat (177273). Quatuor Modigliani.

Mirare MIR 168 13 14:30 MUSIC FOR WINTER Prepared by Paul Cooke Delius, F. Sleigh ride, from Three small tone poems no 2 (1889). Royal Scottish NO/David Lloyd-Jones.

Naxos 8.557143 6 Schubert, F. Der Winterabend, D938 (1828).

Margaret Price, sop; Graham Johnson, pf.

Hyperion CDJ33015 9

22

Friday 12 July

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 David, Ferdinand. Violin concerto no 4 in E, op 23. Hagai Shaham, vn; BBC Scottish SO/ Martyn Brabbins.

Hyperion CDA67804 26 Busoni, F. Comedy overture, op 38 (1897/1904). London SO/Charles Mackerras.

Carlton Classics 15656 91372 7 Kajanus, R. Symphonic overture (1926).

Helsinki PO/Leif Segerstam.

Ondine ODE 1112-2 9 Sibelius, J. Tone poem: En saga, op 9 (1892/1901).

BIS CD-800 22 Song of the Athenians ... War song of Tyrtaeus, op 31 no 3 (1899). YL Male Voice Choir; Lahti Boys’ Choir.

BIS BIS-CD-1115 4 Lahti SO/Osmo Vänskä (2 above) Symphony no 1 in E minor, op 39 (1899).

Danish National RSO/Leif Segerstam.

Chandos CHAN 9107 43 22:00 PRESENTING DIANA DAMRAU Prepared by Rex Burgess Gounod, C. Ah, je veux vivre, from Romeo and Juliet (1867). 4

Tchaikovsky, P. December: Christmas, from The seasons, op 37b no 12 (1875-78; arr.).

Slava Grigoryan, gui; Leonard Grigoryan, gui.

Which Way Music WWM014 3

Strauss, R. O great princess, from Ariadne auf Naxos, op 60 (1916). 13

Boismortier, J. de Cantata no 4, Winter (1728). Sophie Boulin, sop; La Grande Écurie et La Chambre du Roy/Jean-Claude Malgoire.

LP CBS SBR 235988 20

Diana Damrau, sop; Munich RSO/Dan Ettinger (3 above)

JULY 2019

Stravinsky, I. No word from Tom, from The rake’s progress (1951). 9

Virgin 5 19313 2 22:30 ULTIMA THULE

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 Servais, A-F. Grand fantaise after Rossini’s The barber of Seville, op 6 (arr.). Wen-Sinn Yang, vc; Munich RSO/Terje Mikkelsen. cpo 777 542-2 14 Respighi, O. Ancient airs and dances, suite no 1 (1917; arr. van Klaveren). Alliage Quintett.

Sony 19075818372 14 Rossini, G. Overture to La gazza ladra (1817; arr. Carulli). Debra Wendells Cross, fl; Robert Alemany, cl; JoAnn Falletta, gui.

Virginia Arts Festival VA901 10 Wagner, R. Liebestod, from Tristan und Isolde (1857-59; transcr. Moszkowski).

Geoffrey Saba, pf.

IMP PCD 858 11 Piazzolla, A. Café 1930; Nightclub 1960, from Histoire du tango (1985; transcr.

Liarmakopoulos ). Achilles Liarmakopoulos, tb; Simon Powis, gui.

Naxos 8.572596 13 Falla, M. de Suite from El amor brujo (1915; transcr. Falla). Alicia de Larrocha, pf.

Decca 433 929-2 16 10:30 CONCERT HALL Prepared by Paul Hopwood Rimsky-Korsakov, N. Overture on Russian themes, op 28 (1868/80). USSR Academic SO/Yevgeny Svetlanov.

Melodiya MCD 211 12 Bennett, W. Sterndale Piano concerto no 2 in E flat, op 4 (1833). Malcolm Binns, pf; Philharmonia O/Nicholas Braithwaite.

Lyrita SRCD 205 26

Friday 12 July 20:00 EVENINGS WITH THE ORCHESTRA In Spain Prepared by Frank Morrison Arriaga, J. Symphony in D minor (1824). Le Concert des Nations; La Capella Reial de Catalunya/Jordi Savall.

Astrée E 8532 29 Falla, M. de Nights in the gardens of Spain (1909-15). Joaquin Soriano, pf; English CO/ José Serebrier.

ASV DCA 775 24

Christian Benda

Mozart, W. Symphony no 36 in C, K425, Linz (1783). English Baroque Soloists/John Eliot Gardiner.

Philips 422 419-2 42

Rodrigo, J. Tres viejos aires de danza (1929). City of Granada O/Josep Pons.

Harmonia Mundi 2908530.34 10 Baguer, C. Symphony no 12 in E flat (c1790s). London Mozart Players/Matthias Bamert.

Chandos CHAN 9456 15

12:00 A JAZZ HOUR with Barry O’Sullivan

Albéniz, I. Iberia suite (1896-1909). London SO/Enrique Batiz.

IMG 1607 30

13:00 IF MUSIC BE THE FOOD...

Prepared by Yola Center

22:00 BAROQUE AND BEFORE Prepared by Andrew Dziedzic

Tchaikovsky, P. Dance of the sugar plum fairy, from The nutcracker (1892).

Queensland SO/Werner Andreas Albert.

ABC 476 6955 2 Satie, E. Trois morçeaux en forme de poire (1890-1903). Christian Ivaldi, Noël Lee, pf.

LP Arion ARN 336 025 15 Schubert, F. Piano quintet in A, D667, Trout (1819). John Harding, vn; Robert Pikler, va; Lois Simpson, vc; Walter Sutcliffe, db; Romola Costantino, pf.

LP AWA RSRS 1508 35 Prokofiev, S. March, from The love of three oranges, op 33 (1922). Artur Rubinstein, pf.

RCA 5666-2 RC 2 14:00 BRITISH SYMPHONISTS Prepared by Ron Walledge Simpson, R. Symphony no 1 (1951). Royal PO/Vernon Handley.

Hyperion CDA66890 29 String quartet no 6 (1975). Delmé String Quartet.

Hyperion CDA66376 38 Volcano (1979). Desford Colliery Caterpillar Band/James Watson.

Hyperion CDA66449 12 Symphony no 6 (1977). Royal Liverpool PO/ Vernon Handley.

Hyperion CDA66280 31 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm 19:00 FRIDAY JAZZ SESSION with Christopher Waterhouse

Bach, C.P.E. Flute concerto in A minor, Wq166 (1750). Patrick Gallois, fl; Toronto Camerata/Kevin Mallon.

Naxos 8.555715/6 23 Hasse, J. Dal mio ben che tanto amai, from Demetrio (1732). Terry Wey, ct; Vivica Genaux, mezz; Vienna Bach Consort/Rubén Dubrovsky.

DHM 88985410502 9 Benda, F. Violin concerto in D. Josef Suk, vn; Suk CO/Christian Benda.

Naxos 8.553902 22 Hasse, J. Per questo dolce amplesso, from Artaserse (1730). Vivica Genaux, mezz; Akademie für Alte Musik/René Jacobs.

Harmonia Mundi HMG 501 778 6 Graun, J. Concerto in C minor for violin, viola da gamba and orchestra. Ensemble Baroque de Limoges.

Auvidis E 8617 24 Hasse, J. Se mai senti, from La clemenza di Tito (1735). Philippe Jaroussky, ct; Le Concert d’Astrée/Emmanuel Haïm.

Virgin 3 95242 2 8 Quantz, J. Concerto in G minor for recorder, flute and strings. Collegium Pro Musica/ Stefano Bagliano.

Brilliant Classics 95386 18 “The musician is perhaps the most modest of animals, but he is also the proudest. It is he who invented the sublime art of ruining poetry.”

— Erik Satie

Saturday 13 July 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 Lyapunov, S. Transcendental études (190005) Stephen Hough, pf.

ASV AMM 157R 14 Skryabin, A. Waltz in A flat, op 38 (1903).

Benjamin Grosvenor, pf.

Decca 478 5334 6 Prokofiev, S. Piano sonata no 6 in A, op 82 (1939-40). Evgeny Kissin, pf.

Philips 456 871-2 30 10:00 MUSIC OF THE DANCE Prepared by Katy Rogers-Davies Kálmán, E. Grand palotás de la reine, from Der Teufelsreiter (c1932). Slovak RSO/ Richard Bonynge.

Naxos 8.660105-06 7 Iturralde, P. Hungarian dance (2014). Juan M. Jiménez, sax; Claude Delangle, sax; Esteban Ocaña, pf.

Naxos 8.573429 7 Haydn, J. Hungarian gypsy dances nos 1, 6 and 8. Boskovsky Ensemble/Willi Boskovsky.

Vanguard OVC 8016 3 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 Tchaikovsky, P. Hungarian dance, from Swan Lake, op 20 (1877). Vienna PO/Herbert von Karajan.

Decca 478 4746 4 Kodaly, Z. Hungarian folk dance. David Oistrakh, vn; Frida Bauer, pf.

Brilliant Classics 8402 5 Brahms, J. Hungarian dances (1852-69): no 1 in G minor; no 2 in D minor (orch. Hallén); no 3 in F; no 4 in F sharp minor (orch. Juon); no 5 in G minor (orch. Schmeling). London SO/Neeme Järvi.

Chandos CHAN 8885 3 11:30 ON PARADE Prepared by Robert Small Dvorák, A. Finale, from Serenade in E, op 22 (1875; arr. Mikkelson). 6 Gillingham, D. No shadow of turning. 10 Russel Mikkelson, cond (2 above) Naxos 8.570244 JULY 2019

23

Saturday 13 July Puts, K. Network (1997; transcr. Kelly 2013).

Scott A. Jones, cond.

Naxos 8.573446 7 Rimsky-Korsakov, N. Flight of the bumblebee (1900). Russel Mikkelson, cond.

Naxos 8.570244 1 Ohio State University Wind Symphony (all above) 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 Tsunamis and floods 14:30 SATURDAY MATINEE Operetta in the afternoon Prepared by Elaine Siversen Guridi, J. El caserío. Zarzuela in three acts.

Libretto by Federico Romero and Guillermo Fernández-Shaw. First performed Madrid, 1926.

SANTI: Vicente Sardiniero, bar ANA MARI: Ana Rodrigo, sop JOSÉ MIGUEL: Emilio Sánchez, ten CHOMÍN: Felipe Nieto, ten DON LEONCIO: Fernando Latorre, ten Bilbao Choral Society & SO/Juan José Mena.

Naxos 8.557632 1:18 Synopsis at finemusicfm.com/Opera Barbieri, F. Excerpts from El barberillo de Lavapiés (1874). Alicia de la Victoria, sop; Angelos Chamorro, sop; Carlo del Monte, ten; Jose Antonio Viñe, ten; Spanish RTV Choir & SO/Igor Markevitch.

Philips 432 824-2 11 Bretón, T. Excerpts from La verbena de la paloma (1894). Maria Bayo, sop; Raquel Pierotti, mezz; Silvia Tro, mezz; Plácido Domingo, ten; Jésus Castejón, ten; Juan Pons, bar; Rafael Castejón, bar; Madrid Comunale Choir & SO/Antonio Ros- Marbà. naïve V 5213 39 17:00 SOCIETY SPOT Organ Music Society of Sydney 18:00 THE MAGIC OF STAGE AND SCREEN Prepared by Maureen Meers Berlin, I. Excerpts from Easter parade. Fred Astaire, Judy Garland, Peter Lawford, Ann Miller, voices; MGM Studio O. Sony Music 88697638362 20 24

JULY 2019

Juan Arriaga

Sviatoslav Richter

Youmans, V. Excerpts from No, no Nanette.

Jack Gilford, Helen Gallagher, Ruby Keeler, Bobby Van, voices; members of 1971 revival cast.

Columbia SK 60890 13

Kosei Wind O/Chikara Imamura.

BIS CD-848 12

Herman, J. Excerpts from Hello Dolly. Barbra Streisand, Walter Matthau, Michael Crawford, Louis Armstrong, voices.

Philips 810 368-2 18 19:00 A SPANISH HOUR Prepared by Di Cox Albéniz, I. Córdoba, from Suite española (1886; orch. Frühbeck de Burgos). New Philharmonia O/Rafael Frühbeck de Burgos.

Decca 433 905-2 6 Arriaga, J. String quartet no 3 in E flat (1824). Camerata Boccherini.

Naxos 8.557628 23 Tórroba, F. Moreno Cállate corazón, from Luisa Fernanda (1932). Anna Netrebko, sop; Rolando Villazón, ten; Dresden Staatskapelle/ Nicola Luisotti.

DG 477 6457 5 Scarlatti, D. Sonatas: in A; in E minor. Jenö Jandó, pf.

Naxos 8.555047 8 20:00 THE LIFE OF A COMPOSER Prepared by Brian Drummond Rimsky-Korsakov, N. Suite from Sadko, op 5 (1867). USSR Academic SO/Yevgeny Svetlanov.

Melodiya MCD 211 11 Glinka, M. Barcarolle in G (1847). Francesco Bertoldi, pf.

Nuova Era 7232 5 Rimsky-Korsakov, N. The sea and Sinbad’s ship, from Scheherazade, op 35 (1888).

Seattle SO/Gerard Schwarz.

Naxos 8.578269-70 11 Concerto for trombone and military band (1877; arr. Zurmühle). Christian Lindberg, tb;

Mussorgsky, M. St John’s night on Bald Mountain (1867; arr. Rimsky-Korsakov).

London SO/Georg Solti.

Decca 478 2826 11 Glazunov, A. Serenade no 1 in A, op 7 (1883). Royal PO/Yondani Butt.

ASV DCA 903 5 Rimsky-Korsakov, N. Capriccio espagnol, op 34 (1887). Gothenburg SO/Neeme Järvi.

DG 423 604-2 16 Aria of the snow maiden, from The snow maiden (1898). Netania Davrath, sop; Vienna State Opera O/Vladimir Golschmann.

Vanguard 089080 72 4 Stravinsky, I. Fantasy for orchestra: Fireworks, op 4 (1908). London SO/Antal Dorati.

Mercury 470 643-2 4 Rimsky-Korsakov, N. Suite from Le coq d’or (1907). Bournemouth SO/Paavo Berglund.

EMI CDM 1 66428 2 26 22:00 SATURDAY NIGHT AT HOME Prepared by Gerald Holder Bach, J.S. Brandenburg concerto no 6 in B flat, BWV1051 (1720). O of the Antipodes/ Erin Helyard.

ABC 476 1923 16 Schumann, R. Piano quintet in E flat, op 44 (1842). Sviatoslav Richter, pf; Borodin Quartet.

Apex 2564 67429-8 32 Paganini, N. Violin concerto no 1 in E flat, op 6 (1815). Nemanja Radulovic, vn; RAI National SO/Eiji Oue. DG 481 0655 35 Mozart, W. Symphony no 20 in D, K133 (1772). Mozart Akademie Amsterdam/Jaap ter Linden.

Brilliant Classics 94295 29

Sunday 14 July

Jean-Baptiste Lully

Erik Satie

Jean-Patrice Brosse

0:00 CLASSIC-ALL THROUGH THE NIGHT

Deum (arr. Steele-Perkins). London Gabrieli Brass Ensemble.

ASV QS 6013 2

Carillon des morts. Anne-Marie Rodde, sop; Jean Nirouët, alto; Martyn Hill, ten; Ulrich Studer, bass; Peter Kooy, bass; Collegium Vocale Ghent; Musica Antiqua Cologne/Philippe Herreweghe.

Archiv 437 087-2 5 Concerto in D, Le Phénix (pub. 1734). Opera Prima Ensemble/Cristiano Contadin, va da gamba & dir.

Brilliant Classics 95265 8 Concerto comique no 25, Les sauvages et la Fürstemberg (c1759). Florilegium/Neal Peres da Costa.

Channel Classics CCS 7595 8 Plein jeu; Tierce entaille; Duo for two basses; Concert of flutes; Double fugue. Douglas Lawrence, org.

Move MD 3340 7 Psalm 148: Laudate Dominum after Vivaldi’s Spring concerto (pub. 1766). Margaret DixonMcIvor, sop; Anson Austin, ten; Grahame Tier, bass; Sydney Philharmonia Motet Choir; John Harding, vn; Australian CO/Peter Seymour.

Fine Music concert recording 20

6:00 SUNDAY MORNING MUSIC with Robert Small 9:00 MUSICA SACRA Prepared by Rex Burgess Lully, J-B. O lachrymae fidele (1664). Le Concert Spirituel/Herve Niquet.

Naxos 8.554398 19 Pergolesi, G. Stabat Mater (1736). Barbara Bonney, sop, Andreas Scholl, ct; Les Talens Lyriques/Christophe Rousset.

Decca 466 134-2 36 10:00 THE CLASSICAL ERA Prepared by Chris Blower Danzi, F. Flute concerto no 4 in D, op 43 (1814). András Adorján, fl; Munich CO/Hans Stadlmair.

LP Orfeo S 003812 H 22 Beethoven, L. String trio in D, op 9 no 2 (1797-98). Trio Zimmerman.

BIS SACD 1857 21 Clementi, M. Piano sonata in B flat, op 12 no 1 (1784). Howard Shelley, pf.

Hyperion CDA67717 22 Rossini, G. Tanti affetti, from La donna del lago (1819). Julia Lezhneva, sop; Warsaw Chamber Opera Choir; Sinfonia Varsovia/ Marc Minkowski. naïve V 5221 8 Pleyel, I. String quartet in D, op 41 no 1.

Ensemble Urs Mächler.

Sipario CS 28C 19 Haydn, J. Symphony in A, Hob.I:65 (c176970). English Concert/Trevor Pinnock.

Archiv 479 1045 17 12:00 CLASSIC JAZZ AND RAGTIME with John Buchanan 13:00 WORLD MUSIC: Whirled Wide 14:00 BEING FRENCH Prepared by Jacky Ternisien Charpentier, M-A. Prelude in D, from Te

Martini, J. Plaisir d’amour (1780). JeanFrançois Lombard, ten; Amélie Michel, fl; Stephanie Paulet, vn. 4 Marie-Antoinette. C’est mon ami. 3 Isabelle Poulenard, sop; Sandrine Chatron, hp (2 above) Ambroisie AM 179 Gaubert, P. Antique medals. Malcolm Lowe, vn; Fenwick Smith, fl; Sally Pinkas, pf.

Naxos 8.557305 9 Saint-Georges, J. String quartet no 1 in C, op 1 no 1 (1773). Juilliard Quartet.

LP CBS SBR 235692 9 Satie, E. Gnossiennes (1889-91; arr. Miolin).

Anders Miolin, gui.

BIS CD-586 16 Maurice, P. Farandole des jeunes filles; La bohémienne; Le cabridan, from Tableaux de Provence (1960). Guido Bäumer, sax; Aladár Rácz, pf.

Odradek ODRCD337 9 Charpentier, M-A. Prelude, from Te Deum (c1690; arr. Glover). John Foster, tpt; David Drury, org.

ABC 476 4110 2 15:00 SUNDAY SPECIAL Michel Corrette: master organist Prepared by Elaine Siversen Corrette, M. Organ concerto in D, op 26 no 3 (pub. 1756). René Saorgin, org; Nice Baroque Ensemble/Gilbert Bezzina.

Harmonia Mundi HMA 2905148 10 Corrette, G. Concert pour les flûtes, duo et dialogue à deux chœurs. Michael Dudman, org.

Walsingham WAL 8023 4 Corrette, M. Trio sonata in D minor, op 14 no 1, for flute, violin and continuo (c1736). Le Nouveau Quatuor.

Amon Ra CD-SAR 57 7

Flute sonata in E minor, op 25 no 4, Les amusements d’Apollon chez le roi Admète (1742). Utako Ikeda, fl.

Amon Ra CD-SAR 57 13 Cello sonata in D, from Les délices de la solitude, op 20 no 6 (c1739). Mark Caudle, vc. 11 Paul Nicholson, hpd (2 above) Organ concerto in F, op 26 no 5 (pub. 1756).

Jean-Patrice Brosse, org; Concerto Rococo.

Pierre Verany PV793113 12 17:00 HOSANNA Prepared by Meg Matthews Hymns: Immortal, invisible; Love divine.

Cantus Choro; Norman Kaye, org; Peter Chapman, cond.

Move MD 3032 6 Goodall, H. The Lord is my shepherd (arr.

Lole). Lucas Jones, treb; Aled Jones, treb; New Zealand Sinfonietta/Ian Tilley.

Decca/SBS 28948 16467 4 JULY 2019

25

Sunday 14 July

Monday 15 July 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: 1919 Prepared by Brian Drummond Gershwin, G. Lullaby (1919). Acacia Quartet.

Fine Music tape archive 10 Poulenc, F. Trois mouvements perpétuels (1919). Soloists of French NO/Charles Dutoit.

Decca 452 666-2 6

John Rutter

Marc-André Hamelin

Parsons, R. Retribue servo tuo. Parsons Affayre.

Vox Foris MMPA001 7

Dvorák, A. Prague waltzes (1879). Detroit SO/Antal Dorati.

Decca 414 370-2 9

Willcocks, D. Psalms: nos 98, 130 and 150, from A ceremony of psalms. Stephen Varcoe, bar; Choir of King’s College, Cambridge/ Stephen Cleobury.

Priory PRCD 1053 11

20:30 NEW HORIZONS Prepared by Krystal Li

Milhaud, D. Le boeuf sur le toit, op 58 (1919).

New London O/Ronald Corp.

Hyperion CDA66594 20

Loeb, D. Winter sarabande. Peter Sheridan, fl.

Move MD 3349 4

Mompou, F. Cants màgics (1919). JeanFrançois Heisser, pf. apex 89928 2 10

Norgard, P. Winter hymn (1976-84). Estonian Philharmonic Chamber Choir/Paul Hillier.

Harmonia Mundi HMX 2908794 9

Keel, F. Trade winds; Mother Carey, from Three salt-water ballads (1919). Bryn Terfel, bass-bar; Malcolm Martineau, pf.

DG 477 5336 4

Fauré, G. Messe basse. Ruth Holton, sop; members of Cambridge Singers; John Scott, org; John Rutter, cond.

Collegium COLCD 109 10 Finzi, G. God is gone up, op 27 no 2. Choir of St John’s College, Cambridge; Christopher Whitton, org; Christopher Robinson, cond.

Naxos 8.555792 4 Pitts, A. I am the bread of life. Tonus Peregrinus/Antony Pitts.

Hyperion CDA 67668 5 Willcocks, D. Sing, after Widor’s Toccata.

Choir of King’s College, Cambridge; Jane Watts, org; Stephen Cleobury, cond.

Priory PRCD 1053 6 18:00 SMALL FORCES Prepared by Paul Hopwood Haydn, M. String quintet in G (1773).

L’Archibudelli.

Sony SK 53987 25

Yoshimatsu, T. White landscapes, op 47a (1991/97). Manchester Camerata/Sachio Fujioka.

Chandos CHAN 9652 10 Lauridsen, M. Mid-winter songs (1980).

Los Angeles Master Sinfonia O/Paul Salamunovich.

RCM 19705 19 Masson, A. Snow (1992). Ýmir Ensemble.

Iceland Music ITM 8-03 14 Westlake, N. Suite from Antarctica (1992).

Slava Grigoryan, gui; Melbourne SO/Nigel Westlake.

ABC 476 5744 24 22:00 AFTER HOURS JAZZ

Brahms, J. Piano trio in C, op 87 (1880-82).

Itzhak Perlman, vn; Lynn Harrell, vc; Vladimir Ashkenazy, pf.

EMI 7 54725 2 28

JULY 2019

10:30 CONCERT HALL Prepared by James Nightingale Dvorák, A. Symphonic poem: The golden spinning wheel, op 109 (1896). Polish National RSO/Stephen Gunzenhauser.

Naxos 8.550598 25 Kats-Chernin, E. Golden kitsch (2009).

Claire Edwardes, perc; Melbourne SO/ Benjamin Northey.

ABC 481 6430 18 Skryabin, A. Symphony no 2 in C minor, op 29 (1901). Scottish NO/Neeme Järvi.

Chandos CHAN 8462 40

13:00 THE SEASONS Prepared by Ray Lemond Debussy, C. Printemps, symphonic suite (1887; orch. Busser). Montreal SO/Charles Dutoit.

Decca 444 386-2 16

Mozart, W. Overture to Idomeneo, K366 (1781). Norwegian National Opera O/Rinaldo Alessandrini. naïve OP 30479 5

26

Humperdinck, E. String quartet in C (191920). Diogenes Quartett. cpo 777 547-2 18

12:00 SWING SESSIONS with John Buchanan

19:00 SUNDAY NIGHT CONCERT Prepared by Dan Bickel

Busoni, F. Piano concerto in C, op 39 (1904).

Marc-André Hamelin, pf; City of Birmingham Sympony Ch & O/Mark Elder.

Hyperion CDA67143 1:12

Prokofiev, S. Overture on Hebrew themes, op 34 (1919/34). Angela Malsbury, cl; David Pettit, pf; Coull String Quartet.

Hyperion CDA66573 9

Delius, F. In a summer garden (1908). Welsh National Opera O/Charles Mackerras.

Argo 430 202-2 14 Nigel Westlake

German, E. The seasons (1899). RTE Concert O/Andrew Penny.

Marco Polo 8.223695 39

Tuesday 16 July

Monday 15 July Tchaikovsky, P. March: Song of the lark; April: Snowdrop; May: May nights; June: Barcarolle, from The seasons, op 37b (187578). Ilona Prunyi, pf.

Naxos 8.550233 13 Piazzolla, A. The four seasons of Buenos Aires (1970; arr. Desyatnikov). Tianwa Yang, vn; Nashville SO/Giancarlo Guerrero.

Naxos 8.572271 28 15:00 LE GROUPE DES SIX Prepared by Jacky Ternisien Poulenc, F. Valse (1919), from Album des six. 2 Milhaud, D. Mazurka (1915), from Album des six. 1 Honegger, A. Sarabande (1920), from Album des six. 1 Durey, L. Romance without words, op 21 (1919), from Album des six. 2 Auric, G. Prelude (1919), from Album des six. 1 Tailleferre, G. Pastorale (1919), from Album des six. 2 Marcello Bratke, pf (all above) Olympia OCD 487 Poulenc, F. Quatre petites prières de François d’Assise (1948). King’s Singers.

Naxos 8.572987 7 Sonata (1922/45). Hervé Joulain, hn; Guy Touvron, tpt; Jacques Mauger, tb.

Naxos 8.553613 9 Milhaud, D. Saudades do Brasil: dance suite, op 67 (1921; transcr. Kuisma). Markus Leoson, mar; Niklas Sivelöv, pf.

Caprice CAP 21743 12 Tailleferre, G. Pastorale in C (1929). Bengt Forsberg, pf. dB Productions 170 4 Honegger, A. Symphonic movement no 3 (1932-33). Bavarian RSO/Charles Dutoit.

Erato 2292-45242-2 10 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 The members of Le Groupe des Six (or simply Les Six) always maintained that they should be considered as a band of mutual friends rather than a ‘music school’. Nevertheless, Darius Milhaud led the way in reacting against the influence of Debussy.

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 Schumann, R. Suite in folkstyle, op 102 (1849). David Pereira, vc; David Bollard, pf.

Tall Poppies TP078 17 Corrette, M. Organ concerto in D minor, op 26 no 6 (pub. 1756). René Saorgin, org; Nice Baroque Ensemble/Gilbert Bezzina.

Harmonia Mundi HMA 2905148 8 Beethoven, L. Sonata in G, op 14 no 2 (1799). Geoffrey Lancaster, fp.

ABC 454 501-2 14 Galuppi, B. Sonata no 3 in C minor, from A pastime at the harpsichord (1781). Jörg Ewald Dähler, hpd.

Claves 50-603 6 Prokofiev, S. Sonata no 7 in B flat, op 83 (1939-42). Martha Argerich, pf.

DG 479 5978 16 Mozart, W. Piano trio in G, K564 (1788).

Florestan Trio.

Hyperion CDA67556 18 10:30 CONCERT HALL Prepared by Chris Blower Moniuszko, S. Ballet music, from The countess (1859). Warsaw PO/Antoni Wit. Naxos 8.573610 18 Mozart, W. Double concerto in C, K299 (1778).

Jean-Pierre Rampal, fl; Lily Laskine, hp; JeanFrançois Paillard CO/Jean-François Paillard.

Erato 0630-13705-2 31 Fibich, Z. Symphony no 2 in E flat, op 38 (1892-93). Detroit SO/Neeme Järvi.

Chandos CHAN 9328 33 12:00 JAZZ RHYTHM with Jeannie McInnes 13:00 A SLICE OF DANISH Prepared by Ray Lemond Nielsen, C. The fog is lifting. Gunilla von Bahr, fl; Karin Langebo, hp.

BIS CD-100 4 Suite from Aladdin, op 34 (1918-19).

Gothenburg SO/Neeme Järvi.

DG 447 757-2 23 Two efterladte preludes. Elisabeth Westenholz, org.

BIS CD-131 3 Clarinet concerto, op 57 (1928). Niels Thomsen, cl; Danish National RSO/Michael Schønwandt.

Chandos CHAN 8894 26

Zdeněk Fibich

14:00 MUSICAL FAMILIES A former couple Prepared by Jennifer Foong Elgar, E. Overture: Cockaigne, op 40, In London town (1901). London SO/André Previn.

Philips 464 359-2 15 Dvorák, A. Romance in F minor, op 11 (187379). Berlin PO/Manfred Honeck.

DG 479 1060 12 Gershwin, G. It ain’t necessarily so, from Porgy and Bess (1934; arr. Heifetz).

DG 477 9730 3 Anne-Sophie Mutter, vn (2 above) Kern, J. I’m old fashioned, from You were never lovelier (1942). Sylvia McNair, sop; David Finck, db.

Philips 442 129-2 4 Joplin, S. The entertainer (1902; arr.

Perlman). Itzhak Perlman, vn.

EMI CDB 7 62988 2 4 André Previn, pf (3 above) Previn, A. Vocalise (1995). Barbara Bonney, sop; Moray Welsh, vc; London SO. DG 471 028-2 5 Sibelius, J. Serenade no 2 in G minor, op 69b (1913). Anne-Sophie Mutter, vn; Staatskapelle Dresden.

DG 447 895-2 7 André Previn, cond (2 above) Sarasate, P. de Zigeunerweisen, op 20 (1878). French NO/Seiji Ozawa.

EMI CDC 7 47318 2 8 Brahms, J. Violin sonata no 2 in A, op 100 (1886). Lambert Orkis, pf.

DG 477 8767 19 Mendelssohn, F. Piano trio no 1 in D minor, op 49 (1839). Lyn Harrell, vc, André Previn, pf.

DG 477 8001 28 Anne-Sophie Mutter, vn (3 above) 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm JULY 2019

27

Tuesday 16 July

Giovanni Bottesini

George Butterworth

Bohdan Warchal

19:00 THE JAZZ BEAT with Lloyd Capps

0:00 CONTEMPORARY COLLECTIVE

12:00 JAZZ SKETCHES with Robert Vale

20:00 RECENT RELEASES 22:00 CHAMBER SOIRÉE Prepared by Rex Burgess Bach, J.S. Cello suite no 1 in G, BWV1007 (1720). Edgar Meyer, db.

Sony SK 89183 17 Bottesini, G. Gran duetto no 3 (1836-39).

Joel Quarrington, db; Harold Hall Robinson, db.

Naxos 8.557042 12 Kats-Chernin, E. Charleston noir (1996).

Kees Boersma, db; Kirsty McCahon, db; Alex Henery db; Damien Eckersley, db.

Tall Poppies TP181 9 Dvorák, A. Serenade in D minor, op 44 (1878; arr.). Manuel Fischer-Dieskau, vc; Christoph Schmidt, db; Sabine Meyer Wind Ensemble.

EMI 5 55512 2 25 Glinka, M. Divertimento brillante on themes from Bellini’s opera La sonnambula (1832).

Alexei Bruni, vn; Mikhail Moshkunov, vn; Andrei Kevorkov, va; Erik Pozdeev, vc; Rustem Gabdulin, db; Leonid Ogrinchuk, pf.

Olympia MKM 76 13 Berwald, F. Grand septet in B flat (1828).

Stephen Williams, db; Gaudier Ensemble.

Hyperion CDA66834 22 Bach, J.S. Sleepers awake (arr. Loussier).

Vincent Charbonner, db; André Arpino, drums; Jacques Loussier, pf.

Telarc 83693 8 “The languishing aspect of Bellini’s music has perhaps been exaggerated at the expense of its virility, but its presence is not to be denied, any more than with Chopin. There is a retreating charm in many of Bellini’s most typical airs possessed by only a few composers.

Chopin, Schubert, Halévy have it.”

— International Cyclopedia of Music and Musicians 28

Wednesday 17 July

JULY 2019

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 Hoffmann, E. Overture: Undine (1814).

Cologne Academy/Michael Alexander Willens. cpo 777 208-2 8 Butterworth, G. Love blows as the wind blows. Jonathan Lemalu, bass-bar; Belcea Quartet.

EMI 5 58076 2 12 Bizet, G. Suite from La jolie fille de Perth (1866). Melbourne SO/John Lanchbery.

ABC 456 669-2 13 Lalliet, T. Fantasy on Massenet’s Le Cid. Bert Lucarelli, ob; Susan Jolles, hp.

Price-Less D 21062 14 Koechlin, C. The meditation of Purun Bhagat, op 159 (1936). Berlin RSO/David Zinman.

BMG Records 09026 61955 2 14 Szymanowski, K. Myths, op 30 (1914).

Ariadne Daskalakis, vn; Miri Yampolsky, pf.

Naxos 8.570987 19 10:30 CONCERT HALL Prepared by Michael Field Brahms, J. Academic festival overture, op 80 (1881). Cleveland O/Christoph von Dohnányi.

Teldec 2292-44944-2 9 Respighi, O. Concerto in modo misolidio (1925). Konstantin Scherbakov, pf; Slovak RSO/Howard Griffiths.

Naxos 8.553366 35 Mendelssohn, F. Symphony no 3 in A minor, op 56, Scottish (1842). Tasmanian SO/ Sebastian Lang-Lessing.

ABC 476 3623 39

13:00 A CLASSICAL HOUR Prepared by Jacky Ternisien Haydn, M. Symphony no 7 in E. Slovak CO/ Bohdan Warchal. cpo 999 153-2 15 Rosetti, F. Horn concerto in D minor (c1782).

Michael Thompson, hn; Philharmonia O/ Christopher Warren-Green.

Nimbus NIM 5018 21 Schubert, F. Auf dem Wasser zu singen, D774 (1823). Elisabeth Schwarzkopf, sop; Edwin Fischer, pf.

EMI CDC 7 47326 2 3 Vachon, P. String quartet in D, op 7 no 2 (1772). Rasumovsky Quartet.

ASV GAU 151 14 14:00 IN CONVERSATION with Michael Morton-Evans 15:00 HAYDN EXPLORED Part 3 Prepared by Michael Morton-Evans Haydn, J. Symphony in F sharp minor, Hob.I:45, Farewell, mvt 4 (1772). Vienna CO/ Ernst Märzendorfer.

Musical Heritage Society OR H-201-249 9 Beim Schmerz, der dieses Herz durch wühlet, Hob.XXVIa no 37 (c1775). Elly Ameling, sop; Jörg Demus, fp.

Brilliant Classics 93768 2 Qualche volte non fa male, from Il mondo della luna. Lucia Valentini Terrani, sop; Edith Mathis, sop; Frederica von Stade, mezz; Luigi Alva, ten; Domenico Trimarchi, bar; Lausanne CO/Antal Dorati.

Philips 434 987-2 4 Overture to Il mondo della luna. Concentus Musicus Vienna/Nikolaus Harnoncourt.

Teldec 2292-44196-2 4 Intermezzo, from Il mondo della luna.

Lausanne CO/Antal Dorati.

Philips 434 987-2 1

Wednesday 17 July

Thursday 18 July 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: Strings Prepared by Jennifer Foong Paganini, N. String quartet no 1 (c1815).

Paganini String Quartet.

Dynamic CDS 134 19

Max Emanuel Cencic

Sinfonia, from La fedeltà premiata, Hob.Ia:11 (1780). Haydn Sinfonietta, Vienna/Manfred Huss.

Schwann 3-1484-2 4 Symphony in D, Hob.I:73, Hunt (c1781).

Esterházy O/David Blum.

Vanguard 08 9061 71 20 Son quest’occhi, from L’incontro improvviso, Hob.XXVIII:6 (1775). Margaret Marshall, sop; Linda Zoghby, sop; Claes Ahnsjo, ten; Lausanne CO/Antal Dorati.

Philips 434 987-2 7 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 Hasse, J. Siroe, re di Persia: Dramma per musica in three acts. Libretto by Pietro Metastasio. First performed Bologna, 1733.

CORSOE: Juan Sancho, ten SIROE: Max Emanuel Cencic, ct MEDARSE: Franco Fagioli, ct EMIRA: Mary-Ellen Neale, cont LAODICE: Julia Lezhneva, sop ARASSE: Lauren Snouffer, cont Armonia Atenea/George Petrou.

Decca 478 6768 2:46 Synopsis at finemusicfm.com/Opera Haydn, J. Symphony in D, Hob.I:13 (1763).

Academy of Ancient Music/Christopher Hogwood.

L’Oiseau-Lyre 433 661-2 23

Braun, J. Sonata quinta in B minor (1728).

Marion Treupel-Frank, fl; Sergio Azzolini, bn; Francesco Galliono, va da gamba; Axel Wolf, gui.

DHM G010003676387M 10 Sarasate, P. de Caprice basque, op 24 (pub.

1881). Ruggiero Ricci, vn; Louis Persinger, pf.

Decca 458 191-2 4 Koechlin, C. Déclin d’amour, op 13 no 1 (1894). Juliane Banse, sop; Gunter Tueffel, va d’amore; South West German RSO/Heinz Hollinger.

SWR Music 19046 6 Beethoven, L. Theme and variations for viola and piano, from Serenade in C for strings, op 8 (1796-97). Maxim Rysanov, va; Jacob Katsnelson, pf.

Onyx 4108 10 Abel, C. Sonata in G. Bengt Ericson, va da gamba.

BIS CD-22 8 Bach, J.S. Cello suite no 2 in D minor, BWV1008 (c1720). Mstislav Rostropovich, vc.

EMI 5 55363 2 21 10:30 CONCERT HALL Prepared by Di Cox Chabrier, E. Suite pastorale (1880). Vienna PO/John Eliot Gardiner.

DG 447 751-2 19 Mendelssohn, F. Piano concerto no 2 in D minor, op 40 (1837). Murray Perahia, pf; Academy of St Martin in the Fields/Neville Marriner.

CBS MK 42401 24 Sibelius, J. Symphony no 1 in E minor, op 39 (1899). Rotterdam PO/Valery Gergiev.

Radio Netherlands RPHO2008-1 38

23:30 THE SUN QUARTET Prepared by James Nightingale

12:00 JAZZ, PURE AND SIMPLE with Maureen Meers

Piazzolla, A. Four, for tango. Kronos Quartet.

Nonesuch 979 181-2 5

13:00 FOCUS ON GUSTAV LEONHARDT Prepared by Jennifer Foong

Haydn, J. String quartet in E flat, Hob.II:31, Sun (1772). Australian String Quartet.

Fine Music concert recording 22

Dieupart, C. Suite in A for recorder and basso continuo (pub. 1701). Frans Brüggen, rec; Anner Bijlsma, baroque vc.

LP Telefunken SMA 25073 18

Anner Bijlsma

Bach, J.S. Partita in A minor, BWV1013 (after 1733; arr.). Frans Brüggen, rec; Lucy van Dael, va, baroque vn; Anner Bijlsma, piccolo vc.

LP RCA RL 30426 18 Hotteterre, J-M. Trio sonata in C for two oboes and basso continuo. Bruce Haynes, ob; Ku Ebbinge, ob; Danny Bond, bn.

LP RCA RL 30425 6 Gustav Leonhardt, hpd (3 above) Frescobaldi, G. Capriccio obligo di cantare la quinta parte (pub. 1624-26). Harry van der Kamp, bar; Gustav Leonhardt, org.

EMI CDC 7 69551 2 7 Bach, C.P.E. Fantasia in B flat, Wq61.3 (1785-86). Gustav Leonhardt, clvd.

Pro Arte CDD 248 7 Rameau, J-P. Deuxième concert, from Pièces de clavecin en concert (pub. 1741). Lars Fryden, vn; Nikolaus Harnoncourt, va da gamba; Gustav Leonhardt, hpd.

Vanguard 08 2023 71 12 Lawes, W. Sonata no 8 in D. Sigiswald Kuijken, vn; Wieland Kuijken, bass viol; Gustav Leonhardt, org.

RCA GD 71954 11 14:30 MUSIC FOR WINTER Prepared by Paul Cooke Holst, G. A winter idyll (1897). London PO/ David Atherton.

Lyrita SRCD 209 7 Werner, G. January, from Musicalisher instrumental-calendar (1748). Concilium Musicum/Paul Angerer.

Christophorus CHE 0164-2 7 Adès, T. The lover in winter (1989). Robin Blaze, ct; Huw Watkins, pf.

EMI 5 57610 2 6 Serebrier, J. Winter concerto (1991). Michael Guttman, vn; Royal PO/José Serebrier.

ASV DCA 855 16 Graupner, C. Partita in F minor, Winter.

Naoko Akutagawa, hpd.

Naxos 8.570459 17 JULY 2019

29

Thursday 18 July

Carl Vine

Misha Keylin

Riccardo Muti

Schubert, F. Winterreise, eight songs (1827, arr. Roger Benedict). Roger Benedict, va; Simon Tedeschi, pf.

ABC 481 6751 27

0:00 CONTEMPORARY COLLECTIVE

Tyberg, M. Symphony no 3 (1943). Buffalo PO/JoAnn Falletta.

Naxos 8.572236 37

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 Vine, C. Five bagatelles (1995). Michael Kieran Harvey, pf.

Tall Poppies TP190 9 Wesley-Smith, M. Snark-hunting (1984).

Flederman.

Canberra School of Music CSM 1 17 Mahler, G. The farewell, from The song of the earth (1908-09). Elizabeth Campbell, mezz; Sydney SO/Stuart Challender.

ABC 476 5957 31 Webern, A. Six bagatelles, op 9. Emerson String Quartet.

DG 445 828-2 4

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 Spohr, L. Variations in B flat on a theme from Alruna (1809). Thea King, cl; English CO/ James Judd.

Hyperion CDD 22017 8 Geminiani, F. Chaconne in D minor on a theme by Corelli. Frank Preuss, vn; Marguerite Dolmetsch, va da gamba; Nigel Foster, hpd.

Allegro PCD 990 11 Beethoven, L. 12 Variations on Ein Mädchen oder Weibchen, from Mozart’s The magic flute, op 66 (1796). Yo-Yo Ma, vc; Emanuel Ax, pf.

CBS M2K 42446 11

Carter, E. Sonata (1948). Paul Watkins, vc; Huw Watkins, pf.

Chandos CHAN 10881 21

Bennett, Richard. Murder on the Orient Express (1974; arr. Lindup). BBC Concert O/ Scott Dunn.

BBC recording 12

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

ABC 476 717-9 26

Brahms, J. Variations on a theme by Schumann, op 9 (1854). Idil Biret, pf.

Naxos 8.550350 19

22:00 VARIATIONS Arensky, A. Suite no 3, op 33, Variations (1894). Stephen Coombs, pf; Ian Munro, pf.

Hyperion CDA66755 26

Stravinsky, I. Divertimento, from The fairy’s kiss (1934; transcr. Stravinsky). Anthony Marwood, vn; Thomas Adès, pf.

Hyperion CDA67723 20

22:30 ULTIMA THULE

10:30 CONCERT HALL Prepared by Chris Blower

In Der Abschied (The farewell), based on the melancholy words of ancient Chinese poets, Mahler faces his mortality with glorious music. He sings a farewell but, as Michael Sternberg writes, ‘his song of and to the earth is, at its close, a song of love and of life’.

30

Friday 19 July

JULY 2019

Moniuszko, S. Overture to Hrabina, The countess (1859). Warsaw PO/Antoni Wit. Naxos 8.572716 9 Vieuxtemps, H. Violin concerto no 3 in A, op 25 (1844). Misha Keylin, vn; Janácek PO/ Dennis Burkh.

Naxos 8.554114 37

12:00 A JAZZ HOUR with Barry O’Sullivan 13:00 THE ANIMAL KINGDOM Prepared by Jacky Ternisien Handel, G. Organ concerto in F, HWV295, The cuckoo and the nightingale (c1761).

Simon Preston, org; English Concert/Trevor Pinnock.

Archiv 479 1932 13 Messiaen, O. Petites esquisses d’oiseaux (1985). Håkon Austbo, pf.

Naxos 8.553532-34 14 Rossini, G. Comic duet for two cats (1816).

Victoria de Los Angeles, sop; Elisabeth Schwarzkopf, sop; Gerald Moore, pf.

EMI CDM 1 66417 2 3 Saint-Saëns, C. The carnival of the animals (1886). Sinfonia da Camera/Ian Hobson.

Arabesque Z 6570 22 14:00 A MUSICAL CARAVAN Prepared by Frank Morrison Vivaldi, A. Concerto in D minor, RV565 (1711). Eleonora Turovsky, vn; Edvard Skerjanc, vn; Alain Aubut, vc; I Musici de Montréal/Yuli Turovsky.

Chandos CHAN 8651 11 Verdi, G. Overture to The force of destiny (1862). La Scala PO/Riccardo Muti.

Sony SBK 89738 8 Caro nome, from Rigoletto (1851). Ileana Cotrubas, sop; Vienna PO/Carlo Maria Giulini.

Decca 480 7014 6 Respighi, O. Fantasia slava (1903). Geoffrey Tozer, pf; BBC PO/Edward Downes.

Chandos CHAN 9311 10 Rossini, G. Overture to Semiramide (1823).

New York PO/Leonard Bernstein.

CBS MYK 44719 12

Friday 19 July

Saturday 20 July

Cecilia Bartoli

Barbara Bonney

Alfred Brendel

Una voce poco fà, from The barber of Seville (1816). Cecilia Bartoli, mezz; O La Scintilla/ Adám Fischer.

Decca 478 2558 5

Beethoven, L. Symphony no 9 in D minor, op 125, Choral (1822-24). Barbara Bonney, sop; Birgit Remmert, cont; Kurt Streit, ten; Thomas Hampson, bar; City of Birmingham Symphony Ch; Vienna PO/Simon Rattle.

EMI 5 57448 2 1:10

0:00 CLASSIC-ALL THROUGH THE NIGHT

Paganini, N. Moses phantasy. Agnes Szakály, cimbalom; Norbert Szelecsényi, pf.

Hungaroton HCD 31571 8 Puccini, G. Che gelida manina, from La bohème (1896). Rolando Villazón, ten; Munich RO/Marcello Viotti.

Virgin 5 45626 2 4 4 Tre sbirri, una carrozza, from Tosca (1900).

Bryn Terfel, bass-bar; Balcarras Crafoord, bar; Swedish Radio Ch & SO/Paul Daniel.

DG 477 8091 4 Casella, A. Sicilienne and burlesque, op 23 (1914). Daniele Ruggieri, fl; Aldo Orvieto, pf.

ASV DCA 1085 9 Scarlatti, A. Domine, refugium factus es nobis. Keith Majoram, bass; Schütz Choir of London; Marilyn Sansom, vc; Charles Spinks, org; Roger Norrington, cond.

Decca 443 868-2 4 Donizetti, G. String quartet no 12 in C (1821). Revolutionary Drawing Room. cpo 999 279-2 21 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, part 1 Prepared by David Brett Beethoven, L. Overture: The consecration of the house, op 134 (1822). London SO/Antal Dorati.

Mercury 478 5092 10 Mozart, W. Symphony no 39 in E flat, K543 (1788). Tasmanian SO/Sebastian LangLessing.

ABC 476 4561 30

22:00 BAROQUE AND BEFORE Gone too soon Prepared by Elaine Siversen Lawes, W. Royall consort no 2 in D minor.

The Greate Consort/Monica Huggett.

ASV CD GAU 147 15 Heinichen, J. Warum toben die Heiden (1715). Raimund Nolte, bass.

Archiv 447 092-2 14 Concerto grosso in F. Archiv 437 549-2 17 Musica Antiqua Cologne/Reinhard Goebel (2 above) Pergolesi, G. St Emidio Mass, Roman.

Concerto Italiano/Rinaldo Alessandrini. naïve OP 30461 31 Purcell, H. Suite from The fairy queen (1692). Academy of St Martin in the Fields/ Neville Marriner.

Capriccio C8001 32 How much more beautiful music could they have written if they had lived longer? A life in earlier centuries was often cut short by disease or war, and some highly talented composers met this fate.

The English Civil War brought an end to the life of William Lawes. He joined the Royalist army and was posted to a ‘safe’ regiment. During a rout of the Parliamentarians, he was killed by a random shot.

Giovanni Battista Pergolesi and Johann Heinichen succumbed to tuberculosis and possibly also Henry Purcell. Another version is that, when his wife locked him out when he was late coming home, Purcell caught a chill and died.

6:00 SATURDAY MORNING MUSIC 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 Schumann, R. Allegro in B minor, op 8 (1831). Maurizio Pollini, pf.

DG 471 370-2 9 Prokofiev, S. Thoughts, op 62 (1933-34).

Boris Berman, pf.

Chandos CHAN 9069 13 Beethoven, L. Piano sonata no 15 in D, op 28, Pastoral (1801). Alfred Brendel, pf.

Philips 446 624-2 26 10:00 MUSIC OF THE DANCE Prepared by Gerald Holder Gerhard, R. Dances from Don Quixote (1947). Eduardo Fernández, gui; Ulster O/ Josep Caballé-Domenech.

BBC Music MM255 17 Granados, E. Oriental dance, from Spanish dances, op 37 no 2 (1892-1900; arr.). Lipman Harp Duo. www.sebastien-lipman.com 5 Turina, J. Fantastic dances, op 22 (1920).

Suisse Romande O/Jésus López-Cobos.

Decca 433 905-2 15 Paniagua, G. Fatibula fandango (1989-90).

Gregorio Paniagua, elec.

Harmonia Mundi HMC 901394 5 Palomo, L. Dance of Marialuna. Pepe Romero, gui, Seville RSO/Rafael Frühbeck de Burgos.

Naxos 8.557135 14 Barbieri, F. Seguidillas manchegas: En el templo de Marte vive Cupido, from El barberillo de Lavapiés (1874). Carlo del Monte, ten; Spanish RTV Ch & SO/Igor Markevitch.

Philips 432 824-2 2 JULY 2019

31

Saturday 20 July Tórroba - Sabicas. Guitar concierto en flamenco (1962). Sabicas, gui; Madrid Concerts O/Federico Moreno Tórroba.

LP Erato/WRC S/4744 24 11:30 ON PARADE Music that’s band Prepared by Owen Fisher Herbert, V. March of the toys. Royal Doulton Band/Edward Gray.

LP Astor GGS 1506 4 Anderson, L. Song of the bells. Allentown Band/Ronald Demkee.

AMP 2E 119 4 Rimsky-Korsakov, N. Polonaise, from Christmas night. Fairey Band/Kenneth Denison.

LP Decca SB 318 4 Various. Hymn tune medley. Roy Newsome, org; Besses o’ th’ Barn Band/Alec Evans.

Chandos CHAN 4529 7 Ellington, D. Mood indigo. Desford Colliery Band/Ernest Woodhouse.

LP Astor GH 641 6 12:00 URBAN JAZZ LOUNGE with Leita Hutchings 13:00 COME TO THE OPERA 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 Gounod’s Faust, and plays some of the music that makes it a great opera

La maja y el ruiseñor, from Goyescas, bk 1.

Andrea Catzel, sop; Thomas Rajna, pf. 7 Albéniz, I. Tango, from España, op 165 no 2 (1892; arr. Maisky). 3 Cassadó, G. Requiebros (1934). 5 Mischa Maisky, vc; Lily Maisky, pf (2 above) Rodrigo, J. Concierto andaluz (1967). Los Romeros, guitars; Academy of St Martin in the Fields/Neville Marriner.

Decca 478 5669 24 20:00 THE LIFE OF A COMPOSER Prepared by Rex Burgess Delius, F. American rhapsody (1896). Royal Scottish NO/David Lloyd-Jones.

Naxos 8.557143 9 Paris, the song of a great city (1900). BBC SO/Andrew Davis.

Teldec 4509-90845-2 22 Sea drift (1903-04). John Brownlee, bar; London Select Choir; London PO/Thomas Beecham.

Naxos 8.110906 24 Double concerto (1915). Tasmin Little; vn; Raphael Wallfisch, vc; Royal Liverpool PO/ Charles Mackerras.

EMI 5 73113 2 21 Violin sonata in no 2 (1923). Susanne Stanzeleit, vn; Gusztáv Fenyó, pf.

Naxos 8.572261 12

14:30 SATURDAY MATINEE Mahler’s sixth Mahler, G. Symphony no 6 in A minor (1904).

Danish National RSO/Leif Segerstam.

Chandos CHAN 8956/7 1:28

Songs of farewell. Ambrosian Singers; Royal PO/Eric Fenby.

Unicorn-Kanchana DKP 9008 19

Schubert, F. String quintet in C, D956 (1828).

Richard Tognetti, vn; Helena Rathbone, vn; Caroline Henbest, va; Emma-Jame Murphy, vc; Melissa Barnard, vc.

ABC 476 102-6 55

Bridge, F. The sea (1910-11). BBC Welsh NO/Richard Hickox.

Chandos CHAN 10729 22

17:00 SOCIETY SPOT Classical Guitar Society Prepared by Darryl Rule

22:00 SATURDAY NIGHT AT HOME Prepared by Elaine Siversen

Chausson, E. Poem of love and the sea, op 19 (1893). Linda Finnie, mezz; Yan Pascal Tortelier, cond.

Chandos CHAN 8952 29

18:00 THE MAGIC OF STAGE AND SCREEN Prepared by Sue Jowell

Stanford, C. Villiers Irish rhapsody no 4 in A minor, op 141, The fisherman of Loch Neagh and what he saw (1914). Donald Davison, org; Vernon Handley, cond.

Chandos CHAN 8581 18

They made us happy: Comden and Green

Ulster O (2 above)

19:00 A SPANISH HOUR Prepared by Marilyn Schock

Zemlinsky, A. The mermaid, orchestral fantasy after Andersen (c1903). Buffalo PO/ JoAnn Falletta. www.bpo.org 43

Giménez, J. Intermezzo, from La boda de Luis Alonso (1896). Vienna PO/Gustavo Dudamel.

DG 476 4717 6 32

Granados, E. Goyescas (1911). Alicia de Larrocha, pf.

Decca 478 2826 8

JULY 2019

Sunday 21 July 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SUNDAY MORNING MUSIC with Terry McMullen 9:00 MUSICA SACRA Prepared by Robert Small Caldara, A. Magnificat anima mea Dominum in D minor; Stabat Mater (c1727). Berlin Vocal Academy; Bassano Ensemble, Berlin/Frank Markowitsch.

Rondeau ROP6118 21 Holst, G. Choral hymns from the Rig Veda, op 26 no 3 (1910). Osian Ellis, hp; Purcell Singers/Imogen Holst.

Decca 430 062-2 13 Carissimi, G. Motet: Usquequo peccatores for three choirs, two violins, lute and basso continuo (1672). Consortium Carissimi/ Garrick Comeaux.

Naxos 8.573258 20 10:00 THE CLASSICAL ERA Prepared by Di Cox Wranitzky, P. Ten German dances. Eduard Melkus Ensemble.

Archiv 439 964-2 8 Krommer, F. Clarinet concerto in E flat, op 36 (1803). Walter Boeykens, cl; New Belgian CO/Jan Caeyers.

Harmonia Mundi HMA 1901433 22 Hummel, J. Piano trio no 1 in E flat, op 12 (c1803). Borodin Trio.

Chandos CHAN 9529 21 Bach, C.P.E. Symphony no 4 in G, Wq183 no 4 (1775-76). Amsterdam Baroque O/Ton Koopman.

Erato ECD 75550 11 Kraus, J.M. Non temer. Barbara Bonney, sop; Claes-Håkan Ahnsjö, ten; Drottningholm Court TO/Thomas Schuback.

Musica Sveciae MSCD 424 8 Boccherini, L. Guitar quintet no 4 in D, Fandango (1798). Karin Schaupp, gui; Flinders Quartet.

ABC 476 4435 20 Haydn, J. Symphony in D, Hob.I:6, Morning (1761). English Concert/Trevor Pinnock.

Archiv 423 098-2 21 12:00 CLASSIC JAZZ AND RAGTIME with Jeannie McInnes 13:00 WORLD MUSIC: Whirled Wide 14:00 PASTORAL Prepared by Ray Lemond Alwyn, W. Pastoral fantasia (1939). Stephen Tees, va; City of London Sinfonia/Richard Hickox.

Chandos CHAN 9065 13 Howells, H. Pastoral rhapsody (1923).

London SO/Richard Hickox.

Chandos CHAN 9410 12

Sunday 21 July

Monday 22 July

Kapustin, N. Concert study, op 40 no 6, Pastoral. John Salmon, pf.

Naxos 8.570532 3 Lully, J-B. Ouverture; Pastorale; Menuet pour les faunes et dryades; Entrée d’Apollon, from Les amants magnifiques (1670). Isabelle Poulenard, sop; Agnès Mellon, sop; Gilles Ragon, high ten; Michel Laplénie, ten; Michel Verschaeve, bar; Les Musiciens du Louvre/ Marc Minkowski.

Erato 245 286-2 20 Poulenc, F. Three pastorales (1917). Anthony Gray, pf.

ABC 481 1835 6 15:00 SUNDAY SPECIAL Albéric Magnard Prepared by Rex Burgess Magnard, A. Ouverture, op 10 (1895).

Toulouse Capitole O/Michel Plasson.

EMI 5 72364 2 12 Promenades, op 7 (1893). Stephanie McCallum, pf.

Tall Poppies TP081 29

Valery Gergiev

Artur Pizarro

18:00 SMALL FORCES Prepared by Krystal Li

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

Saint-Saëns, C. Clarinet sonata in E flat, op 167 (1921). Richard Hosford, cl; Ian Brown, pf.

Hyperion CDA67431/2 16 Martinu, B. Sextet (1932). Raphael Ensemble.

Hyperion CDA66516 16

Cello sonata in A, op 20 (1910). Valentin Radutiy, vc; Per Rundberg, pf. hänssler HAEN 98654 27

Reicha, A. Wind quintet in G, op 88 no 3 (1811-17). Pro Arte Quintet.

LP Gold Records 11 071 23

Symphony no 3 in B flat minor, op 11 (1896).

Toulouse Capitole O/Michel Plasson.

EMI 5 72364 2 40

19:00 SUNDAY NIGHT CONCERT Prepared by Frank Morrison

17:00 HOSANNA Prepared by Richard Munge Hymns: How great Thou art; Dear Lord and Father of mankind. Aled Jones, voice.

BBC 982 797-3 8 Psalms: no 126: When the Lord turned again; no 127: Except the Lord build the house. Choir of Salisbury Cathedral; John Challenger, org; David Halls, cond.

Priory PRCD 1150 5 Bairstow, E. Magnificat; Nunc dimittis in D. Cathedral Singers; Andrej Kouznetsov, org; Brett McKern, cond.

TCS 04 8 Bruckner, A. Os justi; Ave Maria; Tota pulchra es; Locus iste. Choir of Lincoln Cathedral; James Vivian, org; Colin Walsh, cond.

Priory PRCD 454 17 Hymns: Praise, my soul, the King of Heaven; The Lord’s my shepherd; And did those feet in ancient times. Choir of Westminster Abbey; Robert Quinney, org; James O’Donnell, cond.

Hyperion CDA 68013 9 Dupré, M. Chorale and fugue, op 57 (1957).

Jeremy Filsell, org.

Heritage HTGCD 219 7

Arensky, A. Suite from Egyptian nights, op 50a (1902). USSR RSO/Boris Demchenko.

Melodiya MEL 45002-2 20 Mozart, W. Oboe concerto in C, K314 (1777).

Sarah Francis, ob; London Mozart Players/ Howard Shelley.

Hyperion CDA66411 19 Prokofiev, S. Symphony no 5 in B flat, op 100 (1944). Mariinsky TO/Valery Gergiev.

Mariinsky MAR0549 44 20:30 NEW HORIZONS Prepared by Nev Dorrington Lovett, A. The eleventh hour (2018). Anne Lovett, pf; String quartet.

1631 Recordings BO7JCH45LV 51 Vangelis. Nocturne, from The piano album (2018). Vangelis, pf.

Decca 770 2214 33 Blais, J. Sans titre (2018). Jean Michel Blais, pf.

Arts & Crafts AC 351 4 22:00 AFTER HOURS JAZZ When a reporter asked Louis Armstrong, ‘What is Jazz?’ he replied: “You tell ‘em if they gotta ask, they ain’t ever going to know.”

9:00 DIVERSIONS IN FINE MUSIC A year in retrospect: 1843 Prepared by Derek Parker Liszt, F. March, after Glinka’s Ruslan and Ludmila (1843-75). Leslie Howard, pf.

Hyperion CDS44537 11 Hiller, F. Piano concerto no 2 in F sharp minor, op 69 (1843). Tasmanian SO/Howard Shelley, pf & dir.

Hyperion CDA67655 20 Balfe, M. Rêves d’amour, rêves de gloire (1843).

Sumi Jo, sop; English CO/Richard Bonynge.

Decca 440 679-2 5 Vieuxtemps, H. Greeting to America, op 56 (1843). Misha Keylin, vn; Slovak RSO/ Andrew Mogrelia.

Naxos 8.570974 13 Mendelssohn, Fanny. Piano sonata in G minor (1843). Heather Schmidt, pf.

Naxos 8.570825 18 Lumbye, H. Tivoli gondola galop (1843).

Tivoli SO/Tamás Vetö.

Marco Polo 8.225223 3 Chopin, F. Ballade no 4 in F minor, op 52 (1842). Cédric Tiberghien, pf.

Harmonia Mundi HMX 2908250.79 12 10:30 CONCERT HALL Prepared by Derek Parker Schreker, F. Ekkehard, symphonic overture, op 12 (1902-03). Rhineland Palatinate State PO/Christopher Ward.

Capriccio C5348 12 Napoleão, A. Piano concerto no 2 in E flat minor, op 31 (c1889). Artur Pizarro, pf; BBC Welsh NO/Martyn Brabbins.

Hyperion CDA67984 37 Mozart, W. Symphony no 39 in E flat, K543 (1788). Australian CO/Richard Tognetti.

ABC 481 2880 29 JULY 2019

33

Tuesday 23 July

Monday 22 July 12:00 SWING SESSIONS with John Buchanan

0:00 CONTEMPORARY COLLECTIVE

13:00 BORROWED STYLES Prepared by Albert Gormley

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

Chabrier, E. Pastoral suite (1888). Ulster O/ Yan Pascal Tortelier.

Chandos CHAN 8852 19 Debussy, C. String quartet in G minor, op 10 (1893). Alban Berg Quartet.

EMI 5 67551 2 23 Ravel, M. La valse (1921). London SO/ Claudio Abbado.

DG 427 314-2 12 Piano trio (1914). Eeva Koskinen, vn; Jean Decroos, vc; Danièle Dechenne, pf.

Ottavo OTR C28922 26 14:30 THE THREE-CORNERED HAT A Ballets Russes triple bill Prepared by Raj Gopalakrishnan A Centenary Event

9:00 DIVERSIONS IN FINE MUSIC Colours of the keyboard Prepared by Elaine Siversen Beach, A. Trio in A minor, op 150 (1920).

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

Chandos CHAN 9752 15 Prokofiev, S. Ten pieces, from Cinderella, op 97 (1940-44). Boris Berman, pf.

Chandos CHAN 8976 20 Schubert, F. Viola, D786. Brigitte Geller, sop; Ulrich Eisenlohr, pf.

Naxos 8.557171 12 Mozart, W. Sonata in D, K448 (1781; arr.

Weinzierl, Wächter). Wolfgang Schulz, fl; Matthias Schulz, fl; Madoka Inui, pf.

Naxos 8.570309 20

Schumann, R. Papillons, op 2 (1829-31).

Nelson Freire, pf.

Decca 473 902-2 13

Bach, J.S. Fantasy and fugue in C minor, BWV562 (1745). Michel Chapuis, org.

LP Telefunken BC-25101-T/1-2 6

Lyadov, A. Kikimora, op 63 (1909); The enchanted lake, op 62 (1909); Baba Yaga, op 56 (1904). Russian NO/Mikhail Pletnev.

Newton 8802037 18

Malcolm, G. Bach before the mast. 3 George Malcolm, hpd (2 above)

Falla, M. de Fantasia bætica (1919). María Garzón, pf.

ASV DCA 798 13 Falla, M. de Ballet: The three-cornered hat (1919). Teresa Berganza, mezz; Suisse Romande O/Ernest Ansermet.

Decca 417 771-2 37 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm 19:00 JAZZ PULSE with Chris Wetherall

Templeton, A. Bach goes to town. 3

Decca 482 5181 10:30 CONCERT HALL Prepared by Michael Field Kabalevsky, D. Suite from Colas Breugnon, op 24a (1938). Moscow SO/Vasily Jelvakov.

Naxos 8.553411 21 Danzi, F. Bassoon concerto in G minor.

Albrecht Holder, bn; New Brandenberg PO/ Nicolás Pasquet.

Naxos 8.554273 21

20:00 STORMY MONDAY with Austin Harrison and Garth Sundberg

Herzogenberg, H. Symphony no 1 in C minor, op 50 (1885). North German RPO/ Frank Beermann. cpo 777 122-2 42

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

12:00 JAZZ RHYTHM with Jeannie McInnes

Kikimora by Anatoly Lyadov is based on Russian tales for children. It premiered in 1916 as a ballet choreographed

by Léonide Masssine. It 1917 it was subsumed into a new ballet, Les contes russes which formed part of the Ballets Russes program at the premiere of a new ballet by Manuel de Falla. Also on the program was Papillons written by Schumann for piano but orchestrated as a ballet by Nikolai Tcherepnin with choreography by Michel Fokine.

34

3:00 CLASSICAL TILL DAWN

JULY 2019

13:00 LATE ROMANTIC COLOURS Prepared by Krystal Li

Turina, J. Rapsodia sinfónica, op 66 (1931).

Martin Roscoe, pf; BBC PO/Juanjo Mena.

Chandos CHAN 10819 9 14:00 A NEW LIFE ON THESE SHORES Part 2 Prepared by Frank Morrison Nathan, I. Overture to Don John of Austria (arr. Mackerras). Sydney SO/Charles Mackerras.

ABC 442 377-2 9 Sitsky, L. Fantasia no 11, in three movements, E (1999). Larry Sitsky, pf.

Canberra School of Music CSM:40 14 Richter, F. Chamber sonata in C, op 4 no 4 (pub. 1765). Hans-Dieter Michatz, rec; Miriam Morris, vc; Rosalind Halton, hpd.

Fine Music concert recording 14 Bainton, E. Cello sonata (1922). John Kennedy, vc; Edgar Bainton, pf.

Canberra School of Music CSM:23 16 Mozart, W. Tro in E flat, K498, Kegelstatt (1786). Paul Meyer, cl; Tobias Breider, va; Maria Raspopova, pf.

Fine Music concert recording 19 Lovelock, W. Trumpet concerto (1968).

Geoffrey Payne, tpt; Melbourne SO/John Hopkins.

ABC 982 697-6 17 Dreyfus, G. German Teddy (1983).

Melbourne Mandolin O/Fred Witt.

Move MD 3129 19 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm 19:00 THE JAZZ BEAT with Lloyd Capps 20:00 RECENT RELEASES 22:00 CHAMBER SOIRÉE Prepared by Paul Cooke Hyde, M. Fantasy trio in B minor (1932-33).

Antoni Bonetti, vn; Marc Bonetti, vc; James Muir, pf.

Walsingham 2WAL8036-2 11 Thuille, L. Sextet in B flat for piano and wind quintet, op 6 (1888). Les Vents Français.

Warner Classics 0825646231850 26

Grieg, E. Holberg suite, op 40 (1884).

Australian CO/Richard Tognetti.

Sony SK 53356 19

Respighi, O. Violin sonata in D minor (1897).

Tanja Becker-Bender, vn; Péter Nagy, pf.

Hyperion CDA67930 20

Rachmaninov, S. Four pieces (c1887).

Vladimir Ashkenazy, pf.

Decca 478 2939 13 Respighi, O. Aretusa (1911). Janet Baker, mezz; City of London Sinfonia/Richard Hickox.

Collins 13492 12

Beethoven, L. String quartet no 16 in F, op 135 (1826). Alban Berg Quartet.

EMI 7 04413 2 1 24

Farrenc, L. Trio in E flat, op 44 (1854-56).

Deborah de Graaff, cl; Georg Pedersen, vc; Natalia Sheludiakova, pf.

Fine Music concert recording 27

Wednesday 24 July

Gustav Holst

Marc Minkowski

Richard Wagner

0:00 CONTEMPORARY COLLECTIVE

13:00 18TH CENTURY IBERIA Prepared by Anabela Pina

Gott erhalte den Kaiser, Hob.XXVIa no 43 (1796). Elly Ameling, sop; Jörg Demus, fp.

Brilliant Classics 93768 2

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 Adam Bowen Rossini, G. Overture to Semiramide (1823).

New York PO/Leonard Bernstein.

CBS MYK 44719 12 Holst, G. Egdon Heath, op 47 (1927). London PO/Adrian Boult.

Decca 440 318-2 13 Armstrong, C. Suite from Far from the madding crowd (2015). Eliza Carthy Band.

Sony 503230 18 Wagenaar, J. Overture: Cyrano de Bergerac, op 23 (1897). The Hague Residency O/Alain Lombard.

Olympia OCD 504 15 Petit, J-C. Suite from Cyrano de Bergerac (1990). Thierry Caens, tpt; O/Jean-Claude Petit.

DRG 12602 15 Rossini, G. Overture to Tancredi (1813).

Academy of St Martin in the Fields/Neville Marriner.

Philips 473 967-2 6 10:30 CONCERT HALL Prepared by Elaine Siversen Stravinsky, I. Suite from Petrushka (1947).

Chicago SO/Carlo Maria Giulini.

EMI 5 85974 2 24 Lalo, E. Concerto russe, op 29 (1879). Olivier Charlier, vn; BBC PO/Yan Pascal Tortelier.

Chandos CHAN 9758 31 Milhaud, D. Saudades do Brasil, dance suite, op 67 (1921). London Festival Players/ Bernard Herrmann.

London 443 897-2 27 12:00 JAZZ SKETCHES with Robert Vale

Seixas, C. Harpsichord concerto in A. Norwegian Baroque O/Keitil Haugsand.

Virgin 5 45114 2 7 Sonata 37. Duncan Fox, db; Pedro Caldeira Cabral, gui.

PMT PT0613 6 Sinfonia in B flat. Norwegian Baroque O/Keitil Haugsand.

Virgin 5 45114 2 9 Scarlatti, D. Three sonatas. Chicago Saxophone Quartet.

Centaur CRC 2086 7 Concerto grosso no 8 in E minor (arr. Avison 1744). Academy of St Martin in the Fields/ Neville Marriner.

Philips 438 806-2 10 Soler, A. Sonata no 45. María Garzón, pf.

ASV DCA 798 4 Fandango (arr. Pluhar). L’Arpeggiata/ Christina Pluhar.

Virgin 6 78516 2 9 14:00 IN CONVERSATION with Michael Morton-Evans 15:00 HAYDN EXPLORED Part 4 Prepared by Michael Morton-Evans Haydn, J. Symphony in G, Hob.I:94, Surprise, mvt 2; Symphony in D, Hob.I:96, Miracle (1791).

Les Musiciens du Louvre/Marc Minkowski. naïve V 5176 29 The heavens are telling, from The Creation, Hob.XXI:2 (1796-98). Choir of King’s College, Cambridge; Academy of St Martin in the Fields/David Willcocks.

EMI 1 66449 2 5 The Lord is great, from The Creation.

Siobhan Stagg, sop; Kristy Biber, mezz; Timothy Reynolds, ten; Julien Robinson, bar; Jonathan Bradley, org; Choir of Trinity College, Melbourne/Michael Leighton Jones.

ABC 476 3769 3

Overture to Autumn; Overture to Winter, from The seasons, Hob.XXI:3 (1801). Haydn Sinfonietta, Vienna/Manfred Huss.

Schwann 3-1484-2 6 O how pleasing to the senses, from The seasons. Lois Marshall, sop; London SO/ Anthony Bernard.

CBC Records PSCD 2001 5 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 Camille Mercep Wagner, R. Rienzi. Opera in five acts.

Libretto by the composer. First performed Dresden, 1842.

COLA RIENZI: Peter Bronder, ten IRENE: Christiane Libor, sop STEFFANO COLONNA: Falk Struckmann, bass-bar ADRIANO COLONNA: Claudia Mahnke, mezz PAOLO ORSINI: Daniel Schmutzhard, bar CARDINAL ORVIETO: Alfred Reiter, bass Frankfurt Opera Ch & O/Sebastian Weigle.

Oehms OC941 2:36 Synopsis at finemusicfm.com/Opera Wagner, R. Träume, from Wesendonck Lieder (1857-58). Cheryl Studer, sop; Staatskapelle Dresden/Giuseppe Sinopoli.

DG 439 865-2 5 23:00 SYMPHONIES FOR OUR TIME Prepared by Ray Lemond Stravinsky, I. Symphony in three movements (1945). Suisse Romande O/Neeme Järvi.

Chandos CHAN 9240 21 Vaughan Williams, R. Symphony no 6 in E minor (1948). London SO/Bryden Thomson.

Chandos CHAN 8740 34 JULY 2019

35

Thursday 25 July 12:00 JAZZ, PURE AND SIMPLE with Maureen Meers

Luigi Boccherini

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: strings Prepared by Chris Blower Bruch, M. Kol nidrei, op 47 (1881).

Jacqueline du Pré, vc; Gerald Moore, pf.

EMI CZS 5 68132 2 10 Glanville-Hicks, P. Sonata (1952). Marshall McGuire, hp.

Tall Poppies TP071 10 Glinka, M. Viola sonata in D minor (1825-28; compl. Borisovsky). Nobuko Imai, va; Roland Pöntinen, pf.

BIS CD-358 16 Godard, B. Violin sonata no 2 in A minor, op posth (pub. 1896). Vaughan Jones, vn.

First Hand FHR29 14 Sor, F. Six airs, from The magic flute, op 19.

Margarita Escarpa, gui.

Naxos 8.554197 11 Boccherini, L. String sextet in E, op 23 no 3 (1776). Mayumi Seiler, vn; Iris Juda, vn; Diemut Poppen, va; Werner Dickel, va; Richard Lester, vc; Howard Penny, vc.

Brilliant Classics 94386 17 10:30 CONCERT HALL Prepared by Dan Bickel Wagner, R. Overture to Tannhäuser (1845).

Munich PO/Hans Knappertsbusch.

DG 479 1148 16 Glière, R. Harp concerto, op 74 (1943). Alice Giles, hp; Adelaide SO/David Porcelijn.

ABC 454 506-2 26 Nielsen, C. Symphony no 3, op 27, Sinfonia espansiva (1910-11). Solveig Kringelborn, sop; Karl-Magnus Fredriksson, bar; Royal Stockholm PO/Gennady Rozhdestvensky.

Chandos CHAN 9300 42 36

JULY 2019

13:00 LET US DANCE Prepared by Jacky Ternisien Borodin, A. Polovtsian dances, from Prince Igor (1890). Sydney Philharmonia Motet Choir, Symphonic Choir & O/Antony Walker.

ABC 465 684-2 14 Mozart, W. German dances (1791): no 5 in G, K600, The canary; no 3 in C, K602, The organ grinder; no 3 in C, K605, Sleigh ride.

London SO/Peter Maag.

Decca 466 500-2 8 Grieg, E. Allegro marcato; Allegretto tranquillo e grazioso; Allegro moderato alla marcia; Allegro molto, from Norwegian dances for piano four hands, op 35 (1881).

Eva Knardahl, Kjell Ingebretsen, pf.

BIS CD-113 17 Saint-Saëns, C. Danse macabre. François le Roux, bar; Graham Johnson, pf.

Hyperion CDA66856 3 Gypsy dance, from Henry VIII (1883). London SO/Richard Bonynge.

Decca 452 767-2 3 Ponchielli, A. Dance of the hours, from La Gioconda (1876). O Victoria/Richard Divall.

ABC 476 4621 9 Khachaturian, A. Sabre dance; Dance of the rose maiden, from Gayaneh (1942/52/57).

Royal Scottish O/Neeme Järvi.

Chandos CHAN 8945 5 Brahms, J. Hungarian dances, WoO1 nos 1 to 7 (1852-69). Vienna PO/Claudio Abbado.

DG 477 5424 19 14:30 MUSIC FOR WINTER Prepared by Paul Cooke Bloch, E. Winter, from Two poems (1905).

Slovak RSO/Dalia Atlas.

Naxos 8.570259 6 Thompson, R. Stopping by woods on a snowy evening. Turtle Creek Chorale; Dallas Wind Symphony/Timothy Seelig.

Reference Recordings RR-49CD 5 Glazunov, A. Winter, from The seasons (1899). Concert Arts O/Robert Irving.

EMI 5 65911 2 9 Swayne, G. Winter solstice carol (1998).

Philippa Davies, fl; Choir of King’s College, Cambridge/Stephen Cleobury.

EMI 5 58070 2 5 Fucik, J. Concert waltz: Winter storms.

Czech PO/Vaclav Neumann.

LP Orfeo S 147 861 B 12 Prokofiev, S. Winter bonfire, op 122 (194950). Paisley Abbey Boy Choristers; Scottish CO/José Serebrier.

ASV DCA 760 18

Richard Hickox

Liszt, F. Excerpts from six songs after Schubert’s Winterreise. Leslie Howard, pf.

Hyperion CDS44378 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 Paul Cooke Purcell, H. When I am laid in earth, from Dido and Aeneas (1689). Catherine Bott, sop; Academy of Ancient Music Ch & O/ Christopher Hogwood.

Decca 467 454-2 7 Beethoven, L. Ode to joy, from Symphony no 9 in D, op 125, Choral (1822-24). Sydney Philharmonia Motet & Symphonic Choirs & O/ Antony Walker.

ABC 476 3521 9 Rubbra, E. Sinfonia concertante, op 38 (1934-36). BBC NO of Wales/Richard Hickox.

Chandos CHAN 9538 32 Saint-Saëns, C. Bassoon sonata in G, op 168 (1921). Ursula Leveaux, bn; Ian Brown, pf.

Hyperion CDA67431/2 12 Holst, G. First choral symphony, op 41 (1925). Lynne Dawson, sop; Guildford Choral Society/Hilary Davan Wetton.

Hyperion CDA66660 49 22:00 A TOUCH OF ROMANCE Borodin, A. String quartet no 2 in D (1885).

Borodin Quartet.

Le Chant du Monde LDC 278 793 29 22:30 ULTIMA THULE When Schubert died in 1828 Liszt, at 17, was already a recognised composer.

He began his 12 transcriptions of songs from Winterreise just 11 years later.

Pianist Leslie Howard describes the various transcriptions as ‘skilful wordpainting’, ‘dramatic narrative’, ‘festive decoration’, ‘forthright and impassioned’ and ‘touching in tranquillity’.

Friday 26 July 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 Stephen Wilson Beethoven, L. Romance no 2 in F, op 50 (1798; transcr. 1803; arr. Müller-Schott). Daniel MüllerSchott, vc; Australian CO/Richard Tognetti.

Orfeo C 080 031 A 8 Grainger, P. Ramble on the last love duet from Strauss’s Der Rosenkavalier (1926-27).

Leslie Howard, pf.

ABC 481 1601 8 Saint-Saëns, C. Danse macabre in G minor, op 40 (1874; arr. Lemare). David Drury, org.

ABC 432 527-2 9 Vivaldi, A. Concerto in G, RV425 (transcr.

Pepe Romero). Denis Vigay, vc; Pepe Romero, gui; Ángel Romero, gui; Alan Cuckston, pf; Academy of St Martin in the Fields/Iona Brown.

Decca 478 5669 11 Platti, G. Sonata in G (transcr. Rousseau).

Peter Clinch, sax; Margaret Schofield, pf.

LP Move MS 3041 10 Purcell, H. Suite for cello and orchestra (arr. Stokowski). Peter Dixon, vc; BBC PO/ Matthias Bamert.

Chandos CHAN 9930 12 Gottschalk, L. Grand triumphal fantasy on a Brazilian national hymn, op 69 (1869; arr.

Adler). Eugene List, pf; Berlin SO/Samuel Adler.

LP Vox TV-S 34449 10 Rossini, G. I palpiti, from Tancredi (1813; arr.

Paganini; rev. Kreisler). Gil Shaham, vn; Akira Eguchi, pf.

DG 447 640-2 10 10:30 CONCERT HALL Prepared by Chris Blower Akutagawa, Y. Trinita symphonica (1958).

New Zealand SO/Takuo Yuasa.

Naxos 8.555975 22

13:00 FOCUS ON CHRISTOPH GRAUPNER 1683-1760 Prepared by Jacky Ternisien Graupner, C. Concerto in B flat for two oboes, strings and basso continuo, GWV342.

L’arpa Festante/Rien Voskuilen.

Accent ACC 24350 11

Mozart, W. Symphony no 38 in D, K504, Prague (1787). Nikolaus Harnoncourt, cond.

Teldec 9031-77596-2 38

Trio sonata in B for transverse flute, viola d‘amore and harpsichord, GWV217 (c1737).

Members of Finnish Baroque O. Ondine ODE 1240-2 11

Tchaikovsky, P. Marche slave, op 31 (1876).

Bernard Haitink, cond.

Decca 478 5867 10

Overture in B flat (c1743). Jean-Claude Veilhan, chalumeau; Ensemble Mensa Sonora/Jean Maillet.

Pierre Verany PV794114 19

Radio Nederland RCO11004

Holdestes lispeln der Spielenden fluthen, from Dido, Königin von Karthago (1707).

Anna Prohaska, sop; Il Giardino Armonica/ Giovanni Antonini.

Alpha Classics ALPHA 250 2 Bassoon concerto in G. Daniel Smith, bn; English CO/Philip Ledger.

ASV CDQS 6177 9 14:00 CONDUCTORS AS COMPOSERS Prepared by David Brett Bernstein, L. Suite from West Side story (1960; arr. Crees). Netherlands Wind Ensemble/Richard Dufallo.

Chandos CHAN 9210 24 Boulez, P. Piano sonata no 1 (1946). Claude Helffer, pf.

Astrée E 7716 9 Goossens, E. Kaleidoscope, op 18 (1933).

Melbourne SO/Andrew Davis.

Chandos CHSA 5119 10 Previn, A. Vocalise (1995). Moray Welsh, vc; London SO/André Previn.

DG 471 028-2 5 Mahler, G. Symphony no 4 in G (1900).

Vienna PO/Riccardo Muti.

Radio Nederland transcription 59 Barbara Bonney, sop (2 above) 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm 19:00 FRIDAY JAZZ SESSION with Christopher Waterhouse

Kelly, F. Serenade for flute in E minor, with accompaniment of harp, horn and string orchestra, op 7 (1911). Rebecca Hall, fl; José Garcia Gutiérrez, hn; Malta PO/Michael Laus.

Cameo Classics CC9032CD 20

20:00 EVENINGS WITH THE ORCHESTRA Royal Concertgebouw Prepared by Di Cox

Saint-Saëns, C. Symphony in F, Urbs Roma (1856). French RTO/Jean Martinon.

Brilliant Classics 94360 41

Hindemith, P. Symphonic metamorphosis on themes by Carl Maria von Weber (1943). 22

12:00 A JAZZ HOUR with Barry O’Sullivan

Debussy, C. Danse sacrée et Danse profane (1904). Vera Badings, hp; Bernard Haitink, cond.

Philips 438 742-2 9

Wagner, R. Overture to Rienzi (1840). Mariss Jansons, cond. 12

Franck, C. Symphonic variations (1885).

Jorge Bolet, pf.

Decca 421 714-2 17 Riccardo Chailly, cond (2 above)

Royal Concertgebouw O (all above) 22:00 BAROQUE AND BEFORE The Nuremberg school Prepared by Paul Cooke Hassler, H. Canzon noni toni. Timothy Roberts, org; Iain Simcock, org; His Majestys Sagbutts and Cornetts.

Hyperion CDA66688 5 Pachelbel, J. Canon and gigue. London Baroque.

Harmonia Mundi HMX 2901539 5 Hassler, H. Missa I super Dixit Maria. Vocal Ensemble of La Chapelle Royale/Philippe Herreweghe.

Harmonia Mundi HMC 901401 18 Agrell, J. Sonata in C (c1746). Anna Paradiso, hpd.

BIS BIS-2135 14 Krieger, J. Sonata à 5 in A minor. 7 Pachelbel, J. Magnificat in C. King’s Singers. 20 Charivari Agréable/Kah-Ming Ng (2 above) Signum SIGCD198 Kindermann, E. Sonata no 3 for violin and continuo (pub.1653). Knut Schoch, ten; I Sonatori Ensemble.

Christophorus CHR 77411 4 Agrell, J. Flute concerto in D (c1750). Maria Bania, fl; Concerto Copenhagen/Andrew Manze.

Chandos CHAN 0535 15 Krieger, J.P. Excerpts from The dew gatherers. Amanda Cole, mezz; Neil Heymink, bn; Janet Brewer, hpd.

Move MCD 565 20 Johann Christoph Graupner was a lesser-known contemporary of J.S. Bach and Telemann, and of Handel whom he met in 1705 when they played in the Hamburg Opera Orchestra: Handel as a violinist while Graupner played the harpsichord. Graupner had studied in Leipzig with Johann Kuhnau, Cantor of St Thomas School, and was chosen to succeed him after Telemann refused the offer. When Graupner’s employer would not release him, he recommended Bach for the position.

JULY 2019

37

Saturday 27 July

Sophie-Carmen Eckhardt-Gramatté

At the ball in Venice

0:00 CLASSIC-ALL THROUGH THE NIGHT

11:30 ON PARADE Sousa, J.P. Washington Post (1912). Royal Australian Navy Band/Philip Anderson.

Royal Australian Navy RAN-014 3

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 Chris Blower Brahms, J. Three intermezzi, op 117 (1892).

Hyperion CDA67471/2 16 Hamelin, M-A. Study no 11 in C sharp minor, Minuetto (2009).

Hyperion CDA67789 6 Eckhardt-Gramatté, S-C. Piano sonata no 3 (1924).

Altarus AIR-CD-9052 26

Suite from The dwellers of the Western World (1910). Royal Norwegian Navy Band.

Naxos 8.559396 16 Keith Brion, cond (2 above) 12:00 URBAN JAZZ LOUNGE with Leita Hutchings 13:00 IN A SENTIMENTAL MOOD with Maureen Meers

Marc-André Hamelin, pf (all above)

Nostalgic music and artists from the 30s, 40s and 50s and occasionally beyond, in a trip down many memory lanes

10:00 MUSIC OF THE DANCE Prepared by Frank Morrison

14:00 THE VOICES, THE ROLES Prepared by Angela Cockburn

Strauss, R. Dance of the seven veils, from Salome, op 54 (1905). Vienna PO/André Previn.

DG 437 790-2 10

Kids up to mischief 14:30 SATURDAY MATINEE Operetta in the afternoon Prepared by Elaine Siversen

Bartók, B. Dance suite (1923). Hungarian State SO/Adám Fischer.

Nimbus NI 5309 18

Strauss, J. II A night in Venice. Operetta in three acts. Libretto by Friedrich Zell and Richard Genée. First performed Berlin, 1883.

GUIDO, DUKE OF URBINO: Nicolai Gedda, ten CARAMELLO: Erich Kunz, bar DELACQUA: Karl Donch, bar PAPPACODA: Peter Klein, bar ANNINA: Elisabeth Schwarzkopf, sop CIBOLETTA: Emmy Loose, sop BARBARA: Hanna Ludwig, sop ENRICO: Anton Diffring, voice Philharmonia Ch & O/Otto Ackermann.

EMI/WRC R 05386 1:18

Rachmaninov, S. Oriental dance, op 2 no 2 (1892). Alexander Ivashkin, vc; Ingrid Wahlberg, pf.

Manu 1426 6 Schubert, F. 16 German dances, D783 (1824). Alfred Brendel, pf.

Philips 422 229-2 11 Weber, C.M. Invitation to the dance (1819; arr. Berlioz). Czecho-Slovak RSO/Ondrej Lenard.

Naxos 8.550081 9 Brahms, J. Hungarian dances, nos 2 and 4 to 9 (1868; orch. Breiner). London PO/Marin Alsop.

Naxos 8.570233 23 38

Coronation march, from Tales of a traveller.

Royal Artillery Band.

Naxos 8.559093 6

JULY 2019

Benatzky - Stolz. Excerpts from The White Horse Inn (1936). Rosalind Elias, mezz. 19 Straus, O. Excerpts from The chocolate soldier (1908). Jean Allister, mezz; Rita Williams, voice. 19 Jeanette Scovotti, sop; William Lewis, ten; John Hauxvell, bar; Ch & O/Lehman Engel (2 above) LP Readers Digest/RCA RDS 40 17:00 SYDNEY SCHUBERT SOCIETY Prepared by Ross Hayes Schubert, F. Polonaise in D, D824 no 4, from Six polonaises (1826). Anne Queffélec, Imogen Cooper, pf. apex 0927 49812 2 6 Fischerweise, D881 (1826). Gundula Janowitz, sop; Charles Spencer, pf.

First Hand FHR56 4 String quartet no 15 in G, D887 (1826).

Brandis Quartett.

Nimbus NI 1770 44 18:00 THE MAGIC OF STAGE AND SCREEN Prepared by Paul Cooke Chagrin, F. Suite, from Last holiday (1950; arr. Lane). BBC PO/Rumon Gamba.

Chandos CHAN 10323 14 Gershwin, G. Excerpts from Oh, Kay! (1926).

Allen Case, Barbara Ruick, Jack Cassidy, voices; O/Lehman Engel.

Sony SK 60703 18 Deutsch, A. Northern pursuit (1943; reconstr.

Morgan). Moscow SO/William Stromberg.

Marco Polo 8 225169 21 19:00 FROM THE SCOTTISH HIGHLANDS Prepared by Ray Lemond

Synopsis at finemusicfm.com/Opera

Arnold, M. Four Scottish dances, op 59 (1957). Philharmonia O/Bryden Thomson.

Chandos CHAN 8867 8

Jabuka potpourri no 1 (1894; orch. Pollack).

Slovak State PO/Christian Pollack.

Naxos 8.660216-17 14

Lemmoné, J. Fantasia on Scottish melodies.

Paul Curtis, fl; David Miller, pf.

Tall Poppies TP068 8

Saturday 27 July Beethoven, L. Trinklied, from 25 Scottish songs, op 108 (1818). Dietrich FischerDieskau, bar; Helmut Heller, vn; Irmgard Poppen, vc; Karl Engel, pf.

DG 480 0385 2 Mackenzie, A. Scottish concerto, op 55 (1897). Steven Osborne, pf; BBC Scottish SO/Martyn Brabbins.

Hyperion CDA67023 28 Alwyn, W. Suite of Scottish dances (1946).

Royal Liverpool PO/David Lloyd-Jones.

Naxos 8.570704 8 20:00 THE LIFE OF A COMPOSER Isaac Albéniz Prepared by Madilina Tresca Albéniz, I. Rapsodia española, op 70 (1887).

Melani Mestre, pf; BBC Scottish SO/Martyn Brabbins.

Hyperion CDA67918 13 Asturias. Jacob Wielgosz, domra, gui; Sydney Balalaika O/Victor Serghie. balalaika.com.au 7 Piano concerto no 1 op 78 (1887). Aldo Ciccolini, pf; Royal PO. IMG 1607 25 Suite española, op 47 (1886; orch. Frühbeck de Burgos). Mexico State SO. ASV DCA 888 42 Enrique Batiz, cond (2 above) Celebre serenata española, op 181 (1890; arr. Cassado). Alban Gerhard, vc; Rina Dokshinsky, pf.

EMI 5 73164 2 4

Sunday 28 July 0:00 CLASSIC-ALL THROUGH THE NIGHT 6:00 SUNDAY MORNING MUSIC with David Garrett 9:00 MUSICA SACRA Prepared by Paul Cooke Byrd, W. Mass for three voices (1593-94).

Tallis Scholars/Peter Phillips.

Gimell CDGIM 343/4 18 Diamond, D. Excerpts from Mizmor l’David (1951). Charles Osborne, cantor; Rochester Singers; Aaron Miller, org; Samuel Adler, cond.

Naxos 8.559412 12 Parry, H. Magnificat (1897). Amanda Roocroft, sop; BBC Welsh National Ch & O/ Neeme Jarvi.

Chandos CHAN 10740 24 10:00 THE CLASSICAL ERA Prepared by Krystal Li Albrechtsberger, J. Double concerto in E (1770). Fritz Mayr, Jew’s hp; Dieter Kirsch, mandora; Munich CO/Hans Stadlmair.

Orfeo C 035 821 A 20 Ries, F. La sentinelle with variations in F, op 105 no 1 (pub 1822). Michael Tsalka, fp.

Naxos 8.573628 11 Beethoven, L. Grosse fuge in B flat, op 133 (1826). Goldner String Quartet.

ABC 476 3541 16 Sperger, J. Symphony in C. Musica Aeterna/ Peter Zajicek.

Naxos 8.554764 19

Evocación; Rondeña; Eritaña, from Iberia suite (1905-08; arr.) Trio Campanella.

Naxos 8.557064 17

Hummel, J. Grande sonata, op 37a (1810).

Alison Stephens, mand; Richard Burnett, pf.

Amon Ra SAR 53 18

22:00 SATURDAY NIGHT AT HOME Prepared by Stephen Wilson

Cartellieri, A. Clarinet concerto no 1 in B flat (pub. 1797). Dieter Klöcker, cl; Prague CO. MD+G 301 0527-2 25

Brahms, J. Clarinet quintet in B minor, op 115 (1891). Deborah de Graaff, cl; Georg Pedersen, vc; members of Mozart Piano Quartet.

ABC 472 672-2 35 Canteloube, J. The shepherdess in the fields; Bailèro; Three bourrées, from Songs of the Auvergne, series 1 (1923-30). Kiri Te Kanawa, sop; English CO/Jeffrey Tate.

Decca 478 6419 17 Schubert, F. Impromptu in B flat, D935 no 3 (1827). Mitsuko Uchida, pf.

Philips 475 6282 12 Rodrigo, J. Concierto serenata (1952).

Isabelle Moretti, hp; Seville RSO/Edmon Colomer. naïve V 4815 24 Suk, J. Serenade in E flat for strings, op 6 (1892). Los Angeles CO/Neville Marriner.

Decca 466 459-2 24

12:00 CLASSIC JAZZ AND RAGTIME with John Buchanan 13:00 WORLD MUSIC: Whirled Wide 14:00 FRUIT SALAD Prepared by Jacky Ternisien Bruk, F. Variations on the Karelian folk song Strawberry (1980). Alexander Bruk, pf. 7 Lennon - McCartney. Strawberry Fields forever; Penny Lane. Royal Liverpool PO/Carl Davis.

Carl Davis CDC011 5 Joplin, S. Pineapple rag (1908). Mary Anderson, hp.

Tara Hall TH 1995 4 Satie, E. Trois morceaux en forme de poire (1903). Katia Labèque, Marielle Labèque, pf.

KML 1120 15

Alma Deutscher

Hovhaness, A. The flowering peach, op 125 (c1954). Gail Lehto, cl; Craig Young, sax; Jeanne Norton, hp; Timothy Sivils, perc; Sarah Smith, perc.

Delos DE 3158 15 Sousa, J.P. Peaches and cream foxtrot (1924). Cincinatti Pops O/Erich Kunzel.

CCL CDG1138 4 15:00 SUNDAY SPECIAL Very young composers Prepared by Chris Blower Mozart, W. Flute sonata in B flat, K10 (1764).

Marc Grauwels, fl; Guy Penson, pf.

Hyperion CDA66391 10 Paganini, N. Variazioni sula carmagnola (c1795). Franco Mezzena, vn; Adriano Sebastiani, gui.

Dynamic CDS 03 18 Arriaga, J. Overture to Nonetto, op 1 (c1817). La Capella Reial de Catalunya; Le Concert des Nations/Jordi Savall.

Astrée E 8532 8 Chopin, F. Polonaises: in G minor; in B flat (1817). Anatol Ugorski, pf.

DG 477 8445 7 Korngold, E. Piano trio in D, op 1 (1909).

Beaux Arts Trio.

Philips 434 072-2 33 Deutscher. A. Violin concerto in G minor (2014). Alma Deutscher, vn; Vienna CO/Joji Hattori.

Private recording 33 17:00 HOSANNA Hymn: Be thou my vision. Choir of Westminster Abbey; Martin Baker, org; Martin Neary, cond.

Sony SONYTV49 3 Plainsong: Pater noster. 1 Josquin Desprez. Pater noster. 5 King’s Singers (2 above) Naxos 8.572987 JULY 2019

39

Sunday 28 July

Monday 29 July 0:00 CLASSIC-ALL THROUGH THE NIGHT 3:00 CLASSICAL TILL DAWN 6:00 FINE MUSIC BREAKFAST including Arts Calendar at 7.30am with Robert Small 9:00 DIVERSIONS IN FINE MUSIC A year in retrospect: 1725 Prepared by Rex Burgess Vivaldi, A. Violin concerto in F, RV293, Autumn (pub.

1725). Australian CO/Richard Tognetti, vn & dir.

BIS 2103 11

Franz Schubert

Jiri Belohlavek

Harris, W. Holy is the true light. Choir of St John’s College, Cambridge/Andrew Nethsingha.

Chandos CHAN 10872 2

Schubert, F. String trio in B flat, D581 (1817).

Grumiaux Trio.

Philips 438 700-2 20

Gjeilo, O. Sanctus. Choir of Trinity College, Cambridge/Stephen Layton.

Hyperion CDA67832 5 Bach, J.S. Chorale prelude: Vater unser im Himmelreich, BWV636. Marie-Claire Alain, org.

Erato 2564 69902-8 2 Byrd, W. Vigilate. Voces8.

Signum SIGCD283 3 Miskinis, V. Pater noster. Choir of Trinity College, Cambridge/Stephen Layton.

Hyperion CDA67747 7 Ogden, D. Christ has no body now but yours.

Exultate Singers/David Ogden. 4 Wood, C. Oculi omnium. Choir of St Paul’s Cathedral/John Scott.

Hyperion CDA67087 2 Duruflé, M. Notre Père; Kyrie, from Mass, op 11, Cum jubilo (1966). Choir of Trinity College, Cambridge/Richard Marlow.

Chandos CHAN 10357 5 Farrant, R. Lord, for thy tender mercy’s sake.

Cambridge Singers/John Rutter.

Collegium COLCD 107 2 Tavener, J. The Lord’s prayer. King’s Singers.

Naxos 8.572987 2 Hymn: O Jesus I have promised. Choir of Wells Cathedral; Rupert Gough, org; Malcolm Archer, con.

Hyperion CDP12102 3 Mendelssohn, F. Sonata no 6 in D minor, mvt 1. Stephen Tharp, org.

Naxos 8.553583 6 18:00 SMALL FORCES Prepared by Frank Morrison Bach, J.S. Flute sonata in E minor, BWV1034 (1724). Maxence Larrieu, fl; Rafael Puyana, hpd.

Philips 438 809-2 12 40

JULY 2019

Copland, A. Piano quartet (1950). Cantilena Chamber Players.

Pro Arte CDD 120 22 19:00 SUNDAY NIGHT CONCERT Prepared by Rex Burgess Berlioz, H. Overture: King Lear, op 4 (1831).

Montreal SO/Charles Dutoit.

Decca 452 480-2 14 Janácek, L. Sinfonietta (1926). Czech PO/Jirí Belohlávek.

Chandos CHAN 8897 23 Debussy, C. Khamma (1912; orch. Koechlin 1913). South-West German RSO/Heinz Holliger.

SWR Music 19046 22 Respighi, O. Suite in G (1905). Leslie Pearson, org; Philharmonia O/Geoffrey Simon.

Cala CACD 1007 22 20:30 NEW HORIZONS Prepared by James Nightingale Mazzoli, M. Still life with avalanche (2008).

Eighth Blackbird.

Cedille Records CDR 90000 133 9 Whitwell, S. Breath of kindness (2012).

Moorambilla Voices.

New Music Network 20130715 4 Spirit of the plains (2013). Lamorna Nightingale, fl; Jocelyn Fazzone, pf. www.fluteworthy.com.au 4 Downsized; Winter love. Sally Whitwell, perc, pf; Acacia Quartet.

Fine Music concert recording 11 McIntosh, A. Hyenas in the temples of pleasure (2012-13). Ian Antonio, perc; Russell Greenberg, perc; Laura Berger, pf; Ning Yu, pf.

Populist Records PR0067 19 Adams, J. Violin concerto (1993). Robert McDuffie, vn; Houston SO/Christoph Eschenbach.

Telarc 80484 34 22:00 AFTER HOURS JAZZ

Vinci, L. Un guardo solo ancor, from Il trionfo di Camilla (1725). Roberta Invernizzi, sop; I Turchini/Antonio Florio.

Glossa GCD 922606 8 Boismortier, J. Sonata no 1 in D minor for three flutes and continuo, op 7 (1725).

Sibelius Academy Baroque Ensemble.

Ondine ODE 736-2 14 Handel, G. Sinfonia; Recitativo: Frondi tenere; Aria: Dove sei? from Rodelinda, HWV19 (1725).

Andreas Scholl, ct; Akademie für Alte Musik Berlin.

Harmonia Mundi HMX2908417.24 8 Telemann, G. Oboe d’amore concerto in G, TWVG3 (1725-35). Thomas Stacy, ob d’amore; Toronto CO/Kevin Mallon.

Naxos 8.570735 18 Bach, J.S. Partita no 3 in A minor, BWV827 (1725-31). Rosalyn Tureck, pf.

Philips 456 976-2 21 10:30 CONCERT HALL Prepared by Jacky Ternisien Cimarosa, D. Overture to Il ritorno di Don Calendrino (1778). Alessandro Amoretti, cond.

Naxos 8.570508 9 Beethoven, L. Music for a knightly ballet, WoO1 (1790-91). Béla Drahos, cond.

Naxos 8.553431 13 Nicolaus Esterházy Sinfonia (2 above) Bach, C.P.E. Flute concerto in D minor, Wq22. Aurèle Nicolet, fl; Stuttgart CO/Karl Münchinger.

Decca 460 302-2 26 d’Indy, V. Symphony no 3, op 70 (1916-18).

Iceland SO/Rumon Gamba.

Chandos CHAN 10585 32 12:00 SWING SESSIONS with John Buchanan 13:00 MUSIC OF DULCIE HOLLAND Prepared by Frank Morrison Holland, D. Violin sonata (1937). Asmira Woodward-Page, vn; Scott Davie, pf.

Artworks AW034 15 Three tree songs: Willow; Tree fern; Pines (1991). David Hamilton, ten; Nigel Butterly, pf.

Jade JAD 1044 7

Monday 29 July Three signatures (1992). Mark Bruwel, ob.

Jade JAD 1046 7 Three dances for a new doll (1942). Dulcie Holland, pf.

Jade JAD 1065 7 Saxophone sonata (1954). Margery Smith, sax; Daniel Herscovich, pf.

Tall Poppies TP132 13 Piano trio (1944). Shirin Lim, vn; Claire Oremland, vc; Greg Roberts, pf.

Jade JAD 1027 17 Madcap (1994). Sydney Mandolins.

MBS 34 2 Barely spring (1993). Megan Franklin, fl; Brendan Joyce, vn; Christine Wang, vc; University of Queensland Ensemble/Colin Brumby.

Jade JAD 1045 10 14:30 BAROQUE MASTERS Prepared by David Brett Vivaldi, A. Violin concerto no 1 in D, RV549 (pub.

1711). Europa Galante/Fabio Biondi, vn & dir.

Erato 08256 4619520 6 8 Couperin, F. La sultane (c1696). Lars Frydén, vn; Tullo Galli, vn; Björn Sjögren, va; Bengt Ericson, bass viol; Anders Öhrwall, hpd.

BIS CD-134 8 Purcell, H. Ode for St Cecilia’s Day: Welcome to all the pleasures (1683). Deller Consort; Walter Bergmann, hpd; Kalmar O of London/Alfred Deller.

Vanguard OVC 8027 19 Bach, J.S. Triple concerto in A minor, BWV1044 (1738-40). Angela Hewitt, pf; Australian CO/Richard Tognetti.

Hyperion CDA67607/8 20 Gluck, C. Chè farò senza Euridice? from Orpheus and Eurydice (1762). Janet Baker, mezz; London PO/Raymond Leppard.

Erato 4509-98524-2 5 Telemann, G. Trumpet concerto in D. John Foster, tpt; Australian Baroque Brass; Sydney Consort.

Tubicium Records TR761903 8 Pergolesi, G. Magnificat anima mea Dominum in C. Elizabeth Vaughan, sop; Janet Baker, cont; Ian Partridge, ten; Christopher Keyte, bass; Choir of King’s College Cambridge; Academy of St Martin in the Fields/David Willcocks.

Decca 443 868-2 12 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm

Tuesday 30 July 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 Satie, E. Trois morceaux en forme de poire (1903). Katia Labèque, Marielle Labèque, pf.

KML 1120 15 Hummel, J. Theme and variations. Josef Hanic, ob; David Miller, pf.

Fine Music tape archive 10 Mahler, G. Songs of a wayfarer. Janet Baker, mezz; Geoffrey Parsons, pf.

Hyperion CDA66100 16 Dohnányi, E. Suite in the old style, op 24 (1913). Martin Roscoe, pf.

ASV DCA 915 17 Tailleferre, G. Hommage à Rameau (1964).

Aldo Orvieto, pf; Renato Maioli, pf; Támmitam Percussion Ensemble/Guido Facchin.

Dynamic CDS 97 10 Alkan, C-V. Le chemin de fer, op 27 (1844).

Idil Biret, pf.

Naxos 8.571288 7

Mozart, W. 12 Variations in C on Ah vous dirai-je, Maman, K265 (1781-82). Lívía Rév, pf.

Hyperion CDA66185 9 Quilter, R. A childrens overture, op 17 (1914).

Light Music Society O/Vivian Dunn.

EMI 7 64131 2 11 Françaix, J. 15 Portraits of children (c1980).

Toulouse National CO/Alain Moglia.

Pierre Verany PV794103 19 Mendelssohn, F. Pieces for children, op 72 (1842). Daniel Barenboim, pf.

DG 453 061-2 8 14:30 FEATURING THE NASH Prepared by Chris Blower Dvorák, A. Serenade in D minor, op 44 (1878).

CRD 3410 26 Saint-Saëns, C. Piano quintet in A minor, op 14 (1855). Ian Brown, pf.

Hyperion CDA67431/2 31 Spohr, L. Octet in E flat for winds and strings, op 32 (1814). crd 3354 27 Nash Ensemble (3 above)

Song of the mad woman by the seashore, from Five preludes, op 31 no 8 (1847).

Stephanie McCallum, pf.

Tall Poppies TP081 4

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

10:30 CONCERT HALL Prepared by James Nightingale

20:00 RECENT RELEASES

Rimsky-Korsakov, N. Suite from The tale of Tsar Saltan, op 57 (1903). Philharmonia O/ Vladimir Ashkenazy.

Decca 478 5616 19 Vine, C. Oboe concerto (1996). Diana Doherty, ob; Tasmanian SO/Ola Rudner.

ABC 476 226-7 17 Skryabin, A. Symphony no 2 in C minor, op 29 (1902). Patrick Addinall, tpt; BBC PO/ Vassily Sinaisky.

BBC Music MM 218 45 12:00 JAZZ RHYTHM with Jeannie McInnes 13:00 CHILDREN’S CORNER Prepared by Jacky Ternisien

19:00 JAZZ PULSE with Chris Wetherall

Elgar, E. Dream children, op 43 (1902).

Welsh National Opera O/Charles Mackerras.

Argo 433 214-2 7

20:00 STORMY MONDAY with Austin Harrison and Garth Sundberg

Bizet, G. Children’s games, op 22 (1871).

Marylène Dosse, Annie Petit, pf.

Pantheon D 10699 19

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

6 and 18 (1984; arr Stewart). Nicholas Russoniello, sax; Acacia Quartet. www.nickrussoniello.com.au 6

Corea, C. Children’s songs suite: nos 7,

19:00 THE JAZZ BEAT with Lloyd Capps 22:00 CHAMBER SOIRÉE Prepared by Rex Burgess Biber, H. Sonata I (pub. 1681). Romanesca.

Harmonia Mundi HMU 907134.35 11 Westhoff, J. Violin sonata in A, La guerra (pub. 1682). Reinhard Goebel, vn; Jaap ter Linden, bass viol; Konrad Junghänel, theorbo; Henk Bouman, hpd.

Archiv 437 089-2 12 Haydn, J. String quartet in C, op 33 no 3, Bird (1781). Salomon Quartet.

Hyperion CDA66681 22 Mozart, W. Horn quintet in E flat, K407 (1782). Anneke Scott, hn; Ironwood.

ABC 481 1244 20 Saint-Saëns, C. Septet in E flat for trumpet, double bass, string quartet and piano, op 65 (1881). Nash Ensemble.

Hyperion CDA67431/2 17 Brahms, J. String quintet no 1 in F, op 88 (1882). Norbert Brainin, vn; Siegmund Nissel, vn; Peter Schidlof, va; Cecil Aronowitz, va; Martin Lovett, vc.

DG 419 875-2 26 JULY 2019

41

Wednesday 31 July 16:00 FINE MUSIC DRIVE including Arts Calendar at 5.00pm 19:00 JAZZ STARS AND STRIPES with Peter Mitchell

Robert Aitken

Sigiswald Kuijken

0:00 CONTEMPORARY COLLECTIVE

Berwald, F. Symphony no 4 in E flat (1845).

Swedish RSO/Roy Goodman.

Hyperion CDA67081/2 27

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 Inspiration from literature Prepared by James Nightingale Wagner, R. Overture to The flying Dutchman (1841). Chicago SO/Daniel Barenboim.

Teldec 4509-99595-2 11 Liszt, F. The Lorelei (1861). Tamara Anna Cislowska, pf.

ABC 476 6301 7 Caldara, A. Cantata: I shall see a sea without waves. Max Emanuel Cencic, ct; Ornamente 99/Karsten Erik Ose. Capriccio 67 124 11

13:00 HAPPY HOUR Bax, A. The happy forest (1914; orch. 1922).

BBC PO/Vernon Handley.

Chandos CHAN 10446 10 Grainger, P. The merry king (1905-6). MarcAndré Hamelin, pf.

Hyperion CDA66884 4 Strauss, R. Sonatina no 2 in E flat, The happy workshop (1944-45). Netherlands Wind Ensemble/Edo de Waart.

Philips 438 733-2 40 14:00 IN CONVERSATION with Michael Morton-Evans

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

Marco Polo 8.223288 10

15:00 HAYDN EXPLORED Part 5 Prepared by Michael Morton-Evans

Bantock, G. Caristiona, Hebridean sea poem (1916). Royal PO/Vernon Handley.

Hyperion CDA67250 10

Haydn, J. Kyrie, from Missa in angustiis, Hob.XXII:11, Nelson Mass (1798). Trinity Choir; Rebel Baroque O/J. Owen Burdick.

Naxos 8.572123 4

Reinecke, C. Flute sonata, op 167, Undine (c1885). Robert Aitken, fl; Robin McCabe, pf.

BIS CD-183 20 Barber, S. Dover Beach, op 3 (1931). Teddy Tahu Rhodes, bass-bar; Australian String Quartet.

ABC 476 4363 10 10:30 CONCERT HALL Prepared by Denis Patterson Prokofiev, S. Russian overture, op 72 (1936).

USSR Ministry of Culture SO/Gennady Rozhdestvensky.

Melodiya 10-00205 14 Rubinstein, A. Piano concerto no 1 in E, op 25 (1850). Joseph Banowetz, pf; CzechoSlovak State PO/Alfred Walter.

Marco Polo 8.223456 38 42

12:00 JAZZ SKETCHES with Robert Vale

JULY 2019

Alone and pensive, Hob.XXIVb:20 (1798).

Sara Macliver, sop; Tasmanian SO/Ola Rudner.

ABC 472 447-2 7 Strathallen’s lament, Hob.XXX1a:145bis (1801); The blathrie o’t, Hob. XXX1a:162 (1800). Lorna Anderson, sop; Jamie MacDougall, ten; Haydn Trio Eisenstadt.

Brilliant Classics 92542 6 Missa brevis in F, Hob.XXII:1 (1749/1805).

Ann Hoyt, sop; Julie Liston, sop; Richard Lippold, bass; Trinity Choir; Rebel Baroque O/J. Owen Burdick.

Naxos 8.572127 12 String quartet in C, Hob.III:77, Emperor (1797). Amadeus Quartet.

DG 410 866-2 25

20:00 AT THE OPERA Opera oscura: Haydn’s shift to the stage Haydn, J. L’Infedeltà delusa, Hob.XXVIII:5.

Burletta per musica in two acts. Libretto by Marco Coltellini. First performed Esterházy, July 1773.

VESPINA: Nancy Argenta, sop SANDRINA: Lena Lootens, sop FILIPPO: Christoph Prégardien, ten NENCIO: Markus Schäfer, ten NANNI: Stephen Varcoe, bass La Petite Bande/Sigiswald Kuijken.

Harmonia Mundi RD 77099 2:00 Synopsis at finemusicfm.com/Opera Krumpholtz, J-B. Duo in F, op 7 no 1.

Marielle Nordmann, hp; Brigitte Haudebourg, fp.

Arion ARN 68285 7 Haydn, J. Tergi e vezzosi rai, from Acide, Hob.XXVIII:1 (1762/73). Ivan Páley, bar; Haydn Sinfonietta Vienna/Manfred Huss.

BIS SACD-1812 6 22:30 HOME GROWN Prepared by Chris Blower Foster, G. Fantasy for piano and orchestra: Anastasia, from The pearl of Dubai suite (2010-11). Mira Yevtich, pf; Novaya Rossia SO/Zaurbek Gugkaev.

Quartz QTZ 2091 25 Terracini, P. Gegensätze (2010). Sydney Brass/Paul Terracini.

Tall Poppies TP224 8 Glanville-Hicks, P. Etruscan concerto (1954).

Keith Jarrett, pf; Brooklyn PO/Dennis Russell Davies.

MusicMasters 01612-67089-2 14 Brandman, M. Adagio for strings. Moravian PO/Petr Vronský.

Navona Records NV6041 5 Hindson, M. Violin concerto. Lara St John, vn; Royal PO/Sarah Ioannides.

Ancalagon ANC 133 29 The spell of the Mediterranean was a powerful influence on the music of Peggy Glanville-Hicks during the years that she lived in Greece after leaving the United States and before returning to Australia. Her fascination with its ancient civilisation and legends inspired her opera Sappho and the Etruscan concerto. The concerto has been described as having ‘finely etched and richly coloured scenes of ancient life’.

The following composers have works of at least five minutes on the July dates listed Abel, C. 1723-1787 18 Adams, J. b1947 28 Adès, T. b1971 18 Agrell, J. 1701-1765 26 Akutagawa, Y. 1925-1989 26 Albéniz, I. 1860-1909 6,12,13,27 Albinoni, T. 1671-1751 9 Albrechtsberger, J. 1736-1809 28 Alfvén, H. 1872-1960 4 Alkan, C-V. 1813-1888 2,30 Alwyn, W. 1905-1985 21,27 Arensky, A. 1861-1906 18,21 Armstrong, C. b1959 24 Arnold, M. 1921-2006 8,27 Arriaga, J. 1806-1826 1,6,12,13,28 Avison, C. 1709-1770 5 Bach, C.P.E. 1714-1788 6,12,18,21,29 Bach, J. Christian 1735-1782 3,9 Bach, J.S. 1685-1750 5,7,9,11,13,16,18,23,28,29 Baguer, C. 1768-1808 12 Bainton, E. 1880-1956 23 Bairstow, E. 1874-1946 21 Balfe, M. 1808-1870 22 Bantock, G. 1868-1946 31 Barber, S. 1910-1981 31 Barbieri, F. 1823-1894 13 Bartók, B. 1881-1945 10,27 Bax, A. 1883-1953 4,11,31 Beach, A. 1867-1944 5,23 Beethoven, L. 1770-1827 1,2,5,7,8,9,14,16,18,19,20,23, 25,26,28,29 Benda, F. 1709-1786 12 Benda, G. 1722-1795 7 Benjamin, A. 1893-1960 9 Bennett, Richard. 1936-2012 19 Bennett, W. Sterndale 1816-1875 12 Berlin, I. 1888-1989 13 Berlioz, H. 1803-1869 2,4,10,28 Bernstein, L. 1918-1990 26 Berwald, F. 1796-1868 2,16,31 Biber, H. 1644-1704 30 Bizet, G. 1838-1875 10,17,30 Bloch, E. 1880-1959 25,31 Boccalari, E. 1859-1921 6 Boccherini, L. 1743-1805 2,3,4,6,21,25 Bochsa, N. 1789-1856 9 Boismortier, J. de 1689-1755 11,29 Borodin, A. 1833-1887 25 Bottesini, G. 1821-1889 16 Boulez, P. 1925-2016 26 Brahms, J. 1833-1897 2,5,7,14,16,17,19,25,27,30 Brandman, M. b1951 31 Braun, J. 18th c 18 Bretón, T. 1859-1923 6,13 Bridge, F. 1879-1941 4,20 Britten, B. 1913-1976 4,7 Bruch, M. 1838-1920 25

Bruckner, A. 1824-1896 21 Bruk, F. 20th c 28 Busoni, F. 1866-1924 11,14 Butterworth, G. 1885-1916 17 Byrd, W. 1543-1623 7,28 Caldara, A. c1670-1736 21,31 Canteloube, J. 1879-1957 27 Carissimi, G. 1605-1674 21 Cartellieri, A. 1772-1807 28 Carter, E. 1908-2012 18 Casella, A. 1883-1959 19 Cassadó, G. 1896-1966 20 Castelnuovo-Tedesco, M. 1895-1968 7 Chabrier, E. 1841-1894 7,18,22 Chadwick, G. 1854-1931 5 Chagrin, F. 1905-1972 27 Chaminade, C. 1857-1944 11 Charpentier, M-A. 1635-1704 10 Chausson, E. 1855-1899 20 Chopin, F. 1810-1849 2,3,7,8,11,22,28 Cimarosa, D. 1749-1801 29 Clementi, M. 1752-1832 9,10,11,14 Coleridge-Taylor, S. 1875-1912 7 Cooke, A. 1906-2005 1 Copland, A. 1900-1990 5,28 Corea, C. b1941 30 Corrette, M. 1709-1795 14,16 Couperin, F. 1668-1733 29

Françaix, J. 1912-1997 30 Franck, C. 1822-1890 26 Frescobaldi, G. 1583-1643 18 Fucik, J. 1872-1916 25 Gade, N. 1817-1890 9 Galuppi, B. 1706-1785 16 Gaubert, P. 1879-1941 14 Geminiani, F. 1687-1762 19 Gerhard, R. 1896-1970 20 German, E. 1862-1936 7,15 Gershwin, G. 1898-1937 1,5,15,27 Gillingham, D. b1974 13 Giménez, J. 1854-1923 20 Glanville-Hicks, P. 1912-1990 25,31 Glazunov, A. 1865-1936 25 Glière, R. 1875-1976 25 Glinka, M. 1804-1857 8,16,25 Godard, B. 1849-1895 25 Goossens, E. 1893-1962 26 Gottschalk, L. 1829-1869 5,26 Grainger, P. 1882-1961 26 Granados, E. 1867-1916 6,20 Graun, J. 1702-1771 12 Graupner, C. 1683-1760 18,26 Grieg, E. 1843-1907 23,25 Guridi, J. 1886-1961 6,13

Kodàly, Z. 1882-1967 3 Koechlin, C. 1867-1950 17,18 Koehne, G. b1956 6 Korngold, E. 1897-1957 6,28 Kraus, J.M. 1756-1792 21 Krieger, J. 1652-1735 26 Krieger, J.P. 1649-1725 26 Krommer, F. 1759-1831 21 Krumpholtz, J-B. 1742-1790 5,7,31 Kuhlau, F. 1786-1832 8 Kuhnau, J. 1660-1722 7 Lalliet, T. 1837-1892 10,17 Lalo, E. 1823-1892 24 Langgaard, R. 1893-1962 4 Langgaard, S. 1852-1914 4 Lauridsen, M. b1943 14 Lawes, W. 1602-1645 18,19 Leclair, J-M. 1697-1764 9 Lemmoné, J. 1862-1949 27 Liszt, F. 1811-1886 5,22,25,31 Lovelock, W. 1899-1986 23 Lovett, A. 20th c 21 Luigini, A. 1850-1906 6 Lully, J-B. 1632-1687 14,21 Lyadov, A. 1855-1914 22 Lyapunov, S. 1859-1924 13

Mackenzie, A. 1847-1935 27 Madetoja, L. 1887-1947 7 Hamelin, M-A. b1961 27 Magnard, A. 1865-1914 21 Handel, G. 1685-1759 Mahler, G. 1860-1911 9,19,29 18,20,26,30 Hasse, J. 1699-1783 12,17 Martinez-Parada, V. b1947 9 Hassler, H. 1562-1612 26 Martinu, B. 1890-1959 21 Haydn, J. 1732-1809 Massenet, J. 1842-1912 10 d’Haudimont, J. 1751-1793 8 3,8,9,10,14,17,21,24,30,31 Masson, A. b1953 14 d’Indy, V. 1851-1931 7,29 Haydn, M. 1737-1806 14,17 Maurice, P. 1910-1967 14 Danzi, F. 1763-1826 14,23 Heinichen, J. 1683-1729 19 Mazzoli, M. b1980 28 Dauprat, L. 1781-1861 11 Herman, J. b1932 13 McIntosh, A. 20th c 28 David, Ferdinand.

Herrmann, B. 1911-1975 8 Meale, R. 1932-2009 1 1810-1873 11 Herzogenberg, H. 1843Mendelssohn, F. 1809-1847 Debussy, C. 1862-1918 1900 23 1,3,5,7,11,16,17,18,28,30 2,4,7,15,22,26,28 Hiller, F. 1811-1885 22 Mendelssohn, Fanny.

Delius, F. 1862-1934 11,15,20 Hindemith, P. 1895-1963 26 1805-1847 22 Deutsch, A. 1897-1980 27 Hindson, M. b1968 31 Messiaen, O. 1908-1992 19 Deutscher. A. b2005 28 Hoffmann, E. 1776-1823 17 Milhaud, D. 1892-1974 15,24 Diamond, D. 1915-2005 28 Hoffmeister, F. 1754-1812 3 Miskinis, V. b1954 28 Dieupart, C. c1667-c1740 18 Holland, D. 1913-2000 29 Mompou, F. 1893-1987 15 Dohnányi, E. 1877-1960 Holst, G. 1874-1934 Moniuszko, S. 1819-1872 2,4,8,30 18,21,24,25 16,19 Donizetti, G. 1797-1848 3,19 Honegger, A. 1892-1955 15 Moscheles, I. 1794-1870 8 Dreyfus, G. b1928 23 Hotteterre, J-M. 1674-1763 18 Mozart, W. 1756-1791 Dupré, M. 1886-1971 21 Hovhaness, A. 1911-2000 1,2,4,5,10,11,12,13,16,19,21, Dussek, J. 1760-1812 4,7 5,28 22,23,25,26,28,30 Dvorák, A. 1841-1904 Howells, H. 1892-1983 21 Mussorgsky, M. 1839-1881 13 13,14,15,16,30 Hummel, J. 1778-1837 Myaskovsky, N. 1881-1950 2 1,21,28,30 Myslivecek, J. 1737-1781 7 Eckhardt-Gramatté, S-C. Humperdinck, E. 1854-1921 1899-1974 27 Napoleão, A. 1843-1925 22 15 Elgar, E. 1857-1934 16,30 Nathan, I. 1790-1864 23 Hyde, M. 1913-2005 23 Ellington, D. 1899-1974 20 Nielsen, C. 1865-1931 9,25 Enescu, G. 1881-1955 7 Iturralde, P. b1929 13 Norgard, P. b1932 14 Falla, M. de 1876-1946 Janácek, L. 1854-1928 28 Offenbach, J. 1819-1880 1 6,12,22 Josquin Desprez.

Farnaby, G. c1563-1640 9 c1440-1521 7 Pachelbel, J. 1653-1706 26 Farrenc, L. 1804-1875 23 Kabalevsky, D. 1904-1987 23 Paganini, N. 1782-1840 Fasch, J. 1688-1758 7 Kajanus, R. 1856-1933 11 1,7,8,13,18,19,28 Fauré, G. 1845-1924 14 Kálmán, E. 1882-1953 13 Palomo, L. b1938 20 Fibich, Z. 1850-1900 16 Kats-Chernin, E. b1957 15,16 Paniagua, G. 20th c 20 Foster, G. b1945 31 Kelly, F. 1881-1916 26 Parry, H. 1848-1918 28

Parsons, R. c1530-1570 14 Pergolesi, G. 1710-1736 14,19,29 Petit, J-C. b1943 24 Piazzolla, A. 1922-1992 12,15 Pichl, V. 1741-1805 7 Platti, G. 1700-1763 26 Pleyel, I. 1757-1831 14 Ponchielli, A. 1834-1886 10,25 Poulenc, F. 1899-1963 15,21 Prokofiev, S. 1891-1953 10,11,13,15,16,20,21,23,25,31 Purcell, H. 1659-1695 5,19,25,26,29 Puts, K. b1972 13 Quantz, J. 1697-1773 12 Quilter, R. 1877-1953 30 Rachmaninov, S. 1873-1943 6,23,27 Raff, J. 1822-1882 5 Rameau, J-P. 1683-1764 10,11,18 Ravel, M. 1875-1937 5,7,8,9,22 Reicha, A. 1770-1836 21 Reinecke, C. 1824-1910 7,31 Respighi, O. 1879-1936 12,17,19,23,28 Richter, F. 1709-1789 23 Ries, F. 1784-1838 28 Rimsky-Korsakov, N. 1844-1908 9,10,12,13,30 Rodrigo, J. 1901-1999 6,12,20,27 Rosenmüller, J. c1619-1684 6 Rosetti, F. 1746-1792 5,17 Rossini, G. 1792-1868 2,12,14,19,24,26 Rózsa, M. 1907-1995 13 Rubbra, E. 1901-1986 25 Rubinstein, A. 1829-1894 31

Sperger, J. 1750-1812 28 Spohr, L. 1784-1859 3,8,11,19,30 Stanford, C. Villiers 1852-1924 3,10,20 Straus, O. 1870-1954 27 Strauss, J. II 1825-1899 4,6,27 Strauss, R. 1864-1949 11,27,31 Stravinsky, I. 1882-1971 11,19,24 Suk, J. 1874-1935 2,27 Sullivan, A. 1842-1900 7 Svendsen, J. 1840-1911 1 Swayne, G. b1946 25 Szymanowski, K. 1882-1937 10,17 Tailleferre, G. 1892-1983 30 Takemitsu, T. 1930-1996 7 Tchaikovsky, B. 1925-1996 4 Tchaikovsky, P. 1840-1893 2,4,15,26 Telemann, G. 1681-1767 1,4,29 Terracini, P. b1957 31 Thuille, L. 1861-1907 23 Tippett, M. 1905-1998 6 Torke, M. b 1961 4 Tórroba, F. Moreno 1891-1982 13 Turina, J. 1882-1949 6,20,23 Tyberg, M. 1893-1944 19

Vachon, P. 1731-1803 17 Vangelis. b1943 21 Vaughan Williams, R. 1872-1958 4,24 Verdi, G. 1813-1901 19 Vieuxtemps, H. 1820-1881 19,22 Vinci, L. 1690-1730 29 Vine, C. b1954 18,30 Saint-Georges, J. 1739-1799 Viotti, G. 1755-1824 11 14 Vivaldi, A. 1678-1741 Saint-Saëns, C. 1835-1921 19,26,29 3,19,21,25,26,30 Vorisek, J. 1791-1825 7 Sarasate, P. de 1844-1908 6,16 Wagenaar, J. 1894-1971 24 Satie, E. 1866-1925 Wagner, R. 1813-1883 4,12,14,28,30 4,12,24,25,26,31 Scarlatti, D. 1685-1757 13,24 Weber, C.M. 1786-1826 7,27 Scharwenka, X. 1850-1924 3 Weill, K. 1900-1950 4 Schmitt, F. 1870-1958 1,10 Weiner, L. 1885-1960 13 Schreker, F. 1878-1934 22 Werner, G. 1693-1766 18 Schubert, F. 1797-1828 Wesley-Smith, M. b1945 18 1,2,4,5,6,8,9,11,12,18,20,23, Westhoff, J. 1656-1705 30 27,28 Westlake, N. b1958 14 Schumann, C. 1819-1896 6 Willcocks, D. 1919-2015 14 Schumann, R. 1810-1856 Wranitzky, P. 1756-1808 21 2,6,8,13,16,20,22 Xenakis, I. 1922-2001 7 Seixas, C. 1704-1742 24 Séjan, L. 1745-1819 2 Yoshimatsu, T. b1953 14 Serebrier, J. b 1938 18 Youmans, V. 1898-1946 13 Servais, A-F. 1807-1866 12 Zemlinsky, A. 1871-1942 20 Sibelius, J. 1865-1957 4,7,9,11,16,18 Simpson, R. 1921-1997 12 Sitsky, L. b1934 23 Skryabin, A. 1872-1915 13,15,30 Sor, F. 1778-1839 11,25

Key Music duration is shown after the record and citation Orchestra Ch & O: Chorus & RTO: Radio & Television Orchestra CO: Chamber Orchestra Orchestra RTV SO: Radio and FO: Festival Orchestra Television Symphony NO: National Orchestra NSO: National Symphony Orchestra SO: Symphony Orchestra Orchestra PO: Philharmonic Orchestra TO: Theatre Orchestra alto: male alto RO: Radio Orchestra ban: bandoneon RSO: Radio Symphony

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

WHAT’S ON IN MUSIC AWO SIX Tuesday 30 July, 7.30pm for one night only!

City Recital Hall, Angel Place, Sydney Bookings: www.cityrecitalhall.com.au or phone the Box Office on 02 8256 2222 Standard tickets from $79 to $149 The AWO Six is an all-star chamber ensemble made up of six of the world’s finest string players who perform with the Australian World Orchestra.

Natalie Chee, violin (First Concertmaster, SWR Symphony Orchestra, Stuttgart) Daniel Dodds, violin (Leader and Artistic Director, Festival Strings Lucerne) Tahlia Petrosian, viola (Gewandhaus Orchestra, Leipzig) Andra Darzins, viola (University of Music, Stuttgart) David Berlin, cello (Principal Cello, Melbourne Symphony Orchestra) Julian Thompson, cello (Australian Chamber Orchestra) The AWO Six will perform Mendelssohn’s richly melodic and haunting String quintet no 2 in B flat major and Brahms’ expression of unrequited love for the soprano Agathe von Siebold through his String sextet in G major for an unforgettable night of intimate chamber music.

MUSICA VIVA COFFEE CONCERTS

The third concert of the Musica Viva 2019 Coffee Concert Series will feature leading Australian pianist Auro Go, one of Musica Viva’s 2018-2019 FutureMakers.

Aura Go, piano Wednesday 10 July 2019, 11am The Concourse, Chatswood

The FutureMakers initiative aims to develop Australia’s young artistic leaders, and with a promising international career as a soloist, chamber musician and conductor, Aura Go was a clear choice for the program.

Avoid booking fees and book at www. musicaviva.com.au or phone 1800 688 482 (M-F, 9am-5pm AEDT). Buy single tickets or subscribe to as few as three concerts for great savings and seats.

Beethoven’s mighty Sonata no 17 in D minor, known as The Tempest, is a piece full of tragedy and power. It lies at the heart of Aura’s concert program, following her dazzling display of technique in Bach’s Toccata in D major, BWV912. Two icy miniatures by the Finnish composer Erkki Melartin then set the stage for Debussy’s L’îsle joyeuse (Joyous island), one of his most characterful creations.

Complimentary morning tea will be served at 10am in the concert hall foyer.

Dixon Advisory is a proud sponsor of Musica Viva Coffee Concerts.

ENJOY, LEARN, DISCUSS Making it Real Presenter: Angela Cockburn Fine Music Centre 72-76 Chandos St, St Leonards Sunday 21 July, 2.30pm Bookings: finemusicfm.com/ELD or 9439 4777 Tickets: $15 general or $5 for Fine Music subscribers and volunteers You are invited to stay for light refreshments after the talk.

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Some vocal performances are just technically beautiful and are applauded for their excellence, while other vocal performances move us to tears of laughter. This effect sometimes comes even though the work is less well sung. What causes this different reaction?

We will explore the elements of performances that really make a difference, and illustrate with entertaining examples from opera, operetta and song.

HEROES AND HEROINES LAURA-JAY MATHISON EXAMINES COURAGEOUS ACTS Opera is filled with heroes and heroines who find themselves in situations that push them to emotional extremes.

From the Baroque to modern times, many opera characters have demonstrated heroism and courage in the most dire and dramatic of circumstances.

The link between the operas in this month’s Scene from Poliuto theme of Heroes and Heroines is the courage of those who are prepared to meet death for the noblest of reasons.

Nothing could be more noble than martyrdom which, along with religious persecution, is the theme of Gaetano Donizetti’s Poliuto (1838). Set in Roman Armenia during the reign of the Roman Emperor Decius (249 to 251AD), the opera tells the story of Poliuto, an Armenian nobleman who secretly converts to Christianity, which under the new Roman laws is punishable by death. His wife Paolina, suspecting his interest in the new faith, follows him to the Christians’ secret meeting place, where she is moved by the sincerity of the worshippers as they pray for their persecutors.

When Nearco, the leader of the Armenian Christians, is captured Poliuto, in order to save him, reveals his conversion to Christianity.

While in prison he is visited by Paolina who tries to persuade him to give up his faith.

When he refuses, she begs to be allowed to convert to Christianity. They both join the other Christians as they are led to their execution.

Amilcare Ponchielli’s four-act extravaganza, La Gioconda (1876), is full of murder, lust and intrigue. La Gioconda is in love with the exiled nobleman, Enzo, who has returned to Venice in disguise because of his love for Laura, the wife of Alvise. The spy, Barnaba, jealous of Gioconda’s love for Enzo, accuses Gioconda’s mother of being a witch but she is saved by Laura. When Barnaba tells Alvise of Enzo’s love for Laura, Alvise orders Laura to take poison. In gratitude to her mother’s protector, Gioconda substitutes a sleeping potion so that Laura appears to be dead. In a selfless act, Gioconda takes Laura to her home where Enzo is waiting and gives the woman he loves to the man that she herself loves. They escape as Barnaba arrives to claim Gioconda but she chooses death and stabs herself.

of the people. The nobles rebelled against the people’s power and, although Rienzi was at first magnanimous, he was forced by events to crush the rebellion. However, popular opinion changed and even the Church, which had urged him to assert himself, turned against him.

Such acts of courage were not limited to operas of the Romantic era. Johann Adolph Hasse’s Siroe (1733), is one such example.

The libretto, by the famed Pietro Metastasio, was also set by Hasse’s contemporaries Antonio Vivaldi and George Frideric Handel.

Siroe, the eldest son of King Cosroe of Persia, warns his father of a plot against his life. The King orders Siroe to reveal the names of the conspirators (who include Siroe’s younger brother Medarse) or be put to death. Siroe chooses to die rather than reveal their names.

The King announces that the throne will pass over Siroe and go to Medarse. Eventually Siroe is declared innocent of any intrigue and released. When the citizens storm the palace, Siroe comes to his father’s aid. Cosroe yields the crown to Siroe, who becomes the new king.

Rienzi, the last of the tribunes is an early opera by Richard Wagner. First performed in 1842 in Dresden, it was his first success. The opera, set in Rome, is based on the true story of the life of Cola di Rienzi (1313-1354) who defeated the power of the nobles and their followers and succeeded in raising the power

In the opera a member of the noble family Orsini attempts to abduct Rienzi’s sister Irene but is prevented by Adriano Colonna who loves Irene. Rienzi’s brother has been murdered by a member of the Colonna family. Wishing to atone for this, Adrianno supports Rienzi in his stand against the power of the noble families.

The Orsinis and Colonnas decide that Rienzi has to die and in the ensuing battle between the nobles and the people led by Rienzi, Adrianno’s father, Steffano, is killed. Adriano swears vengeance on Rienzi and turns the populace against him.

When a revolt breaks out Rienzi and Irene take refuge in the Capitol. In his prayer Allmächt‘ger Vater (Almighty Father), Rienzi asserts his faith in the people of Rome. Rienzi lures Irene to seek safety but she refuses, choosing instead to remain with her brother despite the obvious dangers. Rienzi’s attempts to speak are met with stones and insults from the fickle crowd who set fire to the Captiol. Adriano, attempting to rescue Rienzi and Irene, is killed with them as the building collapses.

In the original performances, Rienzi’s final words are bitter and pessimistic, cursing the town. However, for later performances Wagner substituted more uplifting and heroic words: “Ever while the seven hills of Rome remain, ever while the eternal city stands, you will see Rienzi’s return!”.

These four operas will be broadcast this month on Wednesdays 3, 10, 17, 24 July at 8pm.

Rienzi vowing to obtain justice for the death of his brother by William Holman Hunt JULY 2019

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CD REVIEWS ANDRIÁN PERTOUT: LUZ MERIDIONAL Michael Kieran Harvey, piano Move MD 3435

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Chilean-born Andrián Pertout is a Melbourneresident composer and writer on music. His Luz meridional was commissioned by Julian Burnside, human rights advocate and patron of the arts, and composed for Michael Kieran Harvey, pianist and promoter of contemporary Australian music. The work as a whole is a homage to the American experimental composer, pianist and theorist Henry Cowell, and has been praised as ‘one of the most important piano compositions ever written by an Australian composer’.

Luz meridional translates as ‘southern light’ and each of the 24 études incorporates a musical quotation from an Australian composer sourced from the State Library of Victoria’s Australian manuscripts collection. The quotations are transformed beyond recognition in various ways, ranging from the familiar to the frankly esoteric: ornamentation and serialism through to de

WHAT IF A DAY OR A MONTH OR A YEAR

Gerald English, tenor; Sharyn Wicks, viola da gamba; Jonathan Rubin, lute Move MD 3151

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Flourishing mostly in England and France, lute songs are a style of music from the late 16th to the early 17th centuries. Usually in strophic form, they were written mostly for a solo voice with instrumental accompaniment, normally the lute, although occasionally with the bass viol or other stringed instruments.

Gerald English was a leading exponent of this genre, a versatile and much-admired British tenor who also spent considerable time in Australia. He died in February of this year aged 93, prompting the re-release of this disc as a tribute to a consummate artist. Recorded in 1979 when English was at the peak of his career, the music on this recording was originally intended for an LP, although this never eventuated. The original tapes have been recovered, digitally remastered, and issued as a CD on the now 50-year old Australian label, Move.

CLOCK RADIO

Michael Davidson, vibraphone Daniel Fortin, bass Elastic Recordings ER001

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This recording advances ideas first explored on the Gary Burton and Steve Swallow 1975 ECM Album Hotel Hello. Michael Davidson is a highly creative and technically proficient vibraphonist from Toronto, Ontario, while bassist Daniel Fortin was born and raised in Peterborough, Ontario, and has a variety of musical genres in his focus. After listening to this album, it comes as no surprise that both have been playing together for over a decade.

The rapport is evident, especially when the line of composition is crossed and improvisation takes hold. Fortin often uses the ideal dronal qualities of the bass to lay a bed of tension against Davidson’s rapid-fire hammering in highly melodic passages.

Time is malleable in this most intimate of musical dialogues, where the art of listening is just as important as the creation of sound.

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Bruijn sequences and true random number generators.

The composers to whom homage is paid range chronologically from Grainger to Humble, and the études are mostly fairly short, displaying a wide range of moods and styles: the Agnew features dreamy ostinatos, the Benjamin, perpetual motion. While the work has been compared to Larry Sitsky and Richard Meale for its ‘intellectual approach, musical insight and sheer joy’, I feel that while it is fascinating listening to it, it doesn’t quite break free from its mathematical parameters: there is no sense of the exultation to be found in, for example, parts of Messiaen’s Vingt regards.

An accompanying disc contains generous biographies of the featured Australian composers which I hope will encourage listeners to seek them out.

Paul Cooke The result is a pleasing 63-minute collection of songs by leading English composers of the period: Dowland, Campion, Robert Jones and others, together with a nicely spaced selection of instrumental ayres by Holborne, Cutting and others including the ubiquitous anon.

In his memoir, The Memory of Music, the Australian composer, writer and broadcaster Andrew Ford describes English as having ‘a gloriously clear tone and the best diction I have ever heard from a classical singer’, a judgement founded on many years of listening experience. Listening to this disc one would not hesitate to agree.

For lovers of this repertoire, here is a disc to have and treasure, and it is warmly recommended.

Rex Burgess The concept here is threaded by five variations of the composition Berlin planted among 14 pieces which are sometimes enhanced by digital effects from the vibraphone. Incredibly dramatic, they often stumble atmospherically upon a section of swing or groove that is likely to be the result of an affinity for expressive dialogue rather than musical inevitability.

Listeners will appreciate this duo’s uncanny ability to corral compositional elements balanced by harmony, melody and flexible rhythms, manifesting ideas in the purest form of creation. Haunting at times, the themes are sometimes played in the round with bass in pursuit of the vibraphone melody and then repeated in other tracks, making this album a concept suite ideal for listening entirely in one sitting.

Frank Presley

MUSICAL FAMILIES ELIZABETH HILL LOOKS AT CLASSICAL MUSIC LEGENDS

Martha Argerich and Charles Dutoit

Martha Argerich is the only concert pianist able to set her own conditions with the most powerful recording companies and concert halls in the world. She is private, moody and unpredictable, and she plays the piano brilliantly, ferociously and, perhaps, better than anyone else on earth. She has a photographic memory, able to reproduce music perfectly after a single hearing. Her technique is formidable, and her originality gives the harshest of critics no choice but to draw comparison with Horowitz, Rubinstein and Richter.

but his CV tells a different story. In his 20s he sat at the feet of the legendary Karajan and Ansermet; before he was 30 he had worked with Nureyev and Fonteyn in Vienna; and he has led some of the world’s great orchestras in Paris, Philadelphia, Montreal and Tokyo.

The highlight of his career was as Artistic Director of the Montreal Symphony Orchestra, which he quickly elevated to international acclaim. Championing the younger generation of musicians has always been important and he has successively been music director of the Sapporo Pacific Music Festival and the Miyazaki International Music Festival in Japan, as well as the Canton International Summer Music Academy in Guangzhou and the Lindenbaum Festival in Seoul.

‘Passion’, ‘wildness’, ‘temptation’ are things that Stephen Kovacevich exemplifies in his personal and musical life. Born in California to an American mother and a Croatian father he came to London at the age of 18 to study with Myra Hess, but not before he had debuted

She was propelled into international stardom in 1957 when, at 16, she won two major piano competitions (the Busoni in Italy and the Geneva International competition). In 1965 she became the first woman (and the first pianist from the western hemisphere) to win the prestigious International Chopin Piano Competition.

Yet her story is about someone with superhuman gifts trying to find a way to live a normal life.

Martha Argerich and Stephen Kovacevich Many musicians live a focused, disciplined life. Argerich is disorganised. with the San Francisco Symphony playing She’s so given to cancelling performances, the Schumann and Ravel concertos. After a sometimes at the last minute, that promoters triumphant Wigmore Hall debut in 1961 he who want her have to take the risk. Her took on the life of a travelling virtuoso, playing personal life has also been turbulent. She with such luminaries as Jacqueline du Pré and has been married three times, to conductors Vladimir Ashkenazy.

Robert Chen and Charles Dutoit, and to pianist Stephen Kovacevich, and has a daughter to No couple has radiated more glamour and each (her daughter Lyda Chen is a lawyer musical brilliance than André Previn and and also a violist who plays chamber music Anne-Sophie Mutter. As they toured the concerts around the world and is regularly world’s leading concert venues their 34 year invited to give masterclasses in Europe age difference seemed insignificant. Yet their and China). Yet Argerich is fiercely loyal. marriage, too, was short lived.

Kovacevich and Dutoit (with whom she still In an extraordinarily eclectic, award-filled performs) remain close friends, as do her career, André Previn blurred the boundaries performing partners Nelson Freire, Mischa between jazz, pop and classical music, Maisky, Gidon Kremer and Daniel Barenboim. and between composing, conducting and Charles Dutoit may dispute his formidable status as one of the world’s greatest conductors,

performing. Arriving in America as a refugee at the age of eight he made his name as a

jazz musician and writing scores for movies. In between he pursued a career as a conductor of some of the most prestigious orchestras in the world, including the symphony orchestras of Houston, London and Pittsburgh, and the Los Angeles Philharmonic.

Described as a ‘Wunderkind in a turtleneck’, he was often compared to Leonard Bernstein, and similarly enjoyed one of the greatest musical lives since Berlioz and Liszt. Previn composed prolifically until the end of his life, writing songs, chamber music and orchestral works. At his death he left several completed works that are still to be premiered.

Mutter and Previn were married from 2002 to 2006 but their musical collaboration pre-dated their marriage and continued after it. Previn wrote a number of works for Mutter, including two violin concertos (the first of which was an engagement present), sonatas and chamber works.

Mutter is universally considered to be one of the greatest performers of modern times. Since being discovered at the age of 13 by Herbert von Karajan she has sustained an extraordinary musical career. She holds the position of International Chair in Violin Studies at the Royal Academy of Music in London, and through the Anne-Sophie Mutter Foundation has helped launch the careers of many fine artists. Her commitment to the future of string playing extends to her wholehearted championship of contemporary music. A number of pieces have been specially written for or dedicated to her by celebrated contemporary composers such as Dutilleux, Penderecki and Lutoslawski.

You can hear these legendary musicians in Musical Families at 2pm on 2 and 16 July.

Anne-Sophie Mutter and André Previn JULY 2019

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A TRIBUTE TO KEVIN JONES JEANNIE McINNES FAREWELLS A JAZZ STALWART Every Fine Music relationship is forged through a shared love of music. In the case of Kevin Jones, this relationship has been warm, respectful and long term. When community radio was in its infancy in 1976, Kevin became a volunteer, and in the following almost 43 years he presented, wrote and worked on various committees. He was a prominent name on the Australian jazz scene with his articles for The Australian newspaper, record reviews and, of course, programming and presenting on 2MBS/Fine Music 102.5.

Jazz was the music that made Kevin who he was. His programs were carefully crafted playlists of delight. His style always appeared easy, as if he had just reached for the closest albums and shared their content, when in fact, it took hours to prepare that effortless sound.

For years he included excerpts from Downbeat magazine, finding the kernel of importance along with the musical illustrations. More recent programs, hours of delight late at night, were drawn from the sounds he had heard as he grew up, as well as from contemporary artists.

same theme. It was not until my teenage years that I found out it was Gershwin’s Lady be good played by the original Benny Goodman Trio. At the local theatre [I’d be] listening to two scratchy 78s before the movie started: Tommy Dorsey’s Song of India and Artie Shaw’s Frenesi ... the siren song of jazz was entering my subconscious without my realising it.”

Kevin often commented about growing up with the sounds of jazz. He wrote: “… music has provided the soundtrack of my life. For many years when leaving for school as a boy, the local radio station would close at 8am with the

Of course, what we heard on air was just a part of the Kevin Jones we knew and loved: he was a family man, married to Judy for many decades, raising three children and delighting in three grandchildren; he was a wide and prolific reader, usually having several books in his bag as he travelled by public transport; he was incredibly strong, training as a body builder and becoming Mr Tasmania, Mr Queensland and runner up in Mr Australia; and he was the longest serving sports editor for The Australian, where one prominent female reporter described the sports office as ‘like walking through Harlem at midnight Saturday night’, a criticism he wore with pride.

Sadly, Kevin Jones passed away in April following illness. We miss him fondly.

ENJOY LEARN DISCUSS

By popular demand, we are now introducing a Tuesday evening ‘Encore’ Enjoy, Learn, Discuss session, in addition to our monthly Sunday presentations.

Commencing Tuesday July 23rd at 6.30pm with ‘Putting on the Ritz’, The amazing story of Irving Berlin and his music, with jazz presenter Christopher Waterhouse.

Tickets: $15, $5 for subscribers, including refreshments.

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For details and bookings go to finemusicfm.com/ELD

1959: A GREAT JAZZ YEAR JEANNIE McINNES MARKS A VERY CREATIVE TIME This year marks the 60th anniversary of a remarkably creative collection of jazz albums.

It came at the end of a post-war decade where swing had been overtaken by bebop and then cool jazz, where there had been greater mixing of Afro-American and Anglo-American musicians, where 78rpm singles had been replaced by 10-inch and then 12-inch albums, and where jazz had truly become a world music with its embrace of Brazilian sounds as well as the emergence of major Scandinavian players.

The Grammy Awards were introduced, its first awards being presented in May 1959, with Ella Fitzgerald winning two for her Songbook albums, Count Basie two for his album Basie, and Billy May for his orchestral album Billy May’s Big Fat Brass. This was followed in November with a second annual award, and jazz again was prominent with Ella Fitzgerald, Frank Sinatra, Jonah Jones, Duke Ellington, Nat King Cole and André Previn taking out the ‘gongs’.

Movies continued to bring jazz to the screen: Black Orpheus with its sounds of Brazil, The Five Pennies based on band leader Red Nichols, and Porgy and Bess, George Gershwin’s jazz opera brought to a wider audience on film. The most evocative score was composed by Duke Ellington and Billy Strayhorn for Anatomy of a Murder. It was a landmark soundtrack being the first significant film music composed by AfroAmericans, with a score that avoids cultural stereotypes, and with its source not implied by the action of the film. The Ellington orchestra played for the film with notable members being distinctly heard: Johnny Hodges, Harry Carney, Paul Gonsalves, Russell Procope and Cat Anderson in particular. It was sophisticated, seductive, bluesy and elegant.

As for listening, it was the jazz albums that most notably marked the year.

Among the possible ‘top 40’ albums were releases from Cannonball Adderley, Chet Baker, Milt Jackson, Gerry Mulligan and Dinah Washington, all major players of their time. There were a number of major releases though that made this a particularly notable year.

Miles Davis’s Kind of Blue, recorded in March and April and released in August 1959, was based on a modal style of expression. A masterpiece, many regard it as the greatest jazz record ever. It is quite probably the best-selling jazz album ever, a platinum disc with over four million copies sold. Lloyd Capps celebrated this album in The Jazz Beat and in the magazine earlier this year.

Dave Brubeck had been formally trained in composition and experimented with possibilities. Following international tours to Eurasia and particularly after hearing street musicians in Turkey playing in 9/8 time, he based the album Time Out on the use of unusual time signatures. He based Blue rondo a la Turk on this experience: it is in 9/8, but rather than the typical 3+3+3, he introduced it as 2+2+2+3. Three to get ready alternates between two bars of 3/4 waltz time and two bars of 4/4, while Kathy’s waltz begins in 4/4 before switching to double-waltz time. Later releases included Unsquare dance, a complex beat of 7/4 time that challenges the toe tappers and particularly challenges drummer Joe Morello whose chuckle of relief and surprise at the end was kept in the recording. Of course, the most popular piece was Take five: written in 5/4 time by Paul Desmond as a showcase for Morello’s drum solo, it became the biggest selling jazz single.

John Coltrane participated in Miles Davis’ Kind of Blue, and several weeks later was in the studio as leader recording Giant Steps. The album contained seven tracks, many becoming templates for later tenor saxophonists, with the title track’s chord progression becoming a standard. Later releases have included alternate takes and they are interesting to compare. That same year, Coltrane recorded his only collaboration with vibraphonist Milt Jackson: Bags & Trane, their nicknames.

Another collaboration came from two legendary figures of the jazz saxophone, from the cool school and swing orchestras: Gerry Mulligan Meets Ben Webster. Others included Mulligan with Johnny Hodges, Webster with Oscar Peterson, Coleman Hawkins with Red Garland and Cannonball Adderley with John Coltrane.

Other remarkable albums came from the Bill Evans Trio; Portrait in Jazz brings Evans, Scott LaFaro and Paul Motian working together as one. Ornette Coleman’s The Shape of Jazz to Come teams Coleman on alto, Don Cherry on trumpet, Charlie Haden on bass and Billy Higgins on drums, a combination playing free jazz that includes no chordal instruments. Art Blakey’s Holiday for Skins with tracks almost entirely composed by drummer Blakey was so extensive that it was released as two albums. Charlie Mingus released Mingus Ah Um which included Fables of Faubus, a political piece directed towards segregation, and Goodbye pork pie hat in memory of jazz legend Lester Young who died in March, and Horace Silver’s Blowin’ the Blues was a mix of hard bop, soul, blues and ‘hard hitting’.

1959 certainly was a remarkably creative year, and it will be celebrated in Jazz Rhythm on Tuesday 23 July at 12 noon.

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ENHANCING THE CONCERT EXPERIENCE ROSS HAYES REVEALS A LITTLE-KNOWN ACTIVITY It will come as no surprise to our listeners that our Fine Music presenters possess a depth of musical knowledge that they display on air in a friendly and non-didactic way. What our listeners may not know is that some of our presenters have also become pre-concert speakers.

Early in 2014, the Willoughby Symphony Coordinator, Annette Brown, asked Fine Music whether it could give the pre-concert talks for the Willoughby Symphony Orchestra concerts for the rest of the year. Guided by David Garrett, a long-term professional speaker, Janine Burrus, Marilyn Schock, Michael Field, Michael Morton-Evans and Ross Hayes gave the pre-concert talks that year. Their aim was to enhance the concert-going experience by providing insightful information and musical examples about the music to be heard.

Annabelle Drumm, Meg Matthews, James Nightingale and Tom Forrester-Paton have now joined the team, and Fine Music has provided these pre-concert talks every year

since. These half-hour talks are given in the Level 2 Foyer at The Concourse in the hour prior to the performance.

After very positive feedback from Willoughby Symphony and their patrons, a similar arrangement was made in 2017 with Sydney Philharmonia Choirs, with the Fine Music team providing pre-concert talks in the Northern Foyer of the Sydney Opera House Concert Hall and at the City Recital Hall.

The team’s depth of knowledge enables us to provide speakers for all occasions. When the Sydney Philharmonia Choir presented Music from the Movies this year, we called on Adam Bowen’s vast experience in this area and were able to swing him into action for the pre-concert talk. Meg Matthews and Tom Forrester-Paton have a particular affinity with choral music, but all of the team have a well-rounded knowledge of different musical genres and musical eras.

We hope to see you at the remaining talks for the year.

Photos: l to r - Ross Hayes, Meg Matthews, Annabelle Drumm, Marilyn Schock, Michael Field

Tom Forrester-Paton gave the pre-concert talk for the Sydney Philharmonia’s concert An Intimate Evening with Brahms. On page 11, our article gives an insight into this intimate version of A German Requiem. The Philharmonia’s performance was recorded by Fine Music sound engineer Peter Bell and you can listen to it on Monday 1 July at 1pm.

FUTURE PRE-CONCERT TALKS WSO Saturday 27 and Sunday 28 July, Enigma, by Annabelle Drumm

SPC Saturday 21 September, Dvorák Requiem, by Meg Matthews WSO Saturday 21 and Sunday 22 September, Bravura, by Michael Field WSO Saturday 2 and Sunday 3 November, Titan, by Meg Matthews SPC Friday 13, Saturday 14 and Sunday 15 December, Messiah, by Tom Forrester-Paton

THE SPANISH OPERETTA

Operetta developed in Europe in the 19th century and, in England culminated in the succession of brilliant Gilbert and Sullivan operettas. The equivalent stage production in Spain is the zarzuela.

The zarzuela existed in the Baroque era, its name deriving from a form of entertainment given at the Royal hunting lodge, the Palacio de la Zarzuela, near Madrid. The 19th century revival of this lyricdramatic genre was modernised by incorporating operatic and popular songs, and alternates between spoken and sung scenes as well as including dance. There are many outstanding zarzuela composers, among them Francisco Barbieri, Tomás Bretón and Jesús Guridi.

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In Saturday Matinee this month one operetta is the well-known A night in Venice by Johann Strauss II; the other is a zarzuela, El caserio (The homestead) by Jesús Guridi. It premiered in 1926 but its music was not influenced by jazz as was much music of that time and it has been compared to that of Dvorák whose Bohemian roots colour his music. Guridi was passionately devoted to his Basque homeland and El caserio has been described as ‘a remarkable expression of the Basque spirit and way of life’.

Guridi’s El caserio and excerpts from zarzuelas

by Barbieri and Bretón can be heard at 2.30pm on Saturday 13 July.

— Elaine Siversen

A LIFELONG LOVE OF RADIO ELIZABETH HILL TALKS TO SIMON MOORE Simon Moore loves radio as a medium. As a child growing up in the 1980s, classical music was always part of his life. He remembers that 2MBS-FM 102.5 was always on at home or playing in the car when he was travelling with his parents. At an early age he learned violin and piano, but as a teenager decided to focus on the piano, which he still plays.

interesting conversations I’ve had over the years have been with new emerging artists taking their first steps into the professional arena.”

When asked about his musical favourites, he names Mozart’s Symphony no 40 and Bach’s Concerto for two violins. He also has a passion for musical theatre, with Les Misérables being the very best, and Hamilton (which he was fortunate enough to see in New York before it became big) being absolutely worth the fuss.

When he is not volunteering at Fine Music, Simon runs a small graphic design studio in the CBD. In his 15 years with Fine Music he says that two separate terms on the Board have taught him a lot about his role in his own business.

Simon enjoys compiling programs and has discovered composers he never knew existed, just from browsing the CD library. He says that just as a meal must have balanced flavours, a program must have a balanced choice of music, even if you like some pieces more than others: it makes the favourites all the more delightful! “I get great pleasure from sharing my favourite pieces. In many instances they are of course well-known works, but there’s still a little thrill when I press play.”

Simon Moore with Aled Jones

Something that he wasn’t expecting to do when he first joined the station was to perform interviews with noted musicians. Delving into what makes them tick has been incredibly rewarding for him, and not just the more famous ones either. “While people such as Richard Tognetti, Piers Lane and Aled Jones all tell fascinating stories, some of the most

He still finds time for an interest in politics and, in recent years, playing bridge, often with fellow Fine Music volunteer Inez Glanger. He loves to travel with his partner, and when in Europe likes to visit the houses or museums of famous musicians, with the Bach museum in Leipzig and the Chopin museum in Warsaw both being stand-outs.

Simon loves volunteering at Fine Music. “It didn’t take very long at all to feel thoroughly welcomed. It really is quite a special family that we have, and I hope to be a part of it for many years to come.”

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: admin@finemusicfm.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 Brett; Deputy Chair: David James; Secretary: Christopher Waterhouse; Roger Doyle, Peter Kurti, Jayson McBride, Simon Moore, Katy Rogers-Davies COMMITTEE CHAIRS Management: David James; Programming: James Nightingale; Presenters: Ross Hayes; 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 JULY Charles Barton, Peter Bell, Nena Beretin, Dan Bickel, Chris Blower, Adam Bowen, David Brett,

John Buchanan, Andrew Bukenya, Rex Burgess, Lloyd Capps, Vince Carnovale, Yola Center, Adam Cockburn, Angela Cockburn, Liam Collins, Paul Cooke, Di Cox, George Cruickshank, Nick Dan, Jackson Day, Nev Dorrington, Susan Gai Dowling, Annabelle Drumm, Brian Drummond, Andrew Dziedzic, Michael Field, Troy Fil, Owen Fisher, Jennifer Foong, Tom Forrester-Paton, Susan Foulcher, Carole Garland, David Garrett, Robert Gilchrist, Nicky Gluch, Joe Goddard, Raj Gopalakrishnan, Albert Gormley, Jeremy Hall, Austin Harrison, Celeste Haworth, Ross Hayes, Gerald Holder, Paulo Hooke, Paul Hopwood, James Hunter, Leita Hutchings, Anne Irish, Sue Jowell, David Knapp, Peter Kurti, Ray Lemond, Ray Levis, Krystal Li, Lachlan Mahoney, Linda Marr, Meg Matthews, Stephen Matthews, Jeannie McInnes, Terry McMullen, Maureen Meers, Camille Mercep, John Milce, Peter Mitchell, 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, Anabela Pina, Peter Poole, Frank Presley, Karoline Ren, Katy Rogers-Davies, Darryl Rule, Marilyn Schock, Debbie Scholem, Jon Shapiro, 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 PROGRAM SUBEDITORS Jan Akers, Chris Blower, Maureen Chaffey, Di Cox, Elaine Siversen, Jill Wagstaff, Teresa White

LIBRARIANS Jan Akers, Rex Burgess, Maureen Chaffey, John Clayton, Di Cox, Helen Dignan, Lynden Dziedzic, Peter Gair, 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, 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 Station Manager: Rebecca Beare; Office Manager: Sharon Sullivan; Community Access Manager: Sophie McCulloch; Community Engagement Manager: Mona Omar; Production Coordinator: Joe Goddard; Administration Assistants: Krystal Li, Eddie Bernasconi JULY 2019

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FINE MUSIC PATRONS Fine Music Honour Roll (Bequest Received 2009-2019)

Gold Patrons ($1,000 – $2,499)

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 Colin Webb, Mr Barry Willoughby, Mr Ken Weatherley, Mr John Albert Wright

Ms Jan Bowen AM, Mrs Di Cox, Ms Prudence Davenport, Mr Reginald Lamble AO, Mr Trevor Parkin, Ms Alice Roberts, Mr Richard Thompson, Mr Larry Turner, Mr A G Whealy QC, Anonymous 5

Mr Max Benyon OAM, Mr Roger Doyle, Dr Jennifer Foong, Anonymous 1

Mr Claus Blunck, Mr Colin Boston, Mr David Branscomb, Prof C E Deer, Mr John Fairfax AO, Mr Richard Farago, Mr Paul Hopwood, Ms Sue Jowell, Mr Gerhard Koller, Dr Peter Krinks, Mr Ian Lloyd, Mrs Meryll Macarthur, Mr M F Madigan, Mrs Shirley McEwin, Mrs E M McKinnon, Mr Michael Morton-Evans OAM, Mr Ken Nielsen, Mrs Monica Olave, Dr Robert Osborn, Ms Christina Pender, Ms Susan Ping Kee, Mr J A Roberts, Ms Catherine Ruff, Mrs Ruth Staples, Mrs Valerie Stoney, Mrs Margaret Suthers, Mrs Marie Thompson, Dr Pye Twaddell, Mr Richard Wilkins, Ms Caroline Wilkinson, Mr Alastair Wilson, Dr Paul Wormell, Anonymous 15

Platinum Patrons ($25,000 – $49,999)

Bronze Patrons ($250 – $499)

Family Frank Foundation, Mr Michael Ahrens, Prof Clive Kessler, Mr Ron Walledge, Mr Cameron Williams, Anonymous 1

Ms Jacqui Axford, Ms Lily Bao, Mr John Bell, Mr Harold Benyon OAM, Mrs Susan Berger, Mrs Patricia Biggers, Mrs Marion Blin, Mr Christopher Blower, Mr Stephen Booth, Mr Barrie Brockwell, The Hon John P Bryson QC, Mrs Alexandra Buchner, Ms Deanne Castronini, Ms Mary Choate, Mr David Clark, Mr Dom Cottam, Prof Stephen Dain, Dr David Dixon, Hon J R Dunford QC, Mr Andrew Dziedzic, In Memory of David W Allen, Mr Paul Evans, Ms Elizabeth Evatt, Mr William Fleming, Mrs Kathy Freedman, Ms Diana Hanaor, Mr Geoffrey Hogbin, Mr Paul Jackson, Ms Ruth Jeremy, Mrs Barbara Johnson, Hon Mr Justice D Kirby, Mr Nicholas Korner, Mrs Sarah Lawrence, Jennifer Lewis, Mr Geoffrey Magney, Dr Jim Masselos, Mr Philip Maxwell, Ms Alison Meldrum, Mr Simon Moore, Dr Gordon H Packham, Mr Denis Patterson, Mr Peter Poole, Mr Mike Price, Dr Brian Quinn, Dr Neil Radford, Mr Gwynn Roberts, Mr Joseph Rooney, Dr Gideon Schoombie, Mrs Zvjezdana Skopelja, Mr John Stevenson, Ms Kathryn Tiffen, Mr Kevin Vaughan, Mr Richard Williamson, Mrs Robin Yabsley, Mr Peter Zipkis, Anonymous 21

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 Bruce M Graham, Mr James Hunter, Mr David James, Ms Maureen Meers, Mr Glenn Morrison, Mr Derek Parker, Dr Neil A Radford, Ms Elaine Siversen, Mr Bruce M Smith, Mr Anthony Tenney, Mr Ron Walledge, Anonymous 2

Titanium Patrons ($50,000 and above)

Diamond Patrons ($10,000 – $24,999) Mr Robert Albert, Mr J D O Burns, Garrett Riggleman Trust, Dr Janice Hirshorn, Mrs Patricia McAlary, Anonymous 4

Ruby Patrons ($5,000 – $9,999) Mrs Barbara Brady, Mr David Brett, Ms Janine Burrus, Mr Bernard Coles QC, Mrs Dorothy Curtis, Hon Mr Justice David Davies SC, Mr Francis Frank, Ms Jill Hickson Wran, Mr Peter & Dr Linda Kurti, Mr Ian & Mrs Pam McGaw, Ms Jeannie McInnes, Mrs Judith McKernan, Ms Nola Nettheim, Mr John Selby, Mr Anthony Strachan, Mr Stephen and Mrs Therese Wilson, Anonymous 4

Emerald Patrons ($2,500 – $4,999)

NOTES FROM THE EDITOR

Mrs Halina Brett, Mr Lloyd & Mrs Mary Jo Capps, Mrs Lorna Alison Carr, Mrs Margaret Epps, Prof Michael Field AM, Mrs Freda Hugenberger, Dr Peter Ingle, Mr Ian Juniper, Mr D & Mrs R Keech, Ms Maureen Meers, Dr Andrew Mitterdorfer, Dr W J Poate, Mr Jude Rushbrooke, Ms Wendy Trevor-Jones, The Yim Family Foundation, Anonymous 3

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Silver Patrons ($500 – $999)

This month for Bastille Day, 14 July, we have a special program and an article (based on scholarly research).

Francophiles with a love of organ and harpsichord music will recognise that Michel Corrette was an important composer for those instruments. His life spanned the years of the French Revolution. Another article looks at the grand organ of Notre Dame in Paris. A French composer from later times, Albéric Magnard, also features this month. All of these articles are associated with programs being broadcast this month but you’ll find other programs of French music as you look through the Program Guide.

French music is much loved by many of our programmers and each year the anniversary of the French Revolution generates quite a few French programs for July. Perhaps it’s the Australian love of

JULY 2019

freedom (liberté), aversion to strict authority and division within society (égalité) and our embracing of multiculturism (fraternité) that makes us sympathetic to this particular anniversary? While we can’t overlook the bloodiness of the Revolution, we can still identify with the final result: the noble principles that were enshrined in the laws made by the Republic, many of which have influenced later governments.

Fine Music volunteers often ‘wear many hats’ within the station’s operations. We highlight a service provided gratis by several presenters (see page 50). It is their way of helping Fine Music to support some of the music organisations who advertise with us and provide much-needed financial support.

Two articles in each of this month’s and next month’s editions bring you news of upcoming concerts. We welcome back Nicky Gluch, writing from London, who is sharing the responsibility for these sponsored articles with regular writer Catherine Peake.

Elaine Siversen

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