fine music magazine - july 2012

A New Beginning

ANCIENT CHINESE POEM INSPIRES

NEW WORK

AN OPERA COMPANY IN THE

21ST CENTURY

JULY 2012

Shanghai to SydneyFine Music provides the

common thread

Korngold Opera Australia’s latest challenge

Sydney’s 2MBS-FM transforms to FINE MUSIC 102.5

SAINT-SAËNS Tarantella

VAUGHAN WILLIAMS Fantasia on a Theme by Thomas Tallis

BRAHMS Serenade no 1

Saturday 21 July 8pm | Balmain Town Hall Sunday 22 July 3pm | Independent Theatre, North Sydney

Conductor: Sarah-Grace Williams Flute: Svetlana Yaroslavskaya

Clarinet: David Rowden

TICKETS: www.metorchestra.com.au/tickets

or call 1300 150 465 Complimentary champagne

reception for all guests following Saturday performance.



















Condensing the history of the Music Broadcasting Society of NSW into three pages was certainly difficult for writer, David Garrett. How can one encapsulate the commitment and efforts of all the volunteers that have made this station what it is today, Fine Music 102.5? From the pioneering days, as Australia’s first licensed stereo-FM broadcaster ‘building a transmitter with $300 in the bank’ to today - broadcasting on FM, digitally, streaming from the web and developing our first mobile app. Of course with all the anecdotes and tales it would take a book and possibly some censorship! Some things haven’t changed. The commitment to broadcasting the very best in fine music and jazz, our independent, non-commercial stance and our wonderful volunteer workforce are still the very core of Fine Music 102.5. With this issue of Fine Music we are celebrating a new image for what to many listeners is an old friend at 102.5 as the Chairman, David Brett introduces on page 3.

This issue also celebrates conductors from the ‘Groupie’, Elaine Siversen’s article on Vladimir Ashkenazy to the interview with Berlin Philharmonic’s legendary concertmaster, Thomas Brandis on Herbert von Karajan. One of Karajan’s students, acclaimed conductor Christian Badea, is visiting Australia to conduct Opera Australia’s new production, Die Tote Stadt and discusses the technical complexities of bringing this powerful work to life with Robert Clark.

Fine Music presenter, Paolo Hooke interviews composer, George Palmer and pianist, William Chen on the eve of a performance with the Sydney Youth Orchestra. A new commission inspired by a Chinese poem leads the way in developing an exciting cultural exchange between Shanghai East Radio and Fine Music 102.5.

We also hope you enjoy the articles that give you an inside peek at Fine Music 102.5 so you get to know us better. With August Fine Music there will be less about us and more about you, with articles that respond to what our listeners have said they would like to see in Fine Music. In the meantime, join us at Fine Music 102.5 or online at finemusicfm.com

Liz

Registered Offices & Studios: 87 Chandos Street, St Leonards 2065

Tel: 02 9439 4777 Fax: 02 9439 4064

Web: www.finemusicfm.com Email: [email protected]

Frequency: 102.5 Transmitter: Governor Philip Tower, Circular Quay.

ABN 64 379 540 010

Art Direction: Kylie White, PPR, 118 Victoria Road, Rozelle 2039

Printing: Offset Alpine Printing, 42 Boorea St, Lidcombe 2141

Advertising enquiries: [email protected]

Subeditor: Elaine Siversen

Contributors: David Brett, David Garrett, Simon Tedeschi, Robert Clark, Paolo Hooke, Laura Wright, Elaine Siversen, Kevin Jones, Lloyd Capps, Derek Parker, Richard Gate, Michael Morton-Evans, Liz Herbert, David Ogilvie, Judy Deacon, Julie Simonds, Janine Burrus, Patrick D Maguire, Nevil Anderson, Liz Terracini and all our interviewees.

Cover image: Cover image by Elton Ward Creative. www.eltonward.com.au

CONTENTSVol 39 No 7

4 COVER STORY David Garrett looks back at the 2MBS FM journey

from early days to Fine Music 102.5

2 Letters to the Editor

3 A New Beginning for an Old Friend

7 Simon says..

9 Korngold and the ‘Hollywood’ Tag

11 Spectacle Viennese Style

14 Music - the common thread

16 What’s on in Sydney in July

18 Program Highlights

20 Recollections of a Groupie!

55 Bedlam

56 Karajan – close up of a demigod

58 CD Reviews

61 Presenter Profile

64 A Model of a Model Future

66 Youth Development at Fine Music

69 Swinging on the Vine

72 Crossword and Music Trivia

From the General Manager

* Booking fees of $7.50 – $8.95 may apply. Listen to audio clips & read programs at sydneysymphony.com Sydney Symphony concerts On Demand at bigpondmusic.com/sydneysymphony

Book Now! Tickets available online from $35*

sydneysymphony.comor call 8215 4600 | Mon-Fri 9am-5pm

Tickets also available at sydneyoperahouse.com9250 7777 | Mon-Sat 9am-8.30pm | Sun 10am-6pm

PresentingPartner

David Robertson, Chief Conductor and Artistic Director designate conducts Tchaikovsky’s Sixth Symphony.

VAUGHAN WILLIAMS Fantasia on a Theme by Thomas TallisADÈS Violin Concerto – Concentric PathsTCHAIKOVSKY Symphony No.6, Pathétique

David Robertson conductorAnthony Marwood violin AUSGRID MASTER SERIES

Wed 4 Jul 8pm · Fri 6 Jul 8pm · Sat 7 Jul 8pm

T C H A I K O V S K Y ’ S

PATHÉTIQUEImpassioned Masterpiece

FINE MUSINGS On the Patrick Thomas 80 Years program (June 1)

A warm birthday greeting to Patrick Thomas from the USA! We are thinking of you with the deepest admiration, gratitude and affection on this, your eightieth birthday, and so gratified that 2MBS-FM has marked this great occasion with a commemorative program. What a splendid and well deserved tribute! The musical selections have been chosen with taste and affection, and we did enjoy Mr Walsh’s commentary. It was inevitable that the Serenade to Music would be included, and as you are a masterful interpreter of the works of Vaughan Williams, its place in this program was doubly meaningful, as was the fabulous excerpt from the Fifth Symphony...such phrasing and probing musicianship. Have the good musicians of Adelaide ever played more movingly? The Rachmaninoff is, of course, one of your most celebrated recordings, and the freshness of your interpretation never fails to inspire and delight. And, I’m sure that Isador Goodman, in Heaven, was pleased to be a part of the festivities! - A Benson

On Jazz – or lack of!

May I suggest that we jazz lovers see the odd article in Fine Music that is relevant to the subject. Also something other than the bland print out of the midday or evening jazz sessions. A few words or theme of the specific daily programme would be nice. The jazz sessions are about 8.5% of your total broadcast but the print word is more like 0.85% of the magazine. A big imbalance. - A Fisher

Editor: Our jazz lovers will be pleased to hear that from July there will be an extra 2 hours of jazz late on Saturday evening, After Hours with Kevin Jones (page 55). Hopefully in this edition of Fine Music we have gone some way to increasing that 0.85% but it has been duly noted!

Share your musings with us on Fine Music articles, programs or music in general.

Write to The Editor, Fine Music, 87 Chandos Street, St Leonards 2065 or email us at [email protected]

COMING IN AUGUST

Cover Story Sydney Symphony world premiere of a “radically tonal” piano concerto Robert Clark interviews Carl Vine and Piers Lane

Andrew Howes – Winner of 2012 Fine Music Young Composer Award 20 years old with many credits already to his name

If You Knew Sousa Owen Fisher celebrates 400 ‘Music That’s Band’ programs on Fine Music 102.5

fineMusic FM 102.5 3

FINE MUSIC 102.5 - A NEW BEGINNING FOR AN OLD FRIEND

Faced with these challenges, we have decided to change our call sign. From July 1, 2012, we will identify ourselves on air as Fine Music 102.5. Our website will change to www.finemusicfm.com and our identification on digital radio will become FineMusic (long form) or FineMus (short form).

In many ways, this is a small change. We will continue to be known as the Music Broadcasting Society of NSW. We have used ‘Sydney’s fine music station’ as our tag line for many years. Our monthly magazine is already called Fine Music. Most important of all, the name change does not mean we are changing our style or mix of music – all your favourites will still be heard.

In other ways, however, this is a big change. Dropping 2MBS from our on-air identity after 38 years will be a wrench for many loyal listeners and supporters. We hope you will understand our reasons and continue to regard us as an old friend, albeit in a new guise.

As 2MBS takes on a new identity, our listeners can still enjoy their favourite programs on air.

You’re listening to 2MBS-FM 102.5, Sydney’s fine music station. As a regular listener to 2MBS, no doubt you have heard our presenters say this hundreds of times over the years. While it may sometimes be irritating to a regular listener, frequent station identification is and always has been an essential part of radio broadcasting to let listeners know to whom they are tuned (hopefully , we are not as irritating as the commercial networks!).

Audience research, however, has shown two problems with our identification or call sign, as it is known. Firstly, listeners often confuse us with other stations – most Sydney radio stations still use the “2”as their prefix ( to align with the NSW postcode) and MBS is easily misheard as SBS or other three-letter variants used by local broadcasters.

Secondly, 2MBS indicates nothing about what we broadcast so people interested in fine music, but unaware of 2MBS (and there are many) have no reason to seek us out. We lack both the name recognition of the ABC and the marketing budgets of the commercial stations to be able to turn this around.

Furthermore, technology is changing fast. An ever increasing percentage of listeners are now choosing to listen to radio via the internet, on digital radio and on mobile phones. For all these new media, the broadcast frequency is irrelevant. They identify stations and ‘tune in’ by the name. This is even increasingly true in radios fitted in new cars.

The change is also a clear signal of our ambitions for the future. We were greatly encouraged by our recent audience research that showed an average weekly audience of 241,000 listeners – far more than we had anticipated. It demonstrated a clear and high level of demand for the style of music we broadcast. Moreover, the research showed a further 131,000 people in Sydney who were interested in classical music and/or jazz, listened to the radio, but were unaware of our existence. We believe that our potential audience may be even larger than this as a result of the new media.

Changing our identity so that it is immediately apparent what we broadcast is but the first step in an ongoing campaign to reach out to those listeners and bring them into our family so that we can fulfil our mission to be ‘Sydney’s preferred fine music broadcaster’.

I hope you will join us and continue to be part of that journey. I can certainly promise you great music on Fine Music 102.5. All day, every day.

- David Brett, Chairman

‘241,000 listeners a week and counting’….“

Changing our identity so that it is immediately

apparent what we broadcast is but the first step in an

ongoing campaign to reach out to those listeners and bring

them into our family so that we can fulfil our mission to

be ‘Sydney’s preferred fine music broadcaster’

“

Photos by Yie Sandison.

4 fineMusic FM 102.5

1970 March 2 First public meeting of Music Broadcasting Society1973 Cell Block concerts and recordings1974 December 15 First broadcast in mono from Alexander Street studio1975 January 16 Switch to stereo broadcasting1975 February 2 Official opening of station1975 February Stereo-FM Radio (‘the guide’) first published for subscribers1975 March Volunteer Stereo-FM Radio Guide deliverers commenced and today are still delivering Fine Music to our subscribers1975 December Move to 76 Chandos St, St Leonards 1976 Now broadcasting 24 hours a day1976 First 2MBS recording issued on LP: David Rumsey’s Deus ex Machina 1977 May Studios A and B opened followed by Recording Studio C1978 Transmitter relocated from West St, North Sydney to AMP Centre. Frequency changed from 92.1 to 102.51997 Transmitter moved to Governor Philip Tower and power quadrupled to 32 kilowatts2007 Upgrade of Studios A and C enabling move into digital age2010 Redevelopment of 76 Chandos St site begun 2011 June 5 D Day! – 2MBS goes digital2011 Due to successful Transmitter Appeal new transmitter installed2012 July 1 2MBS FM 102.5 becomes Fine Music 102.5

Milestones in Fine Music

on 102.5

2MBS was first heard on air 38 years ago. It has broadcast ever since. For a voluntary, non-commercial broadcaster, not supported by government, this continuous history is impressive. Radio receivers tuned to 102.5 have become part of the furniture. In 1974 when the station’s broadcasts began, many of today’s listeners were yet to be born, Even old-timers may have almost forgotten what it was not to have 2MBS.

FM radio nowadays is taken for granted in Australia. The letters FM stand for Frequency Modulation. They may also stand for Fine Music, and in Sydney it is radio station 2MBS that made this so. In early 1975, 2MBS-FM became Australia’s first licensed stereo-FM broadcaster, and that was before the ABC began broadcasting in FM. The people who founded 2MBS played a crucial role in making possible FM broadcasting in Australia, the crucial role. It was for music that the FM band was first opened – fine music.

The ‘M’ in MBS stands for music. Australians had privileged access to the kind of music 2MBS broadcasts, especially after 1932, when the Australian Broadcasting Commission was formed. High on the ABC agenda was broadcasting music, which in turn led it to present concerts and manage orchestras. The ABC’s concerts and broadcasts nourished interest in music, and fostered music making, concert-going and record collecting. Yet by the 1960s, some music lovers had come to feel that the ABC, especially in its broadcasting of music, was resting on its laurels.

The sound of music had improved through advances in recording, reproducing and broadcasting technology. First came ‘high fidelity’. Then stereo recording. But broadcasting in Australia remained confined to the AM band and to monaural sound. Radio transmission in AM is limited – in range of frequency and dynamics - and easily subject to interference. Nor is AM suitable for broadcasting in stereo.

Music was not heard at its best on AM radio, especially the kind of music that benefits most from high fidelity.

An alternative had become available: FM, frequency modulation broadcasting, a technology perfected by 1939, when FM stations were opened in the USA. After World War II, FM had been introduced in several countries. Even in Australia, from 1947 on, the Post Master General’s Department was putting out some ABC programs on ‘experimental’ FM. To listen, you needed to know about these broadcasts, and to have built or bought a receiver. The experience confirmed how much better music sounds on FM. In the early 1960s, with stereo records taking over from mono, the ABC occasionally broadcast in AM ‘stereo’ by putting the same music on both its networks simultaneously, right channel on one, left on the other. With two receivers, you could listen in stereo.

The studio at 5 Alexander Street, Crows Nest overlooked the Salvation Army Church which could provide an interesting background to announcements on Sundays due to the lack of any soundproofing! Brendan Reed


Apart from this makeshift, Australia was getting further away from having FM stereo broadcasting. The Federal Government and the commercial broadcasters basically didn’t want it. To the alarm of those who did want it, television was allowed to ‘invade’ part of the radio spectrum where FM broadcasting can best take place. In 1961, the government, on expert advice, allowed new TV stations in a portion of the VHF spectrum previously reserved for FM. At the same time the trial FM broadcasting ceased.

This was frustrating for high fidelity broadcasting enthusiasts, who felt that Australia should have FM, and wanted to use their technological knowledge and expertise to make it happen, and to persuade government. Also frustrated were music enthusiasts who wanted to hear music on the radio in better sound, and were even beginning to think of creating their own stations to present it. Lobby groups were formed. In 1961, Dr Neil Runcie at the University of New South Wales was one of the founders of the Listeners

Society of NSW. In Melbourne, a letter to The Age from Brian Cabena called for a similar lobby group to be formed in that city.

Among the founders of Sydney’s 2MBS, technical and musical passion were often found in the same person. The principal animator was Trevor Jarvie. A man of protean interests and contagious

enthusiasm, Jarvie found his career as a student and university teacher of English literature taking second place to a visionary commitment. Trevor Jarvie has written: ‘Imagine, if you will, the life of a student in Melbourne in 1967. A rather isolated existence for a new arrival from Sydney, with only a few friends, and diminishing interest in the Ph.D. he was supposedly engaged upon. A small record collection, and when money permitted, the occasional concert or play. And a radio. Oh yes, a radio. I used to think it would be a very nice thing to have a radio station which played the kind of music that I liked to hear all the time…then I discovered that one of the things I liked doing more than anything else was mixing with people who shared my tastes, and were interesting to be with…that made me want to spend time learning about all that AM and FM stuff, and to write letters to newspapers and submissions to endless bureaucrats, indeed even to become a bureaucrat myself in order that I could help other people like me….’

The third letter in MBS stands for ‘Society’. The Music Broadcasting Society was and remains a group of people who enjoy associating with each other. As questioning became more public and more insistent why Australia didn’t have FM, the Music Broadcasting Society was formed on March 2 1970. It was a not-for-profit organisation whose primary intention was to broadcast ‘fine music’. Trevor Jarvie was the first secretary. The Society believed there needed to be a classical music broadcaster other than the ABC. The idea was to build up a subscription membership big enough to justify the grant of a licence for a listener supported and cooperatively owned radio station. High fidelity music transmissions would require FM instead of AM. (Trevor Jarvie’s idea of a music station funded by listener subscription was derived from the Pacifica Foundation in the USA).

As the Society waited in hope for the go-ahead for broadcasting, it was making propaganda and preparations. Among other symbolic and membership-building activities, the Music Broadcasting Society presented a series of recitals in 1973 in the Cell Block Theatre featuring ‘young artists’. These were recorded, so that they could be broadcast when the society got a station (this writer‘s first association with MBS was when Trevor Jarvie asked him to write the program notes for these recitals). The printed programs announced ‘Things are changing in

Imagine, if you will, the life of a student in

Melbourne in 1967. A rather isolated existence for a new

arrival from Sydney, with only a few friends, and diminishing

interest in the Ph.D. he was supposedly engaged upon.

A small record collection, and when money permitted,

the occasional concert or play. And a radio…

“

“Music in power’s ear. Trevor Jarvie with NSW Premier Neville Wran at Chandos Street (1977)


radio…with FM radio perhaps no more than two years away…in a climate of opinion increasingly favourable to minority, community, educational and other non-commercial uses for radio, the Music Broadcasting Society is now rapidly moving towards its objective…’

The Society had an advantage, as it sought to persuade politicians and bureaucrats, because the kind of music it wanted to broadcast competed with the ABC, but not with commercial stations. 2MBS was granted a licence and thus pioneered the FM band. The goal of a technically superior medium for music broadcasting had been reached. How this was achieved was also important in terms of the relation of broadcasting to the Australian community. For MBS, music broadcasting meant public broadcasting in the sense of ‘community’ broadcasting – based on initiative, interest, demonstrated demand and independent of both government and commercial interests. Advocates of this kind of public broadcasting who wanted to use it for other content supported MBS’s push for a station, whether or not they shared its musical interests. Especially in the early years, MBS made common cause with the growing public broadcasting movement.

Shortly after the Music Broadcasting Society was formed in 1970, the FM issue came to the forefront. In 1971-2, the Australian Broadcasting Control Board recommended that FM be introduced in the UHF band but a Senate standing committee called for other advice. Some of that advice, on technical and other matters, came from knowledgeable members of the Music Broadcasting Society, which was pushing for FM broadcasting in the VHF band (evidence on behalf of MBS was given by Trevor Jarvie, Michael Law, Max Benyon, and Grahame Wilson). Partly in response to this pressure, the Whitlam Government asked for an independent commission of inquiry into frequency modulation broadcasting. As commissioners it chose Sir Francis McLean, former Director of Engineering at the BBC, and an economist, Professor Cyril Renwick. At the hearings in early 1974, some of the evidence coming from MBS was particularly commended.

The wind was blowing fair - with $300 dollars in the bank MBS decided to build a transmitter. In March 1974, the McLean inquiry’s report showed that the Control Board’s advice, that FM should

be in the UHF band, had relied on unexamined assumptions and out of date knowledge. The McLean report recommended clearing the 88 to 108 MHz band for FM broadcasting, which could begin as soon as feasible. It also urged that the ABC should develop an FM network. The government adopted this as policy, but two years passed before the ABC began to broadcast on FM, in January 1976.

Meanwhile the McLean report had singled out, as appropriate recipients of FM licences, the Music Broadcasting Societies of NSW and Victoria. Trevor Jarvie recalls getting a telephone call in August 1974 from Myles Wright, Chairman

of the Broadcasting Control Board, who asked him ‘If the Music Broadcasting Society were to be offered a licence to broadcast, you wouldn’t want any money, would you?’ Jarvie,

nonplussed but excited, replied ‘Of course not’. In late September, MBS was invited to accept an experimental licence – five weeks later it was on air, in mono. On January 15, 1975 it switched to stereo – the first such licensed FM transmissions in Australia. The licence was experimental because there was no provision in existing legislation for what MBS intended to do.

2MBS-FM was to be a volunteer station, owned and run by the members of a Cooperative. Financing comes from subscriptions from listeners and supporters. Anyone may listen, subscriber or not. The main tangible thing a subscriber receives in exchange for the subscription fee is a magazine, published monthly and containing a listing of the scheduled music and who is performing it. The founders had some anxiety that if this information was given on-air by the presenters, that would remove one of the main incentives to subscribe. The plan, it is said, was to begin with informative announcements, until a subscriber base had been built up, then phase them out. Sister-station 3MBS in Melbourne did, for a time, reduce announcements to a minimum. In Sydney, however, several of the early presenters built up a popular following and established a tone for the station – among them Richard Gaze and David Rumsey. Listeners experienced 2MBS from the start as a radio station where music expressed the enthusiasm of its presenters and programmers. Nevertheless a newspaper critic, when the station turned ten years old, judged 2MBS as doing music well, showmanship badly: ‘the plethora of announcers prevents the use of personalities’. But the same critic admitted that 2MBS succeeds, and has become possibly the largest and most successful public broadcasting station in Australia.

As the medium of broadcasting is taken for granted, and a new digital mode of broadcasting begins, the letters ‘FM’, in 2MBS-FM, may happily be taken to stand for Fine Music. The priority is right – even those volunteers, innovative and technically adept, who over the years have ensured that the station’s signal be broadcast wider and better, have done it for music’s sake. - David Garrett

David Garrett is a 2MBS volunteer, presenter and former Board member. He is a historian of music in Australia, and especially the role of broadcasting.

Radio receivers tuned to 102.5 have become part of the furniture. In 1974 when

the station’s broadcasts began, many of today’s listeners

were yet to be born

“

“

Transfield technicians installing the mast on AMP building

I’m often asked by classical audiences how I got into jazz. I read once about this experiment in Germany where they put some civilian test subjects into a defunct prison and separated them into two groups – screws and inmates. Before long, the most extraordinary thing happened – the ‘screws’ started speaking and acting like screws. Same went for the prisoners.

They should have done that experiment in the Sydney jazz scene. Long before I ‘got’ how to swing, I realised that I would need to speak the lingo or I would never get any respect. I learned this the hard way during a performance with well-known jazz pianist Kevin Hunt about ten years ago at a workers club in Western Australia, a venue so rough that the pole dancer looked like Chopper Read and I could see feathers in the meat tray. I walked in, turned to Kev, and asked him where the dressing room was. ‘That’s it, mate,’ my duo partner lambasted, pointing forwards, ‘dump your s**t on the stage.’ I knew then that I was way out of my depth. My education had begun.

In classical music, compliments between colleagues are few and far between because resources are scarce and we’re all out for each other’s jobs. Jazzers are quite different because they have to work together even when they don’t want to. ‘Lovely son,’ is a multi-layered compliment from a veteran to a newbie, conveying deep friendship but also insinuating dominance. Other jazzers are referred to as ‘cats.’ I racked my brain for years over this one, but eventually decided that it was because most jazz musicians could only afford whiskas after being paid for a gig!

Performance rituals are also strictly demarcated by genre. Classical musicians have a ‘tightness’

James Morrison and Phil Stack and Simon on piano

about them, a foreordained awareness of the magnitude of the music they will grapple with - a hush before battle. If the performance is a success, the area immediately backstage is awash with a veritable orgy of back-pats and air kisses. Conversely, Jazzers must never appear to care too much. Alcohol is a good and loyal friend in such situations; three beers will normally assuage even the jitteriest jazzman with sufficient nonchalance to impress their peers. Catnip, if you will!

Reverence for the greats is a central component of both genres, but with different flavours. Try asking a concert pianist who their idol is. Horowitz, Rubenstein, Brendel – all surnames. If you try talking about Evans, Peterson or Powell in the jazz world, you’ll end up consigned to a dust heap faster than Craig Thomson’s brothel receipts. I learned this the hard way.

The notion of taboo has been widely studied by anthropologists. It has been loosely defined as a series of strict codes of unacceptable behaviour that are so contrary to the tenets of our culture that transgression results in shame, banishment or death. It is pervasive in all cultures from the Bakongo people of Africa to the intellectual elites of our big cities. One small but thriving tribe that has yet to feature in National Geographic is the Sydney Jazz scene. When discussing jazz generally, Melbourne must always be better than Sydney. Always! Lapses in this mantra are punished swiftly and brutally, usually with the withdrawal of work opportunities. Further insolence leads to the ‘hack’ label and ultimately to banishment to an outlying regional centre.

Classical musicians usually have the greatest reverence for their jazz counterparts. They are in awe of their harmonic command, facility and especially their distinctive voice. However, this fawning and gushing is often regarded as false modesty by the jazz musician, whose secret inferiority is paled only by the classical musician’s barely concealed superiority. Generally, the more expansive the compliment, the more insincere it is deemed to be and consequentially, the quicker the compliment will be brushed away with a self deprecating comment, such as ‘mate, you’re a real musician!’ The jazzer will then slink away to

Simon says: Lovely Son!Simon Tedeschi’s personal voyage into the jazz world

his/her colleagues and tell them of yet another occasion when some classical ponce ‘pissed in their pocket.’

But, as it turns out, I am absolutely sincere. As an avowed classical pianist, I continue to be humbled by the fact that these great men and women want to work with me, playing their music. The jazz percussionist Bob Moses remarked that of all the music to come from African-America, jazz is by far the most complex. He is right. So was Branford Marsalis when he said that to be truly great at both disciplines is impossible (though his brother and André Previn are perhaps rare exceptions). That sense of emotional release, the dispelling of tension, is poles apart from what a classical player does.

In my mind, a great classical pianist is in a state of controlled tension. The word ‘relax’ is bandied around in master-classes and pedagogical conferences but without much explanation as to what it really means. In my mind, the three great ‘B’s’ - Bach, Beethoven, Brahms – require a preternatural understanding of tension and its release (physical and emotional). That was and is the greatest challenge for me in sounding ‘jazzy’ – the set of reflexes that have been conditioned in me virtually since birth are so different that they are on an irreconcilable plain of physicality. So, I come back to the answer to the frequently posed question: ‘how did you get into jazz?’ My answer will always be the same: I haven’t even begun to scrape the surface yet. - Simon Tedeschi


Kevin Hunt with Simon Photo by Brendan Reed

One small but thriving tribe that has yet to feature

in National Geographic is the ‘Sydney jazz scene’.

“

“


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Opera Australia returns to the Sydney Opera House with a season of operas to thrill and inspire.

It begins with Oscar-winning director Bruce Beresford who has

joined with designer John Stoddart to create a sumptuous new

production of Die tote Stadt (The Dead City). This was 23-year-old

Erich Korngold’s first full-length opera and its story of lost love

and yearning for the past resonated with post-WW1 audiences

worldwide. Its success had Hollywood calling, and Korngold

left Austria for America where he quickly established himself

as one of film’s great composers, but it is only recently that

his operatic music is being rediscovered for its technical and

musical brilliance. It demands an immense orchestra and two

great singers, which Opera Australia has found in the stunning

Cheryl Barker and renowned Heldentenor Stefan Vinke.

Some of Opera Australia’s most popular productions

also return to the Sydney Opera House stage including

Bizet’s The Pearlfishers, Verdi’s Aida and Puccini’s

Madama Butterfly. In August, Broadway comes to

Sydney with the Lincoln Centre Theater production

of Rodgers and Hammerstein’s South Pacific

starring Teddy Tahu Rhodes and Lisa McCune.

Then, Emma Matthews continues her mastery of

the bel canto repertoire with a new production of

Donizetti’s Lucia di Lammermoor. Finally, Cheryl Barker

returns to book-end the season in the title role of the

shockingly visceral Salome in a new production directed

by Gale Edwards.

OPERAA world of wonder awaits you

Image: Cheryl Barker, who stars in Die tote Stadt and Salome.


The young Korngold certainly didn’t restrict himself to small chamber works either. In 1911, at the age of fourteen, his first orchestral work, the Schauspiel Ouvertüre Op. 4 was premiered in Leipzig, and two years later his Sinfonietta in B Major, Op. 5 was premiered under the baton of Felix von Weingartner to great acclaim. It’s from these orchestral works that you get a true sense of Korngold’s now famous style, and indeed his gift for orchestration. The language used in his earlier chamber works seems best suited to these larger instrumental forces. The wrenching emotional contrasts and pugnacious bursts of motivic material are more at home here; brass happily punch out strident calls to action, and the strings seem born to give voice to his grand, sweeping gestures. It seems uncanny, but at the time of these premieres, swashbuckling celluloid heroes were decades away and destined to rise within a society rather alien to Fin de siècle Europe. And yet it certainly is not a stretch to imagine this music accompanying a heroic adventure on the big screen. It would be naïve, of course, to suggest that Korngold was composing in a vacuum. Strauss’s Also sprach Zarathustra had been around for seventeen years and late-romantic orchestral heroism was well-established in the concert-hall, but Korngold, perhaps because he started so young, did manage to formulate a unique style of muscular musical invention that is both symptomatic of his milieu and markedly individual.

For an ambitious young composer in Austria who’s first published work was for an imaginary ballet and whose orchestral pieces were saturated in drama, it’s not surprising that Korngold turned to the theatre before too long. At the tender age of 19, the young composer saw the successful premieres of two of his one-act operas, Der Ring des Polykrates and Violanta, but they would ultimately be overshadowed by his next opera, Die Tote Stadt (The Dead City), which premiered a few years later. Based around Georges Rodenbach’s symbolist novel Bruges-la-Morte, this bleak tale of romantic obsession may not seem an obvious choice for a young composer with the world at his feet. Tellingly though, the libretto was penned by his father, and one wonders whether he saw it as an exercise in Straussian psychological intensity for his young charge to stay in vogue. It is evident

Korngold and the ‘Hollywood’ Tag

In André Previn’s introduction to the 2002 Deutsche Gramophone release, Previn Conducts Korngold, in which the London Symphony Orchestra under his direction recorded a substantial selection of Erich Wolfgang Korngold’s film scores, the inveterate conductor lamented the composer’s apparently unjustified stigma as a one-dimensional ‘Hollywood composer.’ Previn sees this as a misconception, arguing that the famous Austrian ‘wunderkind’ had a well-established musical language before being hired by Warner Bros. and that it just so happened to suit the particular Hollywood aesthetic of the time.

The match was so perfect, in fact, that numerous contemporaries and proceeding generations of film composers went on to copy his style, which in turn created what we all recognise as classic ‘Hollywood’ music of the golden era. ‘What it actually comes down to,’ wrote Previn, ‘is that a great deal of film music began to sound like Korngold, as opposed to Korngold sounding like Hollywood.’ It is a compelling argument, and it’s worth looking into Korngold’s career and music leading up to his move to America in order to discover a more rounded picture of the composer.

Due to Korngold’s extraordinarily precocious talent, one can chart the development of his musical language from a very, very early age. There are several recordings of his ballet/pantomime Der Schneemann (The Snowman) for piano, which was published privately by his music-critic father when his son was only eight years old. This work, and other early offerings such as the 1st and 2nd Sonatas and the Piano Trio Op.1, show a tendency toward the continuous development of small melodic ideas in blustering peaks and troughs; forming a dynamically contrasting, kaleidoscopic language. There is an impetuous nature to it all, but it is already clear that this was a young composer keen on drama and the suggestion of narrative. Although one could perhaps attribute this style to the impatience of youth, the important thing to note is that his musical language was lauded as miraculous – and thus keenly fostered – by the musical cognoscenti of the day, not to mention such luminaries as Gustav Mahler and Richard Strauss. Already at odds with the trend toward tonal entropy within the European avant-garde, Korngold would continue to concentrate his efforts on opulent, emotionally driven music that, whilst stylistically unique and adventurous, would remain rooted in traditional tonality.

that Korngold stretched his skills to meet the lurid terrain of the drama, too. The orchestration and instrumentation is redolent of Strauss, and the harmonic language, whilst mostly retaining its sense of tonal centrality, acquires a density and colour previously under-exploited. Melodically though, it remains luscious and rich, and in that sense, quintessentially Korngoldian.

If this was a case of a father coaxing his son into darker creative territory in order to maintain his popularity with audiences, it would ultimately be in vain, as the rise of the Nazi Party would bring about a ban on Die Tote Stadt, and Korngold’s fourth opera, Das Wunder der Heliane, would meet a cold reception. Europe was changing. Not only did Korngold’s Jewish heritage begin to threaten his career and physical safety, but audiences’ tastes were leaving him behind. They no longer found his bold-yet-conservative language novel and his status as ‘wunderkind’ could no longer sustain his appeal.

In this sense Korngold and Hollywood were destined to meet each other. His first role there was to arrange Mendelssohn’s music for a film adaptation of A Midsummer Night’s Dream. Soon after, he was invited to score Captain Blood starring Errol Flynn. So in stark opposition to Korngold’s homeland, Hollywood wanted him badly, and he was clearly already well equipped to excel there. Korngold knew drama and he knew how to exploit the orchestra to tell a story in dynamic fashion. Captain Blood was the first time a film had received an original symphonic score, and the maestro from Austria dazzled studio executives and audiences alike with his skilful use of Wagnerian leitmotifs and his bone-rattling fanfares.

Using the term ‘Hollywood’ has become, to quote Previn again, “everyone’s favourite pejorative” when discussing Korngold’s music. But perhaps it is not as shameful a label as we might first think. From the very beginning, he set a standard of excellence in film composition that few have reached since. Therefore any Hollywood scores lacking in imagination or power are inferior to Korngold’s music, not exemplified by it. Moreover, when we look at his career from beginning to end, rather than just one aspect of it, we see a prodigiously talented composer who excelled in every genre and platform of music making, one of which just happened to be film during its grandest era. - Robert Clark


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room and amplified into the auditorium through an array of speakers. ‘It’s not exactly new,’ said the affable Romanian when I asked him at a rehearsal whether such an arrangement was daunting. He paused for effect before adding with a glint in his eye, ‘it was done with La Traviata.’ And indeed he’s right. The orchestra for that production was entirely concealed below the stage and amplified through speakers out to the audience.

This fact provided much comfort for Cray as well. ‘I knew that La Traviata would be a huge assistance in helping everybody – the singers, audiences, the technicians, the opera company

– in going from a natural orchestra to Die Tote Stadt.’ With this precedent fresh in the minds of everybody, it was decided that the orchestra would be placed in the Opera Studio with judiciously placed microphones sending the music up to be amplified into the Opera Theatre. The singers themselves will not be amplified; a point that Christian Badea was keen to point out. ‘We made a huge point of the singers not being miked,’ he said. ‘The balance of the orchestra is going to be related to the natural voice of the singers, and it will come from the same place that the orchestra usually comes from.’

The decision not to amplify the singers speaks to the second distinct challenge in staging this opera: the need to retain the acoustic richness of Korngold’s music despite the technological complexity in transmitting it to the audience. Tony David Cray sees this as his most important role. ‘To me, the risks are almost in us doing too much... The score is so large and so rich, that what we really have to do is just capture the orchestra in its natural state. We’re also developing a complex speaker system with our partners D and B Audiotechnic, to be able to represent the music in a way that is pure.’

There is good reason to be so focused on the accurate presentation of this music. Korngold was a gifted composer and dramatist, and the score certainly does not require any artificial enhancement. On Korngold’s style, Badea says, ‘he has his own voice, and he had a tremendous

Robert Clark chats with Christian Badea and Tony David Cray on the challenges to be met with Opera Australia’s next production, Die Tote Stadt.

After Tony David Cray warmly greeted me at the stage door of the Opera House, I followed him through its labyrinthine underbelly to a plush, dimly-lit studio. Surveying the impressive room I noticed a television screen hovering above the luminous mixing console, and frozen within it was a scene that looked oddly familiar to me. I asked Tony what the film was, and with the touch of a button the picture burst into life and there was Opera Australia’s spectacular harbour-side production of La Traviata; in the process of being prepared for television broadcast and DVD. Take my word for it: the recording looks and sounds amazing. More to the point, however, is that this extravagantly staged, high-end production, with its innovative marketing strategy and popular appeal, points to an opera company on the move and up-to-date in the twenty-first century. La Traviata defied the nay-sayers (let-alone the weather gods) and can boast that it made a tidy profit for Opera Australia. It can also boast the hugely impressive statistic that over sixty-per cent of its audience was new to the art form. As if to prove that this is only the beginning of their ambitions, OA’s next production is equally large-scale and technically adventurous, and the Opera House’s Head of Recording and Broadcast has the weighty task of making sure it goes off without a hitch. ‘When this was first proposed’ said Cray with a wry expression, ‘I smiled because I understood how much there would be to investigate, and also how bold it was.’

Telling the story of a man obsessed with his deceased wife, whose world is turned upside down when he encounters her exact lookalike on the street, Erich Wolfgang Korngold’s Die Tote Stadt has been hailed as ‘Straussian’ in scope and ‘Puccini-esque’ in style. This presents two distinct challenges for its performance in the Opera Theatre. Firstly, the orchestra is very large. So large in fact, that the Australian Opera and Ballet Orchestra cannot fit in the pit once it’s augmented to meet the requirements of the full score. When faced with this prickly quandary, conductor Christian Badea (returning to Australia after his highly successful debut with OA last year conducting La Bohême) suggested that the orchestra be placed in an entirely different

SPECTACLE VIENNESE STYLE

When you see people like him (Korngold), who

at the age of fourteen had assimilated everything that

was written before, and obviously counterpoint,

harmony and orchestration was nothing to him and he’d

already written an opera; when you see that, you

start to believe strongly in reincarnation and that the

soul of some genius like Mozart was there.

“

“

Christian Badea


mastery of orchestration, but at the same time, he was not shy of imitating a little bit. His approach is a bit like Stravinsky in his neo-classical period, such as The Rake’s Progress for example, where he takes Mozart, he takes Handel, but he makes it his own. So you can hear all kinds of things in this score, but he does it with tongue in cheek; he doesn’t need to borrow. He’s also very good at giving energy to the piece, probably because he was young, but he’s got a very good sense of timing, which not all opera composers have. He knows when things are sagging or not sagging, or when to give some time and how to combine scenes.’ The extent of Korngold’s early genius is also very clear to Badea, who makes a point of fostering young talent in his homeland through his Romanian Foundation for Excellence in Music. ‘When you see people like him, who at the age of fourteen had assimilated everything that was written before, and obviously counterpoint, harmony and orchestration was nothing to him and he’d already written an opera; when you see that you start to believe strongly in reincarnation and that the soul of some genius like Mozart was there.’ Mozart reincarnate or not, Korngold’s Viennese heritage is something that the conductor is keen to preserve. ‘It’s a new piece for everybody, and it’s technically very difficult, but what I hope we’ll be able to do is to assimilate as quickly as we can, then give it a certain ease; a certain Viennese flow, which it should have in spite of the fact that it’s so difficult. He’s still a Viennese composer and that is very clear.’

The difficulty of this work is not confined to the orchestra, either. The vocal parts in Die Tote Stadt are notoriously demanding, especially the central role of the widower, Paul, who rarely leaves the stage. Singing this character is German tenor, Stefan Vinke, who despite having never worked with Badea before proved very early on that he was more than up to the task. Badea fondly recalls the first time he heard Vinke sing his part. ‘Usually you arrive in Australia from Europe and you’re jet-lagged, and I feel jet-lag pretty badly, so I couldn’t imagine singing on your second day in the country, but Stefan arrived in Australia on the first day of rehearsals, and low and behold he started to sing through the part and he was just incredible. So I looked at him and I said, ‘you’re a monster! I don’t understand it! I felt much, much more relaxed after that.’ Singing the dual roles of the deceased wife, Marie and her doppelganger, Mariette, is Opera Australia favourite Cheryl Barker, whom Christian Badea was equally delighted with upon hearing for the first time. Sadly, inveterate concertmaster Aubrey Murphy will be making his swansong with Opera Australia in this production, as he will be returning to Europe to pursue further opportunities.

Tying all of these elements together will be the highly-decorated Australian director Bruce Beresford. This will be his ninth opera since 1986 and his third with OA after A Streetcar Named Desire (2007) and Of Mice and Men (2011), but there’s little doubt that his extensive film experience will be essential in this production. After all, there is always something quintessentially filmic in the music of Korngold, regardless of whether it was written before or during his Hollywood career. Moreover, the manner in which the music will be ‘broadcast’ into the Opera Theatre through an array of speakers will contribute greatly to a certain cinematic style. Badea explains, ‘of all operas, I think this opera lends itself very naturally and very logically to this treatment. Korngold was a movie music composer before he got hired for Hollywood. He wrote in a

very pictorial way, his orchestration is very evocative, it creates great atmosphere and he has leitmotifs for everything. He didn’t know he was going to Hollywood at twenty-three, but it was always the same style; the same Korngold.’

It is a style well-worth experiencing, and Opera Australia has proven so-far that it has a style of its own that turns mere performances into unmissable events. Die Tote Stadt will be ambitious, bold and large-scale, but at the core of it all will lie a dedication to the accurate representation of a musical genius who knew how to tell a powerful story through music. - Robert Clark


PRESENTED IN ASSOCIATION WITH 2MBS-FM 102.5

A PERFECT COMBINATIONTHE BEST SEATS AT THE METIN THE ELEGANCE OF SYDNEY'S MAGNIFICENT ART-DECO

HAYDEN ORPHEUM, CREMORNETHE METROPOLITAN OPERA HDCAPTURED LIVE IN HIGH DEFINITION & SCREENING CONCURRENTLY WITH THE NEW YORK SEASON

FOR FURTHER INFO VISIT WWW.ORPHEUM.COM.AU

DIE WALKUREWED July 18 AT 11.30AM A stellar cast comes together for this second instalment of Robert Lepage’s new production of the Ring cycle. Conducted by James Levine. Bryn Terfel is Woton, lord of the Gods. Deborah Voigt adds the part of Brunnhilde to her extensive Wagnerian repertoire at the Met.

DAS RHEINGOLD WED July 4 AT 11.30AM Two unparalleled artists join forces to create a groundbreaking new Ring for the Met. Maestro James Levine and director Robert Lepage. The cycle launches with Das Rheingold, the prologue to Wagner’s epic drama. “The Ring is not just a story or a series of Operas, it’s a cosmos,” says Lepage.

SIEGFRIEDWED August 1 AT 11.30AM In part three of the Ring, Wagner’s cosmic vision focuses on his hero’s early conquests, while Robert Lepage’s revolutionary stage machine transforms itself from bewitched forest to mountaintop love nest.

GOTTERDAMMERUNGWED August 8 AT 11.30AM Siegfried and Brünnhilde’s love is torn apart by the curse of the Ring. A trio of scheming humans separates the two heroes in a desperate attempt to steal the Ring for themselves. Heartbroken, Brünnhilde takes the Ring and leaps into the hero’s funeral pyre.

WAGNER RING CYCLE ENCORE SCREENINGS

LE COMTE ORY Sat/Sun only 11.30am Sept 1/2

LUCIA DI LAMMERMOUR Sat/Sun only 11.30am Sept 15/16 DON GIOVANNI Sat/Sun only 11.30am Sept 29/30

MET ENCORES - SPRING HIGHLIGHTS 2012


Music provides the common thread in cultural exchange

To mark the 40th anniversary of diplomatic relations between Australia and China; Fine Music 102.5, Shanghai East Radio and the Sydney Youth Orchestra are joining hands in an exciting cultural exchange. The group is fortunate to have Michael Zhou from Sydney’s Radio 2000 providing their liaison with Shanghai East Radio.

The Sydney Youth Orchestra is performing a concert on Sunday 29 July at The Concourse Chatswood to celebrate the collaboration. ‘Works by prominent Chinese and Australian composers will be presented alongside each other, with commentary in both Chinese and English,’ says Bernie Heard, the orchestra’s General Manager.

The centrepiece of the concert is the premiere of a new piano concerto by Australian composer George Palmer. Heard says that the work, inspired by Chinese poetry, was written especially to be performed by an Australian orchestra with a Chinese piano soloist.

The concerto was commissioned as part of a project between Fine Music 102.5 and Shanghai East Radio to promote cross-cultural music exchange between Australia and China. The project sees programs of Chinese traditional music from Shanghai East Radio presented by Paolo Hooke on Fine Music and programs of Australian music prepared by Julie Simonds for broadcast on Shanghai East Radio. There are also plans for Sydney Youth Orchestra to perform the Palmer concerto in Shanghai in 2013.

Palmer says he wanted to write a concerto that would resonate with both Australian and Chinese audiences. An avid reader of Chinese poetry (in translation), particularly the poets of the late T’ang period, he looked for one of their poems which could provide a theme for the concerto. ‘A poem which has always been one of my favourites is Han Yu’s The Withered Tree. It describes a lifeless old tree trunk - at first glance, a symbol of life defeated by death. Yet there is much more to it,’ he says.

Palmer says that there are many layers of meaning and reference in these sparse words and volumes could be, and have been, written about their interpretation. ‘At one level I see

an allegory of life - how we are ravaged by the vicissitudes of life and end in old age, often in despair or disappointment and always in death,’ he says. ‘But like the tree trunk, everyone and everything also hold the beginnings of new life - the wood of the dead tree can still spark fire, a symbol of creative energy. The poem says that our lives, even when over, have not been for nothing - they have significance for those who come afterwards. And these thoughts are expressed, not literally, but through images of great subtlety. Han Yu finds beauty even in seeming ugliness.’

The movements of the concerto are framed around this reading of the poem, says Palmer. ‘The first movement recalls the turbulence and confrontation of life, its earnest struggle, as hinted at in the first two lines. The second movement is calm and lyrical - reflecting on and accepting the philosophy of the poem yet, in a middle section, disturbed by doubt - the ‘toadstool which dies in a morning’. The third movement dwells on the last two lines - the vigour of creative energy and new beginnings. There is a very lyrical middle section which might almost be called a love theme. The concerto ends with a great rush of exuberant virtuosity.’

Palmer says that there were two images of an old withered tree which he had in mind when writing the music. ‘One was of a dead tree trunk still clinging to a cliff face in the beautiful mountains of Huangshan, where I travelled some years ago. The other was of an old Murray River Red Gum, ravaged by flood and drought. Each is haunting and intensely moving in its unique way.’

Palmer had the Australian Chinese pianist William Chen in mind while writing this concerto. ‘I have heard his playing and I know it to be powerful, brilliant and also of great delicacy. I felt I could give full expression to my imagination, knowing that he would interpret the piece with real insight.’

Chen says that on studying the score and playing through Palmer’s concerto, he felt as if he had been taken on a stroll in a beautiful oasis such as the Garden of Perfect Brightness circa 1700. ‘In Chinese culture, one never separates natural surroundings from artistic conception. Mountain, water, trees, moonlight all become a reflection of one’s

state of mind and spiritual pursuit and great Chinese paintings commonly contain poetry and calligraphy. During painting and writing, the way ink gently soaks through and melts on rice-paper is a particular beauty one can certainly meditate on.’

He found Palmer’s new concerto to be full of wonderful inspiration on those Chinese sentiments and artistic conception. ‘He is not simply imitating Chinese sounds and scales, but it all came from a deep respect for human condition in general, which is common in all Chinese poetry, painting and music, but more so, I believe this is a universal desire of all people,’ says Chen. ‘It is a great joy therefore to be able to experience such desire through playing his music and of course, I believe the audience will feel something quite beautiful and enlightening.’

Palmer says that he has not tried to suggest a Chinese musical idiom in the work as that is not his own musical language. ‘But I know that, in the end, music speaks the same language all over the world and I sincerely hope that this concerto will evoke for audiences both in China and Australia what are, after all, universal themes.’

Chen, who came to Australia when he was sixteen years old, says what has always been his most profound experience is when after one of his performances many years ago in Sydney, an elderly gentleman came up to him and said ‘William, I have been following your musical developments since you were sixteen’. ‘Now, that to me is a perfect sentiment that says: regardless of one’s birth place, our need for mutual understanding, respect and acceptance is exactly the same,’ says Chen.

‘Only when we are all looking for that common thread that links different aesthetic tradition and cultural pursuit together, there music has its rightful place as the bridge between peoples’ hearts and soul.’

Concert Details: Sunday July 29 3pmThe Concourse, Chatswood


In Chinese culture, one never separates natural surroundings

from artistic conception. Mountain, water, trees, moonlight all become a reflection of one’s state of mind and

spiritual pursuit….

“


Photo credit : Jon Frank

What’s On

RECITALSALLY-ANNE RuSSELL IN RECITAL WITH TONY LEGGE

Saturday 21 July 5pm

St James’ Church, King Street, Sydney

Tickets: $44–$48

Bookings: 8256 2222www.cityrecitalhall.comwww.sjks.org.au

Join mezzo-soprano Sally-Anne Russell and pianist Tony Legge in a special evening of music highlighting the bond between voice and piano. This recital includes works by Haydn, Montsalvatge and Britten. In demand internationally on the operatic stage and the concert platform, Sally-Anne Russell is a principal guest artist with all Australian opera companies, major festivals, choral societies and all Symphony Australia orchestras. Tony Legge studied accompanying with Geoffrey Parsons. He is a highly respected ‘répétiteur’ and has worked extensively with opera companies and recital soloists in Europe and the UK, including Bayreuth where he assisted on the Kupfer-Barenboim ‘Ring Cycle’ for five years. Legge was Head of Music at the English National Opera for 14 years. He is currently Assistant Music Directorof Opera Australia.

ORCHESTRALSYO PRESENTS WILLIAM CHEN

Sunday 29 July 3pm

The Concourse, Victoria Avenue, Chatswood

Tickets: $15–$100

Bookings: 1300 795 012www.ticketek.com.au

To celebrate a collaboration between Shanghai Radio and Sydney’s 2MBS FM join the Sydney Youth Orchestra for an exciting concert of cultural exchange between Australian and Chinese musicians. This performance will feature renowned Chinese pianist William Chen, and works by Australian and Chinese composers. Included is the world premiere of George Palmer’s Piano Concerto, Paul Stanhope’s award winning Fantasia on a theme by Vaughan Williams, two works by leading Chinese composers, He Luting and Hua Yanjun, and Tchaikovsky’s Symphony no 5. Pianist William Chen is a familiar name to Australia’s classical music scene. Born in China, Chen came to Australia at age 16 and studied at the Conservatorium High School. He won over 30 competition first prizes in Australia, including the 2MBS-FM Young Performer of the Year Award. Chen has appeared as soloist with the Sydney, Melbourne, Brisbane and Adelaide Symphony Orchestras, and performed with the Royal Philharmonic Orchestra in London.

Travelling with Tognetti to world heritage listed Ningaloo Reef, making music and surfing with the locals, is a remarkable collection of artists: photographer Jon Frank, director Mick Sowry, composer Iain Grandage, didgeridoo player Mark Atkins, singer Steve Pigram and the young musicians of ACO2.

Together they will create a performance using music and film to further delve into the links between surfing, the ocean, landscape and music previously illuminated in Musica Surfica and The Glide. The Reef is a co-production by the ACO and Tura New Music.

See updates about the creation of The Reef at: www.acoblog.com.au

AuSTRALIAN CHAMBER ORCHESTRA – THE REEF

Monday 23 July 7pm

Sydney Opera House, Concert Hall

Tickets: $37–$99Bookings: 9250 7700www.sydneyoperahouse.com

In his most adventurous project to date, Richard Tognetti takes musicians and surfers to the rugged surf coast and tough desert landscape of northern Western Australia to create a new performance piece at the intersection of music and nature.

CHAMBERSELBY & FRIENDS – MAGICAL MINIATuRES

Tuesday 3 July 7pmCity Recital Hall Angel PlaceTickets: $33–$68Bookings: 8256 2222www.cityrecitalhall.com

Sunday 8 July 2pmTurramurra Uniting Church, Turramurra Avenue, TurramurraTickets: $40–$51Bookings: 9969 7039www.selbyandfriends.com.auAccompanied children 14 and under admitted freeCathy McCorkill (clarinet), Julian Smiles (cello), Kathryn Selby (piano).

Magical Miniatures celebrates the company of three much loved instruments, the clarinet, cello and piano. The program features the soulful sounds of Gabriel Urbain Fauré and Australian composer Andrew Schultz, the technical mastery and tone colour of Debussy, the inspired originality of American composer John Cage and the poetic story-telling of three great Romantic masters – Bruch, Brahms and Schumann. Selby & Friends’ concerts have earned an enviable reputation for the highest quality performances and an atmosphere of warmth and familiarity, where relaxing with an extended family leads to the true pleasure of chamber music.

CHAMBER SYDNEY OMEGA ENSEMBLE - CLASSIC OMEGA

Sunday 8 July 4pm

Sydney Opera House, Utzon Room

Tickets: $40–$60 (2MBS subscribers can access discounts of up to 20%. Quote the code ‘2MBS’ when booking and present your subscriber card at the Box Office).

Bookings: 9250 7777www.sydneyomegaensemble.com

From Beethoven’s dynamic Sextet in E-flat major, op 71 showcasing the versatility of the French horn, to the thrilling musical memento of Tchaikovsky’s sojourn in Italy ‘Souvenir de Florence’, this collection of enduring masterpieces is quintessentially Sydney Omega Ensemble (SOE) and destined to captivate any audience. Louis Spohr also features at his best in his lively and colourful Octet in E-flat major, op 32 with its notoriously testing violin part. Cast in four movements, this work was composed in 1814 (and premiered in Vienna in the same year) when Spohr was around 30 years old. ‘SOE possesses the pluckiness and energy of youth but also the gravitas and depth to tackle works of this calibre. In my mind, they are a unique ensemble on the Australian music scene,’ says pianist Simon Tedeschi.

JAZZ2012 JANN RuTHERFORD MEMORIAL AWARD FuNDRAISER

Thursday 12 July 8pm

Blue Beat, 16 Cross Street, Double Bay

Tickets: $25–$40

Bookings 9328 4411www.jrma.infowww.bluebeat.com.au

The Jann Rutherford Memorial Award (JRMA), founded in 2005, is helping to redress the gender imbalance in the field of Jazz performance by supporting outstanding young female instrumentalists. The award is named in honour of the late jazz pianist Jann Rutherford and is funded by private donations. There have been two generous major JRMA sponsors over the years, but now alternative support is needed. A fundraising concert is planned for Thursday 12 July at Blue Beat Double Bay. Three main groups will perform: Paul Cutlan leading the Jann Rutherford Quintet; the Hannah James Quartet; and the Sirens Big Band.

The Jann Rutherford Quintet: Matt McMahon (piano), Roger Manins and Paul Cutlan (saxophones), Craig Scott (bass), Dave Goodman (drums).

Hannah James Quartet: Hannah James (bass), Tim Clarkson (saxophone), Casey Golden (piano), Ed Rodrigues (drums).

The Sirens Big Band: Launched by Jessica Dunn and Harriet Harding, the band is a 17 piece all female ensemble.

Raffle prizes include concert tickets, books, CDs and photo sessions. Tickets are $5 each or five for $20.

VOCALMuSICA VIVA PRESENTS AMARCORD

Saturday 21 July 2pm, Monday 30 July 7pm

City Recital Hall Angel Place

Tickets: $30–$73

Bookings: 8256 2222www.cityrecitalhall.com www.musicaviva.com.au

If you could fuse together the Backstreet Boys and an East German Lutheran boys’ choir, you would probably end up with something like Amarcord. This internationally acclaimed a cappella group owes much of its success, and its rich, engrossing sound, to Bach. They first met as choirboys at Bach’s old stomping ground in Leipzig, and you can hear the influence manifest in a beautifully romantic sound which is unique to the city – warm, deep and layered. Hear resounding and powerful interpretations of Renaissance madrigals, works by the great composers from the 18th and 19th Centuries, and new versions of folk songs from around the world. ‘Lots of lush, chromatically turned harmony denoting love, longing, anguish…’ – IONARTS Washington D.C.

COMPETITIONSYDNEY INTERNATIONAL PIANO COMPETITIONWednesday 4 July – Saturday 21 July

Seymour Centre – Opening Recital /Quarter and Semi Finals

Tickets: $15 – $36

Bookings: 9351 7940

www.sydney.edu.au/seymour/

Sydney Opera House – Finals

Tickets: $30 – $70

Bookings: 9250 7777

www.sydneyoperahouse.com

The Sydney International Piano Competition of Australia is internationally recognised as one of the world’s great Piano Competitions. Following this year’s gruelling audition process, 36 of the world’s most gifted pianists aged 17-30 were selected to compete in the 2012 competition. The competitors are battling for a share of the cash prizes totalling $150,000 and for the recognition within the piano world. This year, the four yearly competition celebrates its tenth anniversary. The inaugural competition was held in July 1977 and in 1978 was admitted as a member of the Federation of International Music

Competitions. The live auditions, held in almost every corner of the globe, started in February.

Professor Warren Thomson, Artistic Director, travelled to Singapore, Rome, Vienna, Hamburg, Paris, Moscow, London, New York, Los Angeles, Tokyo, Shanghai and Sydney to audition a total of 171 applicants. This competition is unique and offers much more than prize money. Major prize winners go on tour throughout all states and territories of Australia, and overseas recital engagements and major festivals

are arranged in many countries around the world, including Japan, China, Singapore, Korea, New Zealand, Germany, France and Italy.

Konstantin Shamray


July Program highlights

The premiere on 17 March by the Australia Ensemble of Elena Kats-Chernin’s Interludes and a Rag commissioned by 2MBS-FM will be heard in New Beginnings when 2MBS-FM 102.5 changes its identification and becomes Fine Music 102.5. The work received high praise from music critic, Peter McCallum who wrote: ‘The

scoring for strings and wind had bright clarity, with the use of the deeper reed instruments – cor anglais and bass clarinet instead of oboe and clarinet – creating opportunities for distinctiveness, particularly in the second and fourth movements. Though based on repetition, the movements were concise with

the driving last movement ending almost before the blood had risen to the cheeks.’

Elena Kats-Chernin felt she needed the sound of the bass clarinet in preference to the clarinet; the kind of ‘bittiness’ of the bass clarinet is very appealing to her in this suite. In the third movement, the cor anglais has an important role and it is hard to imagine another instrument playing that melody. This instrument is used through the entire suite because she loves this particular reedy sound.

There are six contrasting movements and each one has variety within itself plus a surprise added movement of a tango. This piece begins minimally, like bricks being shaped for the new building; however the bricks that she imagined are quite light. Bass clarinet and flute begin those ‘brick droplets’ with piano joining after eight bars, then gradually others enter (cor anglais and strings) and an energetic piece emerges. The tango is optional, a transcription of one of the movements from her orchestral piece Re-collecting Asteroids. – Julie Simonds

RACHMANINOV PLAYS RACHMANINOV Sunday 14 at 1pm

It is often said that Sergei Rachmaninov was the greatest pianist of the early 20th Century, perhaps even the greatest since Franz Liszt. We only have written accounts of earlier pianists but we are so fortunate to have recordings made by Rachmaninov: some made very early in the century and preserved on piano roll; some recorded on 78rpm vinyl disc. Modern technology has brought many of these to a standard comparable to the latest recordings, in particular those taken from piano roll.

For the next three months in Historic Recordings we have the opportunity to savour the artistry of Rachmaninov both as composer and pianist. While he lived well into the 20th Century, he composed mainly in the idiom of a bye-gone day: basically a Romantic era composer.

Irving Kolodin writes that despite this compositional style ‘there is something paradoxical in the modern leanness and angularity of his playing ... in contrast with the fulsome, over-dramatized readings of

NOTE BY NOTE, BRICK BY BRICK Sunday 1 at 1pm

OuT OF AFRICAFriday 20 at 2pm

Many may not be aware, that our radio station has become twinned with FMR in Cape Town, South Africa. This was an initiative of our programmer, South African-born Sheila Catzel, who has provided us with this program featuring South African composers and musicians to celebrate this first occasion when we have reached out to another volunteer-run community station in an overseas country. We hope that there will be exchanges of programs in the future because of this friendly arrangement.

One of the composers represented, Peter Klatzow, is a presenter on FMR and was a Board member for many years. Another composer, whom many would believe to be English, is Victor Hely-Hutchinson who was born in Capetown but died in London after a career with the BBC. Listening to the works of the composers in this program will most probably be an enlightening experience as it’s always good to explore and appreciate the unknown although we will hear some familiar composers as well. - ES

some of his contemporaries ... He succeeded in setting the details of a work in clear relief, touching in the colours with a lyric sensitivity and manly tenderness that are indeed unique. There was scholarship in his playing, but it would be foolhardy to call it ‘scholarly’, for its passion and élan soared beyond the confining implications of such a word, embodying a boldness and strength of manner now infrequent in musical performance’. This comment referred not only to Rachmaninov’s playing of his own works but encompassed his interpretation of the works of many other composers. – Elaine Siversen

Peter Klatzow


July Program highlights

A SYMBOLIST OPERA Wednesday 25 at 8pm

The fascinating story of Pelléas et Mélisande was the subject of a play by Belgian Symbolist poet and playwright, Maurice Maeterlinck. It was written in 1892 with an English translation two years later. Premiered at an avant-garde theatre in Paris, it became the unquestioned masterpiece of Symbolist drama.

This Symbolist movement was a literary and artistic movement which sought to express individual emotional experience through the subtle and suggestive use of highly symbolized language. It began with a group of French poets in the late 19th century and included such luminaries as Stéphane Mallarmé, Paul Verlaine and Arthur Rimbaud, much of whose poetry was set to music by the French composers of the late 19th and early 20th centuries.

In 1902 Debussy was inspired to write his opera, Pelléas et Mélisande, which will be presented in At the Opera: Transformations and is one of the treasures our band of volunteers have rescued from LP in our project of transferring works and performances which have not been available to us on CD. The stellar cast includes Frederike von Stade as Mélisande, Richard Stilwell as Pelléas, José van Dam as Golaud and Ruggero Raimondi as Arkel. The conductor is the renowned Herbert von Karajan: a performance to treasure. Don’t miss it! - ES

A THOuSAND VOICES Saturday 21 at 4pm

You won’t actually hear a thousand voices when the Sydney Philharmonia Choir and Orchestra perform Mahler’s massive Symphony no 8 in E minor but they’ll be doing their best to make it sound like that! Gustav Mahler was at the pinnacle of his creative career when he composed this symphony in 1906 but, although he had gained international recognition for his works, he was still a poor man at the age of 47 locked into a career as a conductor, albeit a very successful one, but longing for more time to devote to composition. Gabriel Engel writes: ‘He regarded himself as cast out by his own country and looked back upon the long years of unnerving, self-effacing conductorship that had denied him any chance to compose except during fleeting vacation moments’.

Despite this, Mahler had composed eight magnificent symphonies culminating at this time in this eighth symphony which required in his

NEW PROGRAMSFOR YOuR ENJOYMENTRefer to Transpositions: Programs on the Move, page 21

Spotlight on ... returns after several years ‘in the wilderness’. Each program in this series, which proved to be extremely popular when broadcast previously, focuses on one composer or one musician or one musical ensemble. The choice for the programmers is infinite and we are sure that you will enjoy the variety throughout each month. This month the Spotlight falls on composers Alfred Hill and Nicolai Rimsky-Korsakov, viola da gamba player and conductor Jordi Savall and the ensemble Concentus Musicus Vienna.

Music for Words is an extended program designed to allow longer non-sacred vocal works to be broadcast. These types of works include secular oratorios and cantatas, song cycles, short operas, and similar, from all different musical periods. There could be many wonderful surprises in store. This month the program includes the song cycle Images of Crusoe by the early 20th Century French composer, Louis Durey, and the oratorio La Susanna by the 17th Century Italian composer, Alessandro Stradella.

estimation huge forces, both vocal and orchestral, to achieve the effect that he desired. At the first performance conducted by the composer on September 12, 1910 at the Munich Exposition there were seven soloists, two mixed choruses of 250 members each, a children’s choir of 350 and an orchestra of 146. Thus the symphony became known as the Symphony of a Thousand.

The work is in two parts: firstly Veni Creator Spiritus (Come Holy Spirit), a ninth century hymn for two combined choruses; secondly the Concluding Scene from Faust, a symphonic poem with chorus. – ES

After Hours will add an extra two hours per week to the popular jazz programs with the emphasis on a late-night style.

Celestial Notes will be concentrating on larger sacred vocal works such as Masses, Requiems, cantatas, sacred oratorios and extended motets highlighting the rich heritage of all musical periods. It will also include non-vocal music such as organ works, church sonatas and other instrumental music of a sacred nature. The introduction of this program, and of Music for Words, reflects our listeners’ growing appreciation of choral music as shown in our last Audience Study.

Chamber Masterworks is also a reflection of increased interest in chamber music and in this program we will include the very best works for two to nine instruments from master composers and eminent musicians.

Sunday Night Concert will be orchestral concerts which have proved to be amongst the favourite types of programs enjoyed by our listeners. Relax every Sunday night and let the orchestra entertain you in your own private concert hall. - ES


RECOLLECTIONS OF A ‘GROUPIE’

another article, Mike Smith wrote that he noticed that Ashkenazy always gave credit for an excellent performance to the orchestra and not to himself and is always reluctant to accept personal praise. ‘Music speaks for itself’, says Ashkenazy. ‘A work of genius always keeps a listener interested and it has the mystery of life.’ Roger Benedict, Principal Viola of the Sydney Symphony, says of Ashkenazy’s sincerity and humility: ‘I think that’s why he’s had these incredibly warm, long-standing relationships with orchestras.’

As Vladimir Ashkenazy turns 75 on 6 July, he would probably give the same answer as he gave five years ago when asked about possible retirement. ‘No. Why should I? I love music, that is fundamental, but as long as I can still perform I can be of use to people. If I were to drop dead tomorrow, someone else would take over, probably do better than I can, but as long as I can contribute, be of use, then I’ll probably carry on until I simply drop.’

Join us on Friday 6 July at 1pm for a program of Vladimir Ashkenazy’s fine music-making as we wish him Happy Birthday!

‘Two days before the recording [of Rachmaninov’s Third Piano Concerto] was to take place, I sat stunned as Ashkenazy, Ormandy and the [Philadelphia] Orchestra gave a performance of the concerto in New York that I shall never forget,’ wrote Jay David Saks. ‘Only then did I appreciate his confidence, for here were artists equal to every challenge in the score transcending difficulties as if musical utterance was their only concern. Later that week, in what seemed an incredibly short session, one of the great artistic collaborations of our time was captured for records. In front of the microphones the playing was as electrifying as it had been in the concert. Musical lightning had struck twice.’ A week before Saks had been sceptical when Vladimir Ashkenazy had wanted only one recording session for this concerto which makes greater technical demands and more endurance than many other concertos, a towering work that Saks believed could only be performed by the greatest of all virtuoso pianists. These performances took place in 1976.

A few years later I heard this recording broadcast by 2MBS-FM and immediately became an Ashkenazy ‘groupie’. Well, a ‘groupie of one’ as most of my friends at that time (before I volunteered at 2MBS-FM in 1985) wouldn’t have known one classical pianist from another and may not even have heard of Rachmaninov! From that time on, I marked in my Program Guide every time Ashkenazy was playing on air and, when he visited Sydney, I went to every concert. I even went to a record signing where I found this very shy, self-effacing man behind the counter who graciously signed my six LPs but said not a word. Those who know me now would find it hard to believe that I was also overcome by shyness and could only say, ‘Thank you’ and escape out the door. One of those LPS was a later recording of the same work with the London Symphony Orchestra and André Previn which was still wonderful but didn’t have quite the ‘fire’ of that first recording. Wonder of wonders, I later found the original LP at a 2MBS-FM Book and Record Bazaar! It is one of my greatest treasures.

I would think most of those who are reading this will know a great deal about Vladimir Ashkenazy’s brilliant career as pianist and

conductor and I am not going to detail that here. Some will have had more fortunate, and more personal, encounters than I with him but we have all been thrilled by his music-making and have a great respect for this gentle, humble man who, in the many interviews, has proved to be as humble as on that day of my memorable encounter. He has never promoted himself above the music but has always been its loyal subject searching its hidden depths with great sensitivity and insight. In fact when he became Principal Conductor of the Sydney Symphony he banned the use of the term ‘Maestro’ in reference to himself.

On the cover of another of my LPs I found an interesting note that it was planned for this Ashkenazy recital in Colchester, Essex to be recorded and filmed but that he was uncomfortable playing without an audience with bright lights and cameras whirring. In order that Ashkenazy would have the feeling of communicating his music to an audience, a small group was invited to attend and to provide something of the atmosphere of a concert hall. This need to communicate the music appears to be very important to him and it is said that members of the various orchestras he has conducted over the years have felt this bond of communication. But when I stood in front of him those many years ago, he was too shy to talk to me! I shouldn’t feel bad about this as I am told that even today Ashkenazy is shy with the general public yet it is very important for him to be able to communicate with them through the music he plays as a pianist or when he conducts an orchestra.

His communication with the orchestras he has conducted since the 1970s is legendary and he is universally respected which is a rarity in the world of music performance. Referring back to the 70th birthday tribute written five years ago for Fine Music by Mike Smith we read: ‘During my interviews with members of the orchestra for the regular Sydney Symphony program on 2MBS-FM, there is not one among them whose praise for this great man is anything less than warm, enthusiastic and unfailingly complimentary’. In

By Elaine Siversen


TRANSPOSITIONS: PROGRAMS ON THE MOVE

Weekdays Saturday Sunday

12:00 AM Monday & holidays All Through The Night

Tue-Fri Contemporary Collective

All Through the Night All Through the Night3:00

4:00 Till Dawn

6:00Music for A New Day Saturday Morning

MusicSunday Morning Music

9:00Diversions in Fine Music

What’s On in Music

Celestial Notes9:30

Spotlight On …10:00

Morning Concert10:30Chamber Masterworks

11:00

11:30 General Classical Band

12:00 PM Jazz Jazz Jazz

13:00General Classical

Wed: Youth Development / ACO

Chinese Classic / Historic / Nostalgia Folk / World

13:30

14:00

General ClassicalWed: General Classical / Listeners Requests

Explorations / Listener’s Choice / General

Sunday Special

14:30

15:00Music for Words / Organ / Choral / At the Movies / Music at St James / Ballet / General

16:00

Keeping You Company

16:30

17:00Hosanna

17:30

18:00 Recorder / Aust Composer

Guitar / Schubert / What’s on at the Con / Tall Poppies18:30

19:00Jazz Musicals / Operetta

Opera Highlights

19:30Sunday Night Concert

20:00 Mon: BluesTues: Recent ReleasesWed: OperaThur: Orchestral Fri: The Romantic Century

Live and Local20:30

21:00

New Horizons21:30 General

22:00 Mon: Keyboard Contrasts Tue: Beyond RomanticismWed: Opera/General Thur: Chamber SoiréeFri: Baroque and Before

After Hours22:30

Ultima Thule23:00

0:00

Sundays will be substantially different:• A new program devoted to sacred music,

Celestial Notes, goes to air weekly at 9am on Sundays. This ninety-minute program will complement Hosanna by providing scope for longer works.

• Following that, at 10.30, we will focus on the heartland repertoire for smaller forces in Chamber Masterworks.

• These programs replace Musical Explorations, which moves to 2pm on selected Saturday afternoons, and ‘His Most Skilled Artistry’ and Early Music to Baroque, which will be discontinued.

• Our world music and folk music programs will now share the new timeslot of 1pm on Sundays.

• Sunday Special remains at 2pm and now extends to three hours, enabling major works to be included and themes to be explored in greater depth.

• Opera Highlights moves to 7pm Sundays, from 9.30pm on Saturdays.

• A new orchestral program, Sunday Night Concert, is introduced, at 7.30pm. This replaces Musica da Camera, as chamber music now has a new home on Sunday mornings.

Saturdays also see a number of major changes:• A new program of mellow jazz, suitable for

late evening listening, After Hours goes to air from 10pm to midnight.

• A different artist or ensemble will be featured each Saturday at 9.30am in Spotlight On…, which replaces Landmarks.

• Chinese Mosaic, Historic Recordings, Classic Voices and In a Sentimental Mood all move from Sunday to share the new timeslot of 1pm on Saturdays.

• Listeners’ Choice shifts back an hour, to start at 2pm on Saturdays twice a month.

• In the same weeks, At the Movies can be heard at 3.30pm (transferring from 7pm on Sundays).

• Music for Words, a program of secular vocal music of all kinds, will go to air monthly on Saturday afternoons at 3.30pm

• The program of the Guitar Society will move from 7pm on Sundays to 6pm on Saturdays, monthly. Twice a month, this timeslot will be devoted to the Australian Composers’ Hour.

• Weekday changes involve the monthly Select Your Classics and the daytime Recent Releases programs moving from 1.00pm on Saturdays to 2pm on Fridays.

• The other weekday alterations are to titles, in the interests of clarity. Our program of music from the early and mid 20th centuries (Tuesdays, 10pm) will now be called Beyond Romanticism, while Romantic Initiatives (Fridays, 8pm) is re-named The Romantic Century.

Please consult the program listings for further details. We hope you like our new programs, and that you find your familiar ones better placed for your enjoyment.

As a result of our latest review of the program schedule, a number of changes take effect from this month. Most of these affect weekends. Names of new programs are in bold.


Sunday - 1st July 0:00 CLASSIC-ALL THROuGH THE NIGHT

6:00 SuNDAY MORNING MuSIC with Terry McMullen

9:00 CELESTIAL NOTES Prepared by Rex Burgess

Palestrina, G. da Super flumina Babylonis. Pro Cantione Antiqua/Mark Brown. Regis PRC 1065 4

Lalande, M-R. de Super flumina Babylonis (1687). Soloists; Les Arts Florissants/William Christie. Harmonia Mundi HMC 901351 18

Alkan, C-V. Super flumina Babylonis (1859). Laurent Martin, pf. Marco Polo 8.223657 7

Berlioz, H. Messe solennelle (1825). Donna Brown, sop; Jean-Luc Viala, ten; Gilles Cachermaille, bass; Monteverdi Choir; O Révolutionnaire et Romantique/John Eliot Gardiner. Philips 442 137 2 54

10:30 CHAMBER MASTERWORKS Prepared by George Segal

Glazunov, A. String quintet in A minor, op 39 (1891-92). Academy of St Martin in the Fields Chamber Ensemble. Chandos CHAN 9387 29

Stravinsky, I. Octet (1923). Nash Ensemble/Elgar Howarth. EMI 5 72698 2 15

Shostakovich, D. Sonata (1934). Mischa Maisky, vc; Martha Argerich, pf. DG 477 5323 26

Prokofiev, S. Five melodies, op 35bis. Joshua Bell, vn; Olli Mustonen, pf. Decca 440 926-2 11

12:00 SPEAK EASY, SWING HARD with Richard Hughes

13:00 NEW BEGINNINGS

This afternoon we are introducing our new identification or call sign, Fine Music 102.5. After broadcasting as 2MBS-FM for 37 years, the time has come for a change. Our old name is frequently confused with other similar sounding Sydney-based stations. More importantly, and particularly with the advent of digital radio and on-line streaming,we need our name to identify what we broadcast. (See my article on page 3.) Rest assured we will continue to broadcast the same mix of great classical music, jazz and other fine music genres: Fine Music, All Day, Every Day.

To celebrate the name change, Michael Morton-Evans has devised a special program of name-day music beginning with a new work commissioned by us for the ocassion from the renowned Sydney-based composer Elena Kats-Chernin. This will by followed by a program featuring artists who have been associated with us over our many years of broadcasting. David Brett, Chair of the Board of Directors

14:00 FINE MuSIC PARTNERS Prepared by Chris Blower

Handel, G. Coronation anthem: Zadok the priest (1727). Sydney Philharmonia Choir & O/Antony Walker. ABC 442 9812 6

Bach, J.S. Concerto in F, BWV971, Italian (1735). Nicholas Parle, hpd. Tall Poppies TP057 15

Scheidt, S. Variations on Ach du feiner Reiter (pub. 1624). David Rumsey, org. MBS 33 CD 9

Austin, R. Caprice hervaise (1996). Glenn Murray, vn; Ann Carr-Boyd, pf. Jade JADCD 1069 4

Elgar, E. The dream of Gerontius, op 38, part 1 (1900). David Hamilton, ten; Stephen Bennett, bass; Georgian Singers; Willoughby Choir & SO/Gavin Sutherland. WSOC 31

Beethoven, L. Sonata no 8 in C minor, op 13, Pathétique (1798). Gerard Willems, pf. ABC 465 695-2 19

Vaughan Williams, R. Serenade to music (1939) Pearl Berridge, sop; Elaine Blighton, sop; Janet Delpratt, sop; Marilyn Richardson, sop; Lauris Elms, mezz; Ruth Gurner, mezz; Helen McKinnon, mezz; Suzanne McLeod, mezz; Ronald Dowd, ten; Gerald English, ten; Raymond McDonald, ten; David Parker, ten; Lyall Bevan, bass; Robert Dawe, bass; Graham McIntosh, bass; Donald Shanks, bass; Sydney SO/Patrick Thomas. ABC 476 4565 12

Grieg, E. Piano concerto in A minor, op 16 mvt3 (1868). Simon Tedeschi, pf; Queensland SO/Richard Bonynge. ABC 476 8071 11

16:00 FOCuS ON FOLK Folk Federation of NSW with John Milce

17:00 HOSANNA Prepared by Meg Matthews

Hymns: My song is love unknown; Lord for the years; Glorious things of Thee are spoken; Thy hand, O God, has guided. Choir of Wells Cathedral; Rupert Gough, org; Malcolm Archer, cond. Hyperion DCP 12101 13

Byrd, W. Excerpts from Mass for four voices. Choir of Christ Church Cathedral, Oxford/Stephen Darlington. Nimbus NI 5287 15

Noble, T. Magnificat; Nunc dimittis, from Evening canticles in B minor (1896). Choir of St. George’s Cathedral, Perth; Daniel Hyde, org; Simon Langford, cond. ABC Classics 465 689-2 8

Pärt, A. Summa. Studio de musique de Montréal/Christopher Jackson. ATMA Classique ACD2 2310 5

Whitlock, P. Postlude on Darwell’s 148th. Philip Matthias, org. Chartreuse CRCD 1092 2

Trad. Swing low, sweet chariot (arr. Brown). Paul Roberson, bass; Ruthlard Clapham, pf. Regis RRC 1229 3

18:00 CLASSICAL GuITAR SOCIETY A brief evolution Prepared by Dan Sharkey

Llobet, M. Six Catalan songs. Stefano Grondona, gui. Divox CDX-29701 11

Francesco da Milano. Ricercare: nos 1, 5, 28. James Holland, lute. Suite Music 7

Mudarra, A. Tres libros de musica (1546). John Griffiths, vihuela. Move MD 3089 10

Giuliani, M. Sinfonia nell’opera l’Assedio di Corinto. Claudio Maccari, gui; Paolo Pugliese, gui. Rugginenti RUS 552058-2 8

Paganini, N. Sonata and romance. Gil Shaham, vn; Göran Söllscher, gui. DG 437 837-2 9

d’Annibale, V. O paese d’ o’ sole (arr. Charlton). Duo Agostino. Agostino Music 2

19:00 OPERA HIGHLIGHTS Prepared by Shamistha de Soysa

Britten, B. Interlude and sea shanties: Blow her away, from Billy Budd, op 50 (1951). Gregory Dempsey, ten; Peter Glossop, bar; David Bowman, bar; Ambrosian Opera Ch; London SO/Benjamin Britten. Decca 460 805-2 8

Korngold, E. Marietta’s song, from Die tote Stadt, op 12 (1920). Kiri Te Kanawa, sop; London SO/Stephen Barlow. ABC 480 5629 5


Handel, G. Bramo di trionfar, from Alcina (1735). Graham Pushee, ct; Australian Brandenburg O/Paul Dyer. ABC 446 272-2 6

Bononcini, G. Per la gloria d’ adorarvi, from Griselda (1722). Luciano Pavarotti, ten; Bologna Comunale TO/Richard Bonynge. ABC 480 5629 4

19:30 SuNDAY NIGHT CONCERT Prepared by Chris Blower

Castelnuovo-Tedesco, M. Overture: Julius Caesar, op 78 (1934). West Australian SO/Andrew Penny. Naxos 8.5725 11

Arnold, S. Incidental music to Macbeth (1778). Toronto Camerata/Kevin Mallon. Naxos 8.557484 18

Falla, M. de Nights in the gardens of Spain (1907-16). Alicia de Larrocha, pf; London PO/Rafael Frühbeck de Burgos. Decca 466 128-2 25

Tchaikovsky, P. Children’s album, op 39 (1878; arr. Milman, Spivakov). Moscow Virtuosi/Vladimir Spivakov. RCA 09026 61964 27

21:00 NEW HORIZONS Prepared by Phil Vendy

Chin, G. Double concerto (2002). Cho-Liang Lin, vn; Felix Fan, vc; Kansas City SO/Michael Stern. Naxos 8.570221 37

D’Rivera, P. The Cape Cod files (2009). Jon Manasse, cl; Jon Nakamatsu, pf. Harmonia Mundi HMU 907508 23

Koppel, A. Sinfonia concertante (2007). Yana Deschkova, vn; Anna Maria D. Dahl, va; Ran/Matthias Aeschbacher. Dacapo 8.226052 24

22:30 uLTIMA THuLE Ambient and atmospheric music: www.ultimathule.info for detailed playlist

MONDAY 2 JuLY0:00 CLASSIC-ALL THROuGH THE NIGHT

6:00 MuSIC FOR A NEW DAY including Arts Calendar at 7.30am with James Hunter

9:00 DIVERSIONS IN FINE MuSIC Inspired by opera Prepared by Di Cox

Offenbach, J. Overture to Orpheus in the Underworld (1858/74). Detroit SO/Paul Paray. Mercury 434 332-2 9

Hugues, L. Grand concert fantasy on themes from Verdi’s Un ballo in maschera, op 5. Jean-Pierre Rampal, fl; Claudi Arimany, fl; John Steele Ritter, pf. Delos DE 3212 9

Berlioz, H. D’amour l’ardente flamme, from The damnation of Faust, op 24 (1845-46). Maria Callas, sop; Conservatoire Concerts Society O/Georges Prêtre. EMI 5 67701 2 8

Liszt, F. Fantasy on themes from Mozart’s The marriage of Figaro (1842; arr. Busoni). Vladimir Horowitz, pf. Larrikin DDC 931 14

Donizetti, G. Ballet music from La favorita (1840). London SO/Richard Bonynge. Decca 452 767-2 9

10:00 MORNING CONCERT Prepared by Sheila Catzel

Wagner, R. Overture to Tannhäuser (1845). Berlin PO/Claudio Abbado. Decca 476 2457 14

Dvorák, A. Violin concerto in A minor, op 53 (1879). Frank Peter Zimmermann, vn; London PO/Franz Welser-Möst. EMI 7 54872 2 31

Bartók, B. Concerto for orchestra (1943). Budapest FO/Iván Fischer. Philips 456 575-2 36

11:30 TRANSCRIPTIONS AND TRIFLES Prepared by Sheila Catzel

Wagner, R. Träume, from Wesendonk Lieder (1857-58; transcr. Primrose). Roberto Diaz, va; Robert Koenig, pf. Naxos 8.557391 4

Dvorák, A. Bagatelles, op 47 (1878). Charles Castleman, vn; Julie Gigante, vn; Pamela Frame, vc; Barbara Harbach, harmonium. Albany TROY 041 16

Ravel, M. Pavane pour une infante défunte (1899; transcr. Walter). Claire Désert, pf; Moraguès Quintet. Le Chant du Monde LDC 2781116 5

12:00 SWING SESSIONS with John Buchanan Featuring tunes from three or four of the great recording sessions and broadcasts of the 1920s and 1930s

13:00 ADELAIDE MuSICIANS Prepared by Elaine Siversen

Linger, C. Four motets. Adelaide Singers/Patrick Thomas. LP ABC AC 1019 20

Hyde, M. Piano concerto no 1 in E flat minor (1933). Miriam Hyde, pf; West Australian SO/Geoffrey Simon. ABC 446 285 2 30

Britten, B. Serenade, op 31 (1943). Thomas Edmonds, ten; Hector McDonald, hn; Australian CO. Fine Music Tape Archive 24

Tchaikovsky, P. Violin concerto in D, op 35 (1878). Jane Peters, vn; Australian Youth O/Christoph Eschenbach. ABC 426 210-2 35

15:00 SAINT-SAËNS IN CONCERT Prepared by Rex Burgess

Saint-Saëns, C. Morceau de concert, op 62 (1880). Philippe Graffin, vn; Ulster O/Thierry Fischer. Hyperion CDA67294 10

Piano concerto no 2 in G minor, op 22 (1868). Philippe Entremont, pf; Toulouse Capitole O/Michel Plasson. CBS M2YK 45624 23

Morceau de concert, op 154 (1918). Vanessa McKeand, hp; English CO/Edmond Colomer. Virgin VC7 90721 2 13

Symphonic poem: Danse macabre, op 40 (1874). Toulouse Capitole O/Michel Plasson. EMI 5 55385 2 7

16:00 KEEPING YOu COMPANY Includes Arts Calendar at 5.00pm Prepared by David Brett

19:00 A TWIST OF JAZZ with Andrew Piper

20:00 STORMY MONDAY with Austin Harrison and Garth Sundberg

22:00 KEYBOARD CONTRASTS Prepared by Frank Morrison

Haydn, J. Sonata no 33 in C minor, Hob.XVI:20 (1771). Steve Barrell, clvd. Globe GLO 5023 20

Beach, A. Suite on Irish melodies, op 104 (c1920). Virginia Eskin, pf; Kathleen Supove, pf. Koch 3-7254-2 24

Reubke, J. Sonata in B flat minor (1857). Till Fellner, pf. Apex 49533 2 28

Shostakovich, D. Piano quintet in G minor, op 57 (1940). Australia Ensemble. Tall Poppies TP052 34

Sunday - 1st / Monday - 2nd July


Tuesday - 3rd July0:00 CONTEMPORARY COLLECTIVE

3:00 CLASSICAL TILL DAWN

6:00 MuSIC FOR A NEW DAY including Arts Calendar at 7.30am with Julie Simonds

9:00 DIVERSIONS IN FINE MuSIC Great pianists of the 20th Century By courtesy of Canadian Broadcasting Corporation

Eric Friesen and Tom Deacon discuss Julius Katchen and Alexis Weissenberg, with music by Brahms, Rorem, Ravel, Rachmaninov, Debussy, Scryabin and Stravinsky.

10:00 MORNING CONCERT Prepared by Heather Sykes

Weber, C.M. Overture to Peter Schmoll and his neighbours (1803). New Zealand SO/Antoni Witt. Naxos 8.570296 10

Bizet, G. Roma symphony (1860-68). Melbourne SO/John Lanchbery. ABC 456 669-2 33

Khachaturian, A. Violin concerto in D minor, op 14 (1940). Mikhail Simonyan, vn; London SO/Kristjan Järvi. DG 477 9827 38

11:30 DIFFERENT STRINGS Prepared by Heather Sykes

Castelnuovo-Tedesco, M. Sonata in D, op 77 (1934). Norbert Kraft, gui. Chandos CHAN 9033 16

Rosetti, F. Sonata no 2 in E flat. Naoko Yoshino, hp. Philips 446 064-2 9

12:00 JAZZ RHYTHM with Jeannie McInnes Melodic jazz with an emphasis on traditional, mainstream, swing, Australian artists and a few surprises

13:00 HAPPY ANNIVERSARY, JANÁCEK! Prepared by Heather Sykes

Janácek, L. Sinfonietta (1926). Czech PO/Jirí Belohlávek. Chandos CHAN 8897 23

Jealousy (1894). Brno State PO/Frantisek Jílek. Supraphon 11 1521-2 031 6

Three male-voice folk choruses: Ploughing; Our birch tree; The garland. Moravian Teachers’ Choir/Lubomir Máti. Naxos 8.553623 9

Suite, op 3 (1891). Brno State PO/Frantisek Jílek. Supraphon 11 1521-2 031 14

14:00 THE AWESOME ALHAMBRA Prepared by Marilyn Schock

Albéniz, I. El Albaicin, from Iberia (1905-08). Trio Campanella. Naxos 8.557064 7

Debussy, C. La puerta del vino, from Preludes, bk 2 (1913). Duncan Gifford, pf. ABC 476 2900 3

Loevendie, T. Alhambra. Raphaela Danksagmüller, duduk; Netherlands CO/Jurjen Hempel. Radio Nederland MCCP122 5

Debussy, C. Lindaraja (1901). Vladimir Ashkenazy, pf; Vovka Ashkenazy, pf. Decca 478 1090 6

Koehne, G. Nocturne 2: Interlude, Delius near the Alhambra (1993). Adelaide SO/János Fürst. ABC 442 349-2 7

Albéniz, I. Recuerdos de viaje, op 71 (1887). Guillermo González, pf. Naxos 8.570553 30

Tárrega, F. Recuerdos de la Alhambra. Craig Ogden, gui. Chandos CHAN 9743 6

Rodrigo, J. Prelude to a poem on the Alhambra (1928). Castille and León SO/Max Bragado Darman. Naxos 8.557101 8

Albéniz, I. La vega, from Alhambra suite (1887). Miguel Baselga, pf. BIS CD-1043 4

Falla, M. de Nights in the gardens of Spain (1907-16). Alicia de Larrocha, pf; London PO/Rafael Frühbeck de Burgos. Decca 466 128-2 25

16:00 KEEPING YOu COMPANY Includes Arts Calendar at 5.00pm Prepared by Brendan Walsh

19:00 THE JAZZ BEAT with Lloyd Capps Mainstream jazz, with an emphasis on ‘cool’ from the 50s until now

20:00 RECENT RELEASES with Derek Parker

22:00 BEYOND ROMANTICISM A sense of Poland Prepared by Phil Vendy

Lutoslawski, W. Jeux vénitiens (1951). Polish NSO/Antoni Wit. Naxos 8.554283 8

Panufnik, A. Old Polish music: divertimento after Janiewicz (1947). Polish CO/Mariusz Smolij. Naxos 8.570032 12

Szymanowski, K. Myths, op 30 (1914). Ariadne Daskalakis, vn; Miri Yampolsky, pf. Naxos 8.570987 19

Paderewski, I. Symphony in B minor, op 24, Polonia (1903-08). BBC Scottish SO/ Jerzy Maksymiuk. Hyperion CDA67056 1: 14


Wednesday - 4th July

0:00 CONTEMPORARY COLLECTIVE


6:00 MuSIC FOR A NEW DAY including Arts Calendar at 7.30am with Troy Fil

9:00 DIVERSIONS IN FINE MuSIC Aspects of Baroque

Vivaldi, A. Double concerto in D minor, RV540 (1740). Olga Arzilli, va; Emanuele Segre, gui; European CO/Eivind Aadland. IMP PCD 993 13

Scarlatti, D. Sonata in F minor, Kk481. Joanna McGregor, pf. Warner 2564 67269-8 9

Allegri, G. Psalm 50 (51): Miserere mei Deus. Saul Quirke, treb; Choir of Westminster Cathedral/Stephen Cleobury. Decca 467 431-2 11

Mancini, F. Sonata XII in G. UlrichThieme, rec; Alberto Rasi, va da gamba; Siegbert Rampe, hpd. Art of Classics INT 885914 9

Sammartini, G. Symphony in A. Aradia Emsemble/Kevin Mallon. Naxos 8.557298 10

10:00 MORNING CONCERT Prepared by Shamistha de Soysa

Bridge, F. The sea (1911). English CO/Benjamin Britten. BBC BBCB 8007-2 21

Bruch, M. Symphony no 1 in E flat, op 28 (pub. 1870). Gewandhaus O/Kurt Masur. Philips 462 164-2 28

Czerny, C. Piano concerto in C, op 153. Liu Xiao Ming, Horst Göbel, pf; Brandenburg State O, Frankfurt/Nikos Athidäos. Christophorus CHE 0140-2 31

11:30 PLuCKED STRINGS PLuS Prepared by Philip Lidbury

Pasculli, A. Omaggio a Bellini. Heinz Holliger, cora; Ursula Holliger, hp. Philips 426 288-2 8

Bartlet, J. Of all the birds (pub. 1606). Ian Partridge, ten; Konrad Ragossnig, lute. Cadenza CAD A 863 3

Paganini, N. Sonata concertata in A (1803). Scott St John, vn; Simon Wynberg, gui. Naxos 8.55069 14

12:00 THE SOuND OF JAZZ with Kevin Jones

New releases, DownBeat reviews, historic recordings, and the Great American Songbook

13:00 AuSTRALIAN CHAMBER ORCHESTRA Produced by Simon Moore

Highlights and previews of the month’s concerts including interviews with the key players

14:00 INTIMATE IMPRESSIONS

Mompou, F. Impresiones íntimas (1911-14). Alicia de Larrocha, pf. Decca 433 929-2 17

Vaughan Williams, R. Romance (pub. 1962). Paul Coletti, va; Leslie Howard, pf. Hyperion CDA66687 6

Sibelius, J. String quartet in D minor, op 56, Voces intimae (1909). Melos Quartet. Harmonia Mundi HMC 901671 30

15:00 IN CONVERSATION with Michael Morton-Evans What exactly does it take to make music? Leading musicians, composers and performers, both local and visiting from overseas, will be talking live on air telling us why they do it and how they do it.

16:00 KEEPING YOu COMPANY Includes Arts Calendar at 5.00pm Prepared by David Ogilvie

19:00 JAZZ STARS AND STRIPES with Peter Mitchell The stars: musicians who have paid their dues with their work recognised from Adderley through Miles to Zawinul

20:00 AT THE OPERA La Calisto Prepared by Andrew Bukenya

Cavalli, F. La Calisto. Opera in two acts. Libretto by Giovanni Faustini. First performed Venice, 1652. JOVE: Ugo Trama, bass MERCURY: Peter Gottlieb, bar CALISTO: Ileana Cotrubas, sop ENDYMION: James Bowman, alto DIANA: Janet Baker, mezz LYMPHEA: Hugues Cuenod, ten Glyndebourne Festival Opera Ch; London PO/Raymond Leppard. Decca 436 216-2 2:00 Visiting Arcadia, Jove sees the nymph Callisto and attempts to seduce her. She resists, but finally succumbs when he disguises himself as Diana. Meanwhile the real Diana, because of her vow of chastity, cannot love Endymion but kisses him as he sleeps. Jove’s infidelity is discovered by his wife Juno, while Diana’s secret is found out by Pan, who has long desired her. Endymion is persecuted by Pan and the Furies turn Callisto into a bear at the command of the outraged Juno. Jove sadly confesses all to Callisto: she must live the rest of her life as a bear, but eventually he will raise her to the stars. Diana rescues Endymion and they agree that kissing will be the extent of their love-making. Jove, Mercury and Callisto celebrate Callisto’s ascension to the heavens.

22:30 WILLOuGHBY SYMPHONY ORCHESTRA Produced by Kerry Joyner RECORDED BY FINE MuSIC

Mozart, W. Overture to Mitridate, re di Ponto (1770). 6

Piano concerto no 20 in D minor, K466 (1785). Ian Munro, pf. 30

Symphony no 40 in G minor, K550 (1788). 26

Willoughby SO/Nicholas Milton (all above)

23:40 MOZART: A HORN CONCERTO Produced by Kerry Joyner

Mozart, W. Horn concerto no 4 in E flat, K495 (1786). Graham Nichols, hn; Willoughby SO/Andrew Robinson. Fine Music recording 16




6:00 MuSIC FOR A NEW DAY including Arts Calendar at 7.30am with Stephen Wilson

9:00 DIVERSIONS IN FINE MuSIC Composer focus Prepared by Michael Morton-Evans

MacDowell, E. Étude de concert, op 36 (1889). James Barbagallo. pf. Marco Polo 8.223634 3

Two Songs, op 34 (1889). Steven Tharp, ten. Marco Polo 8.223866 4

James Barbagallo, pf (2 above)

Suite for large orchestra, op 42 (1890-91). Eastman-Rochester O/Howard Hanson. Mercury 434 337-2 19

In lilting rhythm, op 2 (pub. 1896). James Barbagallo, pf. Marco Polo 8.223632 5

Two symphonic poems, op 22 (1884): Hamlet; Ophelia. Ulster O/Takuo Yuasa. Naxos 8.559075 13

To a wild rose, from Woodland sketches, op 51 (1896; orch. Anderson 1970). BBC Concert O/Leonard Slatkin. Naxos 8.559381 2

Witches dance, op 17 no 2 (1883; orch.). Stephen Prustman, pf; National SO of Ireland/Arthur Fagen. Naxos 8.557930-31 3

10:00 MORNING CONCERT Prepared by Michael Morton-Evans

Lumbye, H. Pictures from a dream (1846). Odense SO/Peter Guth. Unicorn-Kanchana DKP 9089 9

Brahms, J. Violin concerto in D, op 77 (1878). Thomas Zehetmair, vn; Cleveland O/Christoph von Dohnányi. apex 0927-49592-2 38

Saint-Saëns, C. Symphony no 3 in C minor, op 78, Organ (1886). Gillian Weir, org; Ulster O/Yan Pascal Tortelier. Chandos CHAN 8822 34

11:30 THE FRENCH MÉLODIE Prepared by Rex Burgess

Poulenc, F. Le bestiaire ou Cortège d’Orphée (1919). Gérard Souzay, bar. 4

Cocardes (1919). Michel Sénéchal, ten. 6

Chansons gaillardes (1926). Gérard Souzay, bar. 10

Three poems of Louise Lalanne (1931). Elly Ameling, sop. 3

Dalton Baldwin, pf (all above) EMI CMS 7 64087 2

12:00 JAZZ, PuRE AND SIMPLE with Maureen Meers Each week featuring one of the many aspects of jazz

13:00 DRESDEN’S GOLDEN AGE OF MuSIC Prepared by Francis Frank

Heinichen, J. Pastorale in A. Musica Antiqua Cologne/Reinhard Goebel. Archiv 447 644-2 6

Porpora, N. Va per le vene il sangue. Andreas Scholl, ct; Accademia Bizantina/Ottavio Dantone. Decca 475 6569 8

Hasse, J. Mandolin concerto in G (arr. Behrend). Takashi Ochi, mand; German Plucked-String CO/Siegfried Behrend. Thorofon CTH 2025 6

Quantz, J. Trio sonata in E flat. Mary Oleskiewicz, fl; Jean-François Beaudin, fl; Stephanie Vial, vc; David Schulenberg, hpd. Naxos 8.555064 11

Weiss, S. Sonata in F. Lutz Kirchhof, lute. Sony S2K 48391 10

Zelenka, J. Hipocondrie in A à 7 concertanti (1723). Jürg Schaeftlein, ob; Paul Hailperin, ob; Milan Turkovic, bn; Alice Harnoncourt, vn; Walter Pfeiffer, vn; Kurt Theiner, va; Concentus Musicus Vienna/Nikolaus Harnoncourt, vc & dir. Teldec 8.42415 9

14:00 THE BEST OF DECCA Prepared by Ron Walledge

Strauss, R. Tone poem: Don Juan, op 20 (1888). San Francisco SO/Herbert Blomstedt. Decca 478 316-2 18

Prokofiev, S. Piano concerto no 3 in C, op 26 (1917-21). Jullius Katchen, pf; London SO/István Kertész. Decca 478 3178 26

Falla, M. de Ballet: The three cornered hat (1919). Teresa Berganza, sop; Suisse Romande O/Ernest Ansermet. Decca 478 3156 36

Tchaikovsky, P. Serenade in C for strings, op 48 (1880). Academy of St Martin in the Fields/Neville Marriner. Decca 478 3187 27

16:00 KEEPING YOu COMPANY Includes Arts Calendar at 5.00pm Prepared by Debbie Scholem

19:00 JAZZ VIBES with Matt Bailey

20:00 EVENINGS WITH THE ORCHESTRA Orchestral works of Dvorák: The early years Prepared by Stephen Wilson

Smetana, B. Overture and dances from The bartered bride (1866). London SO/Geoffrey Simon. LP Chandos ABRD 1149 24

Dvorák, A. Symphony no 1 in C minor, The bells of Zlonice (1865). Scottish NO/Neeme Järvi. Chandos CHAN 8597 53

Cello concerto no 1 in A (1862-65; orch. Burghauser). Milos Sádlo, vc; Czech PO/Václav Neumann. Supraphon 2 SUP 0009 33

22:00 CHAMBER SOIRÉE Prepared by Win Thompson

Debussy, C. Sonata for flute, viola and harp (1915). Members of Nash Ensemble. Virgin VC7 91148 2 17

Schumann, R. Märchenbilder, op 113 (1851). Paul Coletti, va; Leslie Howard, pf. Hyperion CDA66946 16

Meyerbeer, G. Clarinet fantasy (1839). Consortium Classicum; Dieter Klöcker, cl & dir. Orfeo C314 941 A 8

Borodin, A. Quintet in C minor (1862). Ilona Prunyi, pf; New Budapest String Quartet. Marco Polo 8.223172 23

Ries, F. Sonata in G minor, op 125 (1823). Guido Larisch, vc; Robert Hill, fp. cpo 999 666-2 29

Mozart, W. Allegro in B flat, K516c (1790). Emma Johnson, cl; Gabor Takacs-Nagy, vn; Rebecca Hirsch, vn; Tim Boulton, va; Andrew Shulman, vc. ASV CDA1079 5

Bach, C.P.E. Trio sonata in A for flute, violin and continuo, Wq146 (1731/47). Ensemble of the Classic Era. ABC 456 365-2 12

Thursday - 5th July


Friday - 6th July0:00 CONTEMPORARY COLLECTIVE


6:00 MuSIC FOR A NEW DAY including Arts Calendar at 7.30am with Janine Burrus

9:00 DIVERSIONS IN FINE MuSIC Small forces Prepared by Paul Hopwood

Smetana, B. Quartet no 2 in D minor (1883). Lindsay String Quartet. ASV DCA 777 17

Beethoven, L. Piano trio no 11 in G, op 121a, Kakadu variations (1792-95). Beaux Arts Trio. Philips 438 948-2 17

Bach, J.S. Sonata in B minor, BWV1030 (1737). Vernon Hill, fl; Roger Heagney, hpd. Move MD 3118 19

10:00 MORNING CONCERT Prepared by Elaine Siversen

Prokofiev, S. Waltz suite, op 110 (1946). Mikhail Chernykhovsky, vn; USSR RT Large SO/Gennady Rozhdestvensky. Consonance 81-5005 28

Grieg, E. Holberg suite, op 40 (1884). Oslo Camerata/Stephan Barratt-Due. Naxos 8.55789 19

Brahms, J. Symphony no 3 in F, op 90 (1883). Scottish CO/Charles Mackerras. Telarc CD-80450 36

11:30 BRAHMS ENCORE Prepared by Elaine Siversen

Brahms, J. Longing at rest, op 91 no 1 (pub. 1884). Linda Finnie, mezz; John Harrington, va; Anthony Legge, pf. Chandos CHAN 8786 7

Four serious songs, op 121 (1896). John Shirley-Quirk, bar; Martin Isepp, pf. Decca 461 245-2 19

12:00 JAZZ 13:00 VLADIMIR ASHKENAZY A 75th birthday tribute

Chopin, F. Mazurkas, op 7 (1830): no 1 in B flat; no 2 in A minor; no 3 in F minor. Decca 448 086-2 9

Mozart, W. Piano concerto no 8 in C, K246, Lützow (1775). London SO/István Kertész. Decca 443 576-2 22

Rachmaninov, S. Prelude in C sharp minor, op 3 no 2 (1892). Decca 414 417-2 5

Prokofiev, S. Piano concerto no 1 in D flat, op 10 (1911-12). London SO/André Previn. Decca 425 572-2 16

Vladimir Ashkenazy, pf (all above)

Sibelius, J. Symphonic poem: En saga, op 9 (1892/1901). Philharmonia O/Vladimir Ashkenazy. Decca 410 016-2 19

Stravinsky, I. Concertino (1920). European Soloists Ensemble/Vladimir Ashkenazy, pf & dir. Decca 473 810-2 6

Tchaikovsky, P. Do not believe it, my friend, op 6 no 1 (1872). Elisabeth Söderström, sop; Vladimir Ashkenazy, pf. Decca 436 204-2 3

Mahler, G. Symphony no 8 in E flat, mvt 1, Symphony of a thousand (1906). Twyla Robinson, sop; Marina Shaguch, sop; Sara Macliver, sop; Bernadette Cullen, mezz; Dagmar Peckova, mezz; Simon O’Neill, ten; Markus Eiche, bar; Martin Snell, bass; Sydney Children’s Choir; Gondwana Voices; Adelaide Symphony Ch; Sydney Philharmonia Choirs; West Australian SO/Vladimir Ashkenazy. SSO 201002 22

15:00 CHAMBER ARRAY Prepared by Phil Vendy

Bach, C.P.E. Flute quartet no 2 in D, Wq94 (1788). Les Adieux. Harmonia Mundi GD 77052 16

Paganini, N. Sonata no 3 in A, from Miscellany of sonatas (1828). Luigi Alberto Bianchi, vn; Maurizio Preda, gui. Dynamic CDS 34 13

Haydn, J. String quartet in F, op 77 no 2, Lobkowitz (1799). Alban Berg Quartett. EMI 5 57474 2 24

16:00 KEEPING YOu COMPANY Includes Arts Calendar at 5.00pm Prepared by Julie Simonds

19:00 JAZZ

20:00 THE ROMANTIC CENTuRY The Russians are coming Prepared by Robert Small

Arensky, A. Violin concerto in A minor, op 54 (1891). Sergey Ostrovsky, vn; Bournemouth SO/Thomas Sanderling. Naxos 8.572631 22

Tchaikovsky, P. Symphony no 4 in F minor, op 36 (1877). Toulouse Capitole NO/Tugan Sokhiev. naïve V 5068 43

Rachmaninov, S. Suite no 2, op 17 (1901). Martha Argerich, pf; Nelson Freire, pf. Philips 464 732-2 21

Mussorgsky, M. Symphonic synthesis of Boris Godunov (1874; transcr. Stokowski 1936). Bournemouth SO/José Serebrier. Naxos 8.557645 24

22:00 BAROQuE AND BEFORE Musica brittanica Prepared by Robert Small

Dowland, J. A fancy. Paul O’Dette, lute. Harmonia Mundi HMU 907163 3

Ward, J. Come sable night. Amaryllis Consort. IMP PCD 873 6

Purcell, H. Music for the funeral of Queen Mary (1695). Felicity Lott, sop; Charles Brett, ct; John Williams, ct; Thomas Allen, bass; Equale Brass Ensemble; Monteverdi Ch & O/John Eliot Gardiner. Erato 2292-45123-2 19

Handel, G. Organ concerto in B flat, op 4 no 6 (1736). Simon Lindley, org; Northern Sinfonia/Bradley Creswick. Naxos 8.553835 11

Cantata: Apollo and Daphne (c1708). Nancy Argenta sop; Michael George, bass; Collegium Musicum 90/Simon Standage. Chandos CHAN 0583 40

Byrd, W. Fantasia: The leeves be green. Musica Dolce/Clas Pehrsson. BIS CD-8 4

Mass for four voices (1593). Tallis Scholars/Peter Phillips. Gimell 454 945-2 22


0:00 CLASSIC-ALL THROuGH THE NIGHT

6:00 SATuRDAY MORNING MuSIC with Stephen Wilson

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

9:30 SPOTLIGHT ON ALFRED HILL Prepared by Ron Walledge

Hill, A. Happy Valley (arr. Vanessa-Mae). Chinese Ladies’ Choir; Vanessa-Mae, vn; Royal Opera House O/David Arch. EMI 5 56483 2 7

Trumpet concerto. Donald Johnson, tpt; West Australian SO/Thomas Mayer. LP ABC/WRC RO 2596 20

String quartet no 11 in D minor (1935). Australian String Quartet. Marco Polo 8.223746 18

Valse triste (1914); Dancing faun; Come again summer (1937); One came fluting (1959). Tamara Anna Cislowska, pf. ABC 476 6298 13

Violin concerto (1932). Alwyn Elliott, vn; Sydney SO/Joseph Post. LP ABC/WRC RO 2596 23

Symphony no 3 in B minor, Australia (1951). Queensland SO/Wilfred Lehmann. Marco Polo 8.223537 27

11:30 ON PARADE Prepared by Owen Fisher

Rossini, G. Overture to Trancredi. Black Dyke Mills Band/Peter Parkes. LP Chandos BBRD 1021 5

Bellstedt, H. Gondoliers, from A day in Venice. Allentown Band/Ronald Demkee. AMP 87107 3

Rimmer, W. March medley. Desford Colliery Band/Ernest Woodhouse. LP Astor GGS 1420 5

Parton, D. I will always love you. Greater Bendigo Concert Brass/Mark Ford. Waksingham WAL 9001-2 4

Ellis, V. Coronation Scot. National Band of New Zealand/Rodney Sutton. LP Orion OR 80392 3

Trad. French carol: He is born. Allentown Band/Ronald Demkee. AMP 87107 3

12:00 JAZZ THEN AND NOW with Michael Cooper Mainstream jazz from the early 1950s to the present day

13:00 CHINESE MOSAIC + POSTCARDS FROM SHANGHAI Prepared by Paolo Hooke A monthly exploration of the best of Chinese classical, traditional and film music, incorporating material specially provided by Shanghai East Radio

14:00 MuSICAL EXPLORATIONS Bridges between the centuries Prepared by Judy Ekstein

Scarlatti, A. Sinfonia di concerto grosso no 12 in C minor. European Community CO/Eivind Aadland. Helios CDH88025 7

Pergolesi, G. Sinfonia in F. 7 Durante, F. Concerto no 8 in A, La pazzia. 9

Elizabeth Wallfisch, vn; Raglan Baroque Players/Nicholas Kraemer (2 above) Hyperion CDA67230

Corelli, A. Concerto grosso in C minor, op 6 no 3 (pub. 1714). English Concert/Trevor Pinnock. Archiv 459 451-2 10

Handel, G. Concerto grosso in B flat, op 3 no 1 (pub. 1734). Concentus Musicus Vienna/Nikolaus Harnoncourt. Teldec 242 599-2 9

Debussy, C. Prélude à l’après-midi d’un faune (1894). Elizabethan PO/Henryk Pisarek. MBS 18 CD 11

La mer (1905). New Philharmonia O/Pierre Boulez. Sony SM2K 68 327 24

15:30 MuSIC FOR WORDS Prepared by Rex Burgess

Durey, L. Images of Crusoe, op 11 (1918). François Le Roux, bar; Graham Johnson, pf. Hyperion CDA67257 28

Mendelssohn, F. Songs without words, bk 7, op 85 (1842). Daniel Barenboim, pf. DG 453 061-2 14

Stradella, A. La Susanna (1666). Marjanne Kweksilber, sop; Judith Nelson, sop; René Jacobs, alto; Martyn Hill, ten; Ulrik Cold, bass; Ingrid Seifert, vn; Hajo Bäss, vn; Jaap ter Linden, vc; Jeroen ter Linden, vle; Konrad Junghänel, theorbo; Alan Curtis, hpd & dir. EMI 26539 2 1:37

18:00 TO THE FOuR WINDS Prepared by Elaine Siversen

Handel, G. Sonata in G minor, op 2 no 8 (pub. 1738). Roger Birnstingl, bn; Kim Walker, bn. Gallo CD-337 11

Stanley, J. Suite of trumpet voluntaries no 1 in D. Gabriele Cassone, tpt; Antonio Frigé, org. Nuova Era 7053 8

Crusell, B. Divertimento in C, op 9 (1822). Jouko Teikari, ob; Olavi Pälli, vn; Hannele Segerstam, vn; Pentti Mikkonen, va; Risto Poutanen, vc. Finlandia FACD 012 10

Danzi, F. Sonata in E flat, op 28. Michael Thompson, hn; Philip Fowke, pf. Naxos 8.55357 23

19:00 THE MAGIC OF STAGE AND SCREEN Prepared by Derek Parker

Sullivan, A. Excerpts from The zoo (1875). Julia Goss, sop; Jane Metcalf, mezz; Meston Reid, ten; Kenneth Sandford, bar; John Ayldon, bass; Geoffrey Shovelton, speaker; D’Oyley Carte Ch; Royal PO/Royston Nash. Decca 473 659-2 36

Novello, I. Excerpts from The dancing years (1939). James Warwick, Anne Rogers, Ann Howard, Cheryl Kennedy, Andy Cole, voices; Ch & O/Geoff Love. Classics for Pleasure 0946 35985 2 21

20:00 LIVE AND LOCAL Musica Viva presents theTakács Quartet Produced by Greg Simmons; prepared by Peter Bell

RECORDED BY FINE MuSIC

Janácek, L. String quartet no 1, Kreutzer (1923). 18 Britten, B. String quartet no 1 in D, op 25. 26 Kerry, G. Variations for string quartet (2006). 15 Debussy, C. String quartet in G minor, op 10. 24

Takás Quartet (all above)

21:30 SENTIMENTAL WALTZES

Tchaikovsky, P. Valse sentimentale, op 51 no 6 (1882). Viktoria Postnikova, pf. Erato 2292-45995-2 5

Lord Berners. Valse sentimentale (1919). Royal Liverpool PO/Barry Wordsworth. EMI CDC 7 47668 2 3

Ravel, M. Valses nobles et sentimentales (1911). Pascal Rogé, pf. Decca 440 836 2 16

22:00 AFTER HOuRS with Kevin Jones

Saturday - 7th July


Sunday - 8th July0:00 CLASSIC-ALL THROuGH THE NIGHT

6:00 SuNDAY MORNING MuSIC with Robert Small

9:00 CELESTIAL NOTES Prepared by Francis Frank

Mozart, W. Mass no 5 in G, K140, Pastoral (c1773). Michael-Christfried Winkler, org; Leipzig Radio Choir & SO/ Herbert Kegel. Philips 422 264-2 18

Scarlatti, A. Pastoral cantata for the birth of Our Saviour. Susan Gritton, sop; Collegium Musicum 90/Simon Standage. Chandos CHAN 0634 18

Henderson, M. Sacred site (1983). David Kinsela, org. Southern Cross SCCD 1022 12

Vanhal, J. Missa pastoralis in G (1782). Mary Enid Haines, sop; Nina Scott Stoddart, sop; Colin Ainsworth, ten; Steven Pitkanen, bar; Tower Voices; Aradia Ensemble/Uwe Grodd. Naxos 8.55508 34

10:30 CHAMBER MASTERWORKS Prepared by Win Thompson

Schubert, F. Sonata in A minor, D821, Arpeggione (1824). Mstislav Rostropovich, vc; Benjamin Britten, pf. Decca 443 575-2 28

Octet in F, D803 (1824). Vienna Octet. Decca 466 580-2 53

12:00 CLASSIC JAZZ AND RAGTIME Prepared by John Buchanan

13:00 WORLD MuSIC: Whirled Wide With Clarissa Mulas

Traditional and contemporary music from around the globe

14:00 SuNDAY SPECIAL The Faust legend Prepared by Rex Burgess

Berlioz, H. Eight scenes from Faust, op 1 (1829). Susan Graham, sop; Susanne Mentzer, mezz; John Mark Ainsley, ten; Philip Corokinos, bar; Montreal Symphony Choir & O/Charles Dutoit. Decca 475 097-2 36

Busoni, F. Two studies for Doktor Faust, op 51 (1919). Hong Kong PO/Samuel Wong. Naxos 8.555373 19

Alkan, C-V. Grande sonata: The four ages, op 33 (pub. 1847). Ronald Smith, pf. EMI CDM 7 64280 2 43

Liszt, F. A Faust symphony (1854). Peter Seiffert, ten; Men of Ernst Senff Choir; Men of Prague Philharmonic Choir; Berlin PO/Simon Rattle. EMI 5 55220 2 1:09

17:00 HOSANNA Prepared by Heather Sykes

Hymns: Sing joyfully; Sanctus; O be joyful in the Lord; Hear my prayer, O Lord. Cambridge Singers; London Sinfonia/John Rutter. Collegium CSCD 500 11

Veni Creator Spiritus; Spiritus Domini; Factus est; Repente. Cistercian Monks of Stif Heiligenkreuz. UCJ 47 66 778 6

Psalms: no 22, My God, my God, look upon me; no 71, In Thee O Lord, have I put my trust. Choir of Westminster Abbey; Andrew Lumsden, org; Martin Neary, cond. Virgin VC 7 91211 2 14

Mendelssohn, F. I waited for the Lord; Lift thine eyes, from Elijah (1846). 6

Verdi, G. Laude alla Vergine Maria, from Four sacred pieces (pub. 1898). 5

Choir of King’s College, Cambridge/Stephen Cleobury (2 above) EMI 5 57896 2

Hymns: God that madest earth and Heaven; Love divine, all loves excelling; Count your blessings; This little light of mine. Compact Selection TO 136 9

18:00 SYDNEY SCHuBERT SOCIETY Prepared by Jan Brown

Schubert, F. Sonata in A, D574 (1817). Midori Seiler, vn; Jos van Immerseel, pf. Harmonia Mundi ZZT060501 22

Symphony no 6 in C, D589 (1817-18). Australian CO/Charles Mackerras. Omega OCD 1005 32

19:00 OPERA HIGHLIGHTS Prepared by Giovanna Grech

Mozart, W. Madamina, il catalogo è questo, from Don Giovanni (1787). Teddy Tahu Rhodes, bass-bar; Tasmanian SO/Ola Rudner. ABC 480 5513 6

Leoncavallo, R. Hark! you beautiful songbirds, from Pagliacci (1892). Glenda Raymond, sop; Australian SO/Hector Crawford. ABC 472 689-2 3

Verdi, G. Notte, perpetua notte ... Non maledirmi, from I due Foscari (1844). Carlo Bergonzi, ten; New PO/Nello Santi. LP Philips 6747 193 6

Donizetti, G. Come Paride vezzoso, from L’elisir d’amore (1832). Dmitri Hvorostovsky, bar; Philharmonia O/Ion Marin. Philips 434 912-2 3

Mascagni, P. Oh! il Signore vi manda; Tirridu mi tolse l’onore, from Cavalleria rusticana (1890). Cheryl Barker, sop; Peter Coleman-Wright, bar; Tasmanian SO/Martin André. ABC 465 699-2 5

19:30 SuNDAY NIGHT CONCERT Prepared by Angela Bell

Mahler, G. Suite from orchestral works of J.S. Bach (1909). Royal Concertgebouw O/Riccardo Chailly. Decca 475 514-2 19

Rachmaninov, S. Piano concerto no 2 in C minor, op 18 (1901). Yuja Wang, pf; Mahler CO/Claudio Abbado. DG 477 9308 33

Spohr, L. Symphony no 3 in C minor, op 78 (1828). Berlin RSO/Gerd Albrecht. LP Schwann VMS 1620 30

21:00 NEW HORIZONS Ten years back: 2002 in brief Prepared by Troy Fil

Schnelzer, A. Wolfgang is dancing! (2002). Staffan Mårtensson, cl; Tobias Ringborg, vn; Claes Gunnarsson, vc. Daphne 1031 9

Hutter, G. Electric traction (2002). Moravian PO/Andreas Hérm Baumgartner. Naxos 8.559349 6

Bright, C. Sun, surf and sex (2002). Colin Bright, sound mixer. Canberra School of Music CSM:37 4

Kats-Chernin, E. Torque (2002). James Crabb, accordion; Tamara Anna Cislowska, pf; Australian CO/Richard Tognetti. ABC 476 102-6 15

Memorial rag (2002). Gondwana Voices; Anna McDonald, vn; Alice Evans, vn; Brett Dean, va; Peter Morrison, vc; Lyn Williams, cond. ABC 472 822-2 5

Armanini, M. Incense and flowers (2002). Heidi Krutzen, hp; Latvian NSO/John Zoltek. CMC 13108 32

Worthington, R. Shredding glass (2002). Czech PO/Robert Ian Winstin. erm 6827 10

22:30 uLTIMA THuLE


Monday - 9th July0:00 CLASSIC-ALL THROuGH THE NIGHT

6:00 MuSIC FOR A NEW DAY including Arts Calendar at 7.30am with Robert Small

9:00 DIVERSIONS IN FINE MuSIC Inspired by opera Prepared by Elaine Siversen

Méhul, É-N. Overture to Joseph (1807). Bretagne O/Stefan Sanderling. ASV DCA 1140 7

Weber, C.M. Variations on A peine au sortir de l’enfance from Méhul’s Joseph, op 28 (1812). Stephanie McCallum, pf. ABC 462 764-2 12

Sor, F. Variations on a theme from Mozart’s The magic flute, op 9 (arr. Schaupp). Karin Schaupp, gui. ABC 476 5249 9

Mozart, W. Madamina, il catalogo è questo, from Don Giovanni (1787). Teddy Tahu Rhodes, bass-bar; Tasmanian SO/Ola Rudner. ABC 472 826-2 6

Chopin, F. Variations in B flat on Mozart’s Là ci darem la mano, from Don Giovanni (1827). Ian Munro, pf; Tasmanian SO/David Porcelijn. ABC 465 424-2 17

10:00 MORNING CONCERT Prepared by Angela Bell

Glier, R. Russian sailor’s dance, from The red poppy, op 70 (1927). Utah SO/Maurice Abravanel. Everyman OVC 5010 3

Ippolitov-Ivanov, M. Caucasian sketches, suite no 1, op 10 (1894). Sydney SO/Christopher Lyndon-Gee. Marco Polo 8.220369 25

Rodrigo, J. Fantasia for a gentleman (1954). Narciso Yepes, gui; English CO/Garcia Navarro. Decca 480 3913 22

Schubert, F. Symphony no 5 in B flat, D485 (1816). Vienna PO/Georg Solti. Decca 414 371-2 30

11:30 SONATAS Prepared by Paul Hopwood

Bach, C.P.E. Sonata in D, Wq83 (c1747). Alain Marion, fl; Daniele Roi, hpd. Fonè 89 F 02-26 13

Cherubini, L. Sonata no 5 in D (1783). Laura Alvini, hpd. Nuova Era 6867 12

12:00 SWING SESSIONS with John Buchanan

13:00 WATER MOODS Prepared by Marcia Murray

Ravel, M. Jeux d’eau (1901). Anna Goldsworthy, pf. ABC 476 6190 6

Debussy, C. Reflets dans l’eau, from Images (1905). Klára Körmendi, pf. Naxos 8.550253 5

Handel, G. Water music: Suite no 1, HWV348; Suite no 2 in D, HWV349. South German PO/Alexander von Pitamic. Classical Collection C006 44

14:00 PASSION NOT PATHOS Prepared by Sheila Catzel

Beethoven, L. Sonata no 8 in C minor, op 13, Pathétique (1798). Claudio Arrau, pf. Philips 420 153-2 21

Glinka, M. Piano trio in D minor, Pathétique (1832). Borodin Trio. Chandos CHAN 8477 18

Moscheles, I. Piano concerto no 7 in C minor, op 93, Pathétique (1835). Tasmanian SO/Howard Shelley, pf & dir. Hyperion CDA67385 22

Tchaikovsky, P. Symphony no 6 in B minor, op 74 Pathétique (1893). Philharmonia O/Riccardo Muti. EMI CZS 7 67318 2 46

16:00 KEEPING YOu COMPANY Includes Arts Calendar at 5.00pm Prepared by Tom Forrester-Paton



22:00 KEYBOARD CONTRASTS Prepared by Denis Patterson

Suk, J. About Mother, op 28 (1907). Niel Immelman, pf. Meridian CDE 84317 22

Rubinstein, A. Sonata in D, op 89 (1870). Kenneth Broadway, Ralph Markham, pf. LP RCA RL 30422 35

Rachmaninov, S. Sonata no 2 in B flat minor, op 36 (1913/31). Vladimir Ashkenazy, pf. Decca 478 3156-67 26

Dvorák, A. Quintet no 1 in A, op 5 (1872). Piers Lane, pf; Goldner String Quartet. Hyperion CDA67805 27


Tuesday - 10th July0:00 CONTEMPORARY COLLECTIVE




Eric Friesen and Tom Deacon discuss Murray Perahia, with music by Chopin, Scarlatti, Mendelssohn, Schubert, Schumann, Liszt and Mozart.

10:00 MORNING CONCERT Prepared by Anne Irish

Nielsen, C. Suite from Maskarade (1906). Gothenburg SO/Neeme Järvi. DG 447 757-2 13

Haydn, J. Cello concerto no 1 in C, Hob.VIIb:1 (c1761-65). Academy of St Martin in the Fields/Mstislav Rostropovich, vc & dir. EMI 5 65701 2 25

Brahms, J. Symphony no 2 in D, op 73 (1877). Vienna PO/István Kertész. Decca 448 197-2 45


Meyerbeer, G. The song of Maître Floh (1839). Stephen Varcoe, bar; Graham Johnson, pf. Hyperion CDA66248 4

Sicilienne (1845). Thomas Hampson, bar; Geoffrey Parsons, pf. EMI CDC 7 54436 2 4

Wagner, R. L’attente (1857-58). Felicity Lott, sop; Graham Johnson, pf. Harmonia Mundi HMC 901138 2

Mignonne (1839). Thomas Hampson, bar; Geoffrey Parsons, pf. EMI 5 75187 2 3

Liszt, F. Comment, disaient-ils? (1842). Felicity Lott, sop; Graham Johnson, pf. Harmonia Mundi HMC 901138 2

The tomb and the rose (1844). Thomas Hampson, bar; Geoffrey Parsons, pf. EMI 5 75187 2 4

O! Quand je dors (1842). Felicity Lott, sop; Graham Johnson, pf. Harmonia Mundi HMC 901138 5

12:00 JAZZ RHYTHM with Jeannie McInnes

13:00 THE SuITE LIFE Prepared by Shamistha de Soysa

Bach, J.S. Suite no 1 in G, BWV1007 (c1720). Yo-Yo Ma, vc. CBS M2K 37867 16

Khachaturian, A. Suite in three movements. Joan Yarbrough, pf; Robert Cowan, pf. Pantheon D 20910 11

Britten, B. Suite on English folk tunes, op 90 (1974). Philip Dukes, va; Northern Sinfonia/Steuart Bedford. Naxos 8.557205 14

Couperin, L. Suite in C, from Pièces de clavecin. Richard Eggar, hpd. Harmonia Mundi HMU 907511.14 12

14:00 THE YEAR 1812 Prepared by Stephen Wilson

Rossini, G. Overture to Demetrio e Polibio (1812). Academy of St Martin in the Fields/Neville Marriner. Philips 473 967-2 10

Weber, C.M. Variations sur A peine au sortir de l’enfance from Méhul’s Joseph, op 28 (1812). Stephanie McCallum, pf. ABC 462 764-2 12

Schubert, F. String quartet no 2 in C, D32 (1812). Melos Quartet. DG 419 879-2 17

Ries, F. Piano concerto in C sharp minor, op 55 (1812). Christopher Hinterhuber, pf; Gävle SO/Uwe Grodd. Naxos 8.557844 30

Beethoven, L. Symphony no 7 in A, op 92 (1812). Vienna PO/Simon Rattle. EMI 5 57448 2 39

16:00 KEEPING YOu COMPANY Includes Arts Calendar at 5.00pm Prepared by Michael Morton-Evans

18:00 SYDNEY SYMPHONY 2012 Produced by Peter Kurti What’s on in concerts during the next month

19:00 THE JAZZ BEAT with Lloyd Capps

20:00 RECENT RELEASES with Charles Barton

22:00 BEYOND ROMANTICISM From the North Sea Prepared by Oscar Foong

Hughes, A. Prelude for orchestra (1945). Royal PO/Owain Arwel Hughes. BIS CD-1674 13

Jacob, G. Viola concerto no 1 in C minor (1925/76). Helen Callus, va; BBC Concert O/Stephen Bell. Epoch CDLX 7258 20

Brian, H. Concerto for orchestra (1964). Royal Scottish NO/Martyn Brabbins. Epoch CDLX 7267 16

Rawsthorne, A. Symphonic studies (1938). Royal Scottish NO/David Lloyd-Jones. Naxos 8.554763 21

Nystroem, G. Sinfonia del mare (1947-48). Malena Ernman, mezz; Malmö SO/Christoph König. BIS CD-1682 37




6:00 MuSIC FOR A NEW DAY including Arts Calendar at 7.30am with Stephen Wilson

9:00 DIVERSIONS IN FINE MuSIC Aspects of Baroque: going Dutch Prepared by Philip Lidbury

Croes, H. de Violin concerto no 7 in C minor, op 12. Carlo van Neste, vn; Belgian RT CO/Edgard Doneux. LP EMI 4C 161-9589/90 11

Vallet, N. Bourrées I and II; Mal simmes bal anglois; Pavane en forme de complainte. Anthony Bailes, lute. EMI CDM 7 63420 2 9

Wassenaer, u. Concerto no 1 in G, from Concerti armonici (pub. 1740). Brandenburg Consort/Roy Goodman. Hyperion CDA66670 11

Sweelinck, J. Diligam te Domine; Dolcissimo ben mio. Netherlands Chamber Ch; Harry Ries, sackbutt; Wim Bécu, sackbutt; Willem Bremer, cornett, dulcian; René van Laken, shawm, dulcian; Paul van Nevel, cond. BFO Centre Netherlands Music A 10 8

Hellendaal, P. Concerto grosso in F, op 3 no 6 (pub. c1758). Combattimento Consort Amsterdam. NM Classics Volume 92019 13

10:00 MORNING CONCERT Prepared by Derek Parker

Copland, A. Appalachian spring (1938). Seattle SO/Gerard Schwarz. Delos DE 3154 24

Britten, B. Violin concerto in D minor, op 15 (1939/58). Daniel Hope, vn; BBC SO/Paul Watkins. Warner 2564 60291-2 36

Respighi, O. Brazilian impressions (1928). Philharmonia O/Geoffrey Simon. Chandos CHAN 8317 19

11:30 PRAISES BACK THROuGH TIME Prepared by Elaine Siversen

Rutter, J. Cantate Domino (1991). Choir of King’s College, Cambridge/Stephen Cleobury. EMI 5 56605 2 5

Bruckner, A. Psalm 150: Praise the Lord in his sanctuary (1892). Ruth Welting, sop; Chicago Symphony Ch & O/Daniel Barenboim. DG 437 250-2 9

Billings, W. O praise the Lord of Heaven (pub. 1794). His Majestie’s Clerkes/Paul Hillier. Harmonia Mundi HMU 907048 4

Bach, J.S. Motet: Lobet den Herrn, alle Heiden, BWV230. Berlin Vocal Consort/Marcus Creed. Harmonia Mundi HMC 902079 6


13:00 YOuTH DEVELOPMENT HOuR Young Performer Award: Austin Shen, piano with Oscar Foong; recorded by Jayson McBride Supported by St Catherine’s School Waverley

14:00 FESTIVE TIMES Australian Festival of Chamber Music, Townsville Prepared by Colleen Chesterman

Bach, J.S. Toccata and fugue in D minor, BWV565 (arr. Grainger). Piers Lane, pf. Hyperion CDA67344 9

Sculthorpe, P. Quartet no 6 (1964-65). Goldner String Quartet. Tall Poppies TP089 16

Ravel, M. Pavane pour une infante défunte (1905). Miki Tsunoda, vn; Caroline Almonte, pf. ABC 465 694-2 5

Sculthorpe, P. From Ubirr (1994). William Barton, didgeridoo; Queensland SO/Michael Christie. ABC 476 192-1 12

Tawadros, Joseph. Ten ten. Joseph Tawadros, oud, vn; Slava Grigoryan, gui, syn; Leonard Grigoryan, gui; James Tawadros, bendir, cajon, req. ABC 476 4316 10

15:00 IN CONVERSATION with Michael Morton-Evans

What exactly does it take to make music? Leading musicians, composers and performers, both local and visiting from overseas, will be talking live on air telling us why they do it and how they do it.

16:00 KEEPING YOu COMPANY Includes Arts Calendar at 5.00pm Prepared by Peter Kurti

19:00 JAZZ STARS AND STRIPES with Peter Mitchell

20:00 AT THE OPERA Legendary Met performances: 3 February 1951 Prepared by Michael Tesoriero

Wagner, R. Die Walküre, Acts I and II. Opera in three acts. Libretto by composer. First performed Vienna, 1862. SIEGMUND: Günthe Treptow, ten. SIEGLINDE: Astrid Varnay, sop. HUNDING: Luben Vichey, bass. BRÜNNHILDE: Kirsten Flagstad, sop. FRICKA: Blanche Thebom, mezz. WOTAN: Ferdinand Frantz, bass-bar. Metropolitan Opera Ch & O/Fritz Stiedry. Gebhardt 0038-11 2:40

Siegmund, illegitimate son of Wotan, the king of the gods, finds his long-lost twin sister Sieglinde married to violent Hunding. They fall in love. Hunding challenges him to a fight. Wotan orders the valkyrie Brünnhilde to give victory to Siegmund in his fight against Hunding. Fricka, Wotan’s wife, demands vengeance against Siegmund on the grounds of adultery and incest, defeating Wotan’s arguments. He commands Brünnhilde to award the victory to Hunding. Brünnhilde tells Siegmund he must die, but is moved by his love for Sieglinde and promises to protect him, but Wotan thrusts his spear in front of Siegmund, breaking his sword, leaving him to be killed by Hunding.

23:00 FRENCH MINIATuRES Prepared by Angela Bell

Chaminade, C. Valse romantique, op 115 (c1904). Peter Jacobs, pf. Hyperion CDA66584 4

Poulenc, F. Un soir de neige. Groupe Vocale de France/John Aldis. EMI 5 65151 2 5

Mélancolie (1940). Pascal Rogé, pf. Decca 460 329-2 7

Tansman, A. Cavatina (1952). Thomas Viloteau, gui. Naxos 8.57051 13

Franck, C. Panis angelicus (1872). Cecilia Bartoli, mezz; Luigi Piovano, vc; Cinzia Maurizio, hp; Daniele Rossi, org. Decca 478 2558 4

Gaubert, P. Suite (1921). Susan Milan, fl; Ian Brown, pf. Chandos CHAN 8981/2 14

Satie, E. Gymnopédie no 2 (1888). Marielle Labèque, pf. KML 1120 3



Thursday - 12th July0:00 CONTEMPORARY COLLECTIVE



9:00 DIVERSIONS IN FINE MuSIC Composer focus Prepared by Brian Drummond

Chabrier, E. Fête polonaise, from Le roi malgré lui (1887). Suisse Romande O/Ernest Ansermet. Decca 452 890-2 8

Larghetto (1875). Ronald Janezic, hn. 9

Overture to Gwendoline (1885). 8

Vienna PO/John Eliot Gardiner (2 above) DG 447 751-2

Improvisation, from Ten picturesque pieces (1881). Richard McMahon, pf. Pianissimo PP 10792 5

Suite pastorale (1888). Suisse Romande O/Ernest Ansermet. Decca 452 890-2 20

10:00 MORNING CONCERT Prepared by Frank Morrison

Rossini, G. Overture to Semiramide (1823). Montreal SO/Charles Dutoit. Decca 460 590-2 12

Hummel, J. Piano concerto in A minor, op 85 (c1816). Stephen Hough, pf; English CO/Bryden Thomson. Chandos CHAN 8507 30

Prokofiev, S. Symphony no 5 in B flat, op 100 (1944). Philharmonia O/Paul Kletzki. EMI 5 74115 2 40


Poulenc, F. Banalities (1940). William Parker, bar; Dalton Baldwin, pf. EMI CMS 7 64087 2 10

C, from Deux poèmes (1943). Hugues Cuénod, ten; Geoffrey Parsons, pf. Nimbus NI 5027 3

La fraîcheur et le feu (1950). William Parker, bar; Dalton Baldwin, pf. 8

Fancy (c1962). Elly Ameling, sop; Dalton Baldwin, pf. 2 EMI CMS 764087 2 (2 above)

La dame de Monte Carlo (1961). Eliane Manchet, sop; Nice PO/Claire Gibault. BNL 112773 6

12:00 JAZZ, PuRE AND SIMPLE with Maureen Meers

13:00 INSTRuMENTS OF LOVE Prepared by Margaret Farquhar

Roman, J. Oboe d’amore concerto in D. Alf Nilsson, ob d’amore; Anders Öhrwal, hpd; Stockholm Sinfonietta/Jan-Olav Wedin. BIS CD-165 16

Vivaldi, A. Concerto in D minor for lute and viola d’amore, RV540 (1740). Academy of Ancient Music/Andrew Manze. Harmonia Mundi HMU 907230 13

Bach, J.S. Oboe d’amore concerto, from BWV209 (arr. Tarkmann). 19

Chorales: Was Gott tut, das ist wohlgetan, from BWV75 (arr. Tarkmann); Jesu, joy of man‘s desiring, BWV147; Glory and praise with honour, BWV167; Sleepers awake, BWV140. 11

Trinity Baroque; English Concert/Albrecht Mayer, ob d’amore & dir (2 above) Decca 487 1517

Telemann, G. Triple concerto in E. Martin-Ulrich Senn, fl; Günther Zorn, ob d’amore; Alexander Labko, va d’amore; RIAS Sinfonietta/Jirí Stárek. Musica Mundi 316 023 F1 21

14:30 FIT FOR AN EMPEROR Prepared by Anne Irish

Czerny, C. Variations on Gott erhalte Franz den Kaiser, op 73 (1825). Maureen Jones, pf; Zurich Chamber Ensemble. Jecklin 608-2 27

Elgar, E. Imperial march, op 32 (1896-97). Royal Liverpool PO/Charles Groves. EMI CDC 7 47511 2 5

Strauss, J. II Emperor waltz, op 437 (1889). Vienna PO/Claudio Abbado. DG 431 628-2 11

Beethoven, L. Piano concerto no 5 in E flat, op 73, Emperor (1809). Clifford Curzon, pf; Vienna PO/Hans Knappertsbusch. Decca 452 302-2 39

16:00 KEEPING YOu COMPANY Includes Arts Calendar at 5.00pm Prepared by Marilyn Schock


20:00 EVENINGS WITH THE ORCHESTRA The symphonies of Tchaikovsky Prepared by Paul Hopwood

Tchaikovsky, P. Overture: 1812, op 49 (1882). Dallas SO/Andrew Litton. Delos DE 3196 16

Glinka, M. Overture and suite from A life for the Tsar (1836). Armenian PO/Loris Tjeknavorian. ASV DCA 1075 34

Balakirev, M. Piano concerto no 1 in F sharp minor, op 1 (1856). Anastasia Seifetdinova, pf; Russian PO/Dmitri Yablonsky. Naxos 8.570396 14

Tchaikovsky, P. Symphony no 1 in G minor, op 13, Winter dreams (1866/74). New Philharmonia O/Riccardo Muti. EMI CZS 7 67318 2 43

22:00 CHAMBER SOIRÉE Prepared by Angela Bell

Dussek, J. Quintet in F minor, op 41 (1799). Nepomuk Fortepiano Quintet. Brilliant Classics 93203 24

Avison, C. Sonata in G minor, op 1 no 2. Avison Ensemble. Divine Art 21214 10

Holbrooke, J. Trio in D, op 28. Mark Smith, hn; Kerenza Peacock, vn; Robert Stevenson, pf. Naxos 5.572649 27

Mozart, W. Sonata in E flat, K302 (1778). Gil Shaham, vn; Orli Shaham, pf. Canary Classics CC01 11

Pizzetti, I. String quartet no 2 in D (1932-33). Lajtha Quartet. Naxos 8.570876 38


Friday - 13th July0:00 CONTEMPORARY COLLECTIVE


6:00 MuSIC FOR A NEW DAY including Arts Calendar at 7.30am with Peter Kurti

9:00 DIVERSIONS IN FINE MuSIC Small forces Prepared by Sheila Catzel

Ravel, M. Introduction and allegro (1905). Egbert Jan Louwerse, fl; Lars Wouters van den Oudenweijer, cl; Gwyneth Wentink, hp; Matangi String Quartet. RN Music MCCN120 11

Prokofiev, S. Overture on Hebrew themes, op 34 (1919/34). James Campbell, cl; Eleonora Turovsky, vn; Rivka Golani, va; Borodin Trio. Chandos CHAN 8924 10

Turina, J. Sextet, op 7, Andalusian scene (1912). Christine Busch, vn; Paul Coletti, va; Anna Deutschler, va; Menuhin Festival Piano Quartet. Claves 50-9403 11

Grieg, E. String quartet in F (1891). Kontra Quartet. BIS CD-543 20


Glazunov, A. Symphonic poem in B minor, op 13, Stenka Razin (1885). Royal Scottish NO/Neeme Järvi. Chandos CHAN 7049 15

Röntgen, J. Violin concerto in F sharp minor (1931). Liza Ferschtman, vn; German State PO, Rheinland-Pfalz/David Porcelijn. cpo 777 437-2 23

Sibelius, J. Symphony no 2 in D, op 43 (1902). Royal Concertgebouw O/George Szell. Radio Netherlands RCO 05001 42

11:30 SIBELIuS IN SONG Prepared by Elaine Siversen

Sibelius, J. The origin of fire, op 32 (1902). Tommi Hakala, bar; YL Male Voice Choir. 11

My own land, op 92 (1918). Jubilate Choir. 13

Lahti SO/Osmo Vänskä (2 above) BIS CD-1906/08

12:00 JAZZ

13:00 KAWAI PIANO SERIES 2012

RECORDED BY 4MBS-FM

Beethoven, L. Sonata no 21 in C, op 53, Waldstein (1803-04). Debussy, C. Four études. Westlake, N. Sonata no 2 (2007).

Jayson Gillham, pf (all above)

14:00 RECENT RELEASES

16:00 KEEPING YOu COMPANY Includes Arts Calendar at 5.00pm Prepared by Brendan Walsh

19:00 JAZZ

20:00 THE ROMANTIC CENTuRY Prepared by Denis Patterson

Berlioz, H. Overture: Waverley, op 1 (1827-28). Scottish NO/Alexander Gibson. Chandos CHAN 10412 10

Spohr, L. Violin concerto no 11 in G, op 70 (1825). Simone Lamsma, vn; Sinfonia Finlandia Jyväskylä/Patrick Gallois. Naxos 8.570528 26

Saint-Saëns, C. Piano quartet in B flat, op 41 (1875). Members of Nash Ensemble. Hyperion CDA67431/2 30

Schubert, F. Die Stadt; Am Meer; Der Doppelgänger; Die Taubenpost, from Schwanengesang, D957 (1828). Bryn Terfel, bass-bar; Malcolm Martineau, pf. Marquis 8157 2 17

Raff, J. String octet in C, op 176 (1872). Academy of St Martin in the Fields Chamber Ensemble. Chandos CHAN 8790 24

22:00 BAROQuE AND BEFORE Prepared by Philip Lidbury

Part 1: A major figure of the late Baroque

Fasch, J. Concerto in G for two flutes, two oboes, bassoon and orchestra. Tempesta di Mare/Gwyn Roberts, Richard Stone. Chandos CHAN 0783 19

New Year’s Cantata: Jauchzet dem Herrn. Klaus Mertens, bar; members of Accademia Daniel/Shalev Ad-El. cpo 999 674-2 7

Sonata in C. Kim Walker, bn; Clena Stein, db; Darryl Nixon, hpd. Gallo CD-337 9

Bach, J.S. Schmücke dich, O liebe Seele, BWV654 (c1713). André Isoir, org. Caliope CAL 3716/7 8

Fasch, J. Quartet in B flat for recorder, oboe, violin and continuo. Members of Epoca Barocca. cpo 777 204-2 10

Overture in A minor. Tempesta di Mare. Chandos CHAN 0783 26

Part 2: Antiphons

Gregorian chant. Advent antiphon: Drop down ye heavens from above. Choir of Christ Church St Laurence, Sydney; Peter Jewkes, org; Neil McEwan, cond. CCSL CD05 5

Hildegard of Bingen. Antiphon: O cruor sanguinis qui in alto sonuisti, from Symphonia armoniæ caelestium revelationum. Daniela Tosic, cont; Tapestry; Laurie Monahan, mezz & dir. Telarc 80456 2

Monteverdi, C. Antiphon, from Vespers of the Blessed Virgin (1610). Jennifer Bates, sop; Romola Tyrrell, cont; Gerald English, ten; Ian McCahon, ten; Chamber Choir of Sydney University; Neil McEwan, cantor; Instrumentalists/Nicholas Routley. LP MBS 11 18


Saturday - 14th July0:00 CLASSIC-ALL THROuGH THE NIGHT

6:00 SATuRDAY MORNING MuSIC with David Garrett


9:30 SPOTLIGHT ON NICOLAI RIMSKY-KORSAKOV

Rimsky-Korsakov, N. Overture: Russian Easter Festival (1888). CSR SO/Anthony Bramall. Naxos 8.550085 16

Overture and intermezzo, from The Tsar’s bride (1899). Moscow SO/Igor Golovschin. Naxos 8.553789 9

Piano concerto in C sharp minor, op 30 (1884). Michael Ponti, pf; Hamburg SO/Richard Kapp. Mediaphon 25407-146 12

Suite from Mlada (1872). CSR SO/Donald Johanos. Naxos 8.550486 16

Quintet in B flat for piano and winds (1876). Capricorn. Hyperion CDA66163 29

Suite from The golden cockerel (1909; arr. Glazunov, Steinberg). CSR SO/Donald Johanos. Naxos 8.550486 26

11:30 ON PARADE Prepared by Robert Small

Holst, G. First suite for military band in E flat, op 28 no 1 (1909). Chandos CHAN 9697 10

Grainger, P. A Lincolnshire posy (1937). Chandos CHAN 9549 16

Royal Northern College of Music Wind O/Timothy Reynish (2 above)

12:00 JAZZ THEN AND NOW with Michael Cooper

13:00 HISTORIC RECORDINGS Rachmaninov plays Rachmaninov Prepared by Patrick Thomas

Rachmaninov, S. Piano concerto no 1 in F sharp minor, op 1 (1891/1917). 25

Piano concerto no 4 in G minor, op 40 (1914/26/41). 24

Sergei Rachmaninov, pf; Philadelphia O/Eugene Ormandy (2 above) RCA 09026 61658 2

14:00 LISTENERS’ CHOICE with Christina MacGuinness Phone 9439 4777 or go to finemusicfm.com and follow the links to choose your music

15:30 AT THE MOVIES Prepared by Pat Hopper

Alwyn, W. Excerpts from Green girdle (1941). BBC PO/Rumon Gamba. Chandos 9959 10

Desplat, A. Excerpts from The King’s speech. Studio O/Alexandre Desplat. Decca 476 4198 42

16:30 MuSIC AT ST JAMES Produced by Debbie Scholem

A preview of forthcoming concerts

17:00 COLOuRS OF THE KING Program of the Organ Music Society of Sydney Prepared by Andrew Grahame

Mathias, W. Processional (1964). 4 Partita, op 19 (1962). 13 Invocations, op 35 (1967). 11 Variations on a hymn tune, op 20 (1962). 13 Postlude (1962). 2

Christopher Herrick, org (all above) L’Oiseau-Lyre SOL 342

18:00 AuSTRALIAN COMPOSERS’ HOuR Versatile voices Prepared by Oscar Foong

Grainger, P. Died for love (1928). Michael Kieran Harvey, pf. Tall Poppies TP155 1

Meale, R. Concert monologue, from Mer de glace (1991). Tasmanian SO/Richard Mills. ABC 476 3221 19

Merlyn Quaife, sop (2 above)

Veale, J. Three Sydney streetscenes (1953). Jacobean Singers; Alchemy Brass Ensemble/Walter Sutcliffe. MBS 34 CD 8

Cale, B. Cello concerto, op 65 (1998-99). Helen Donaldson, sop; David Pereira, vc; Queensland SO/Max McBride. Tall Poppies TP188 24

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

Romberg, S. Excerpts from The new moon (1928). Eric Mattson, Lillian Cornell, Lawrence Brooks, Genevieve Rowe, voices; Sigmund Romberg O/Sigmund Romberg. Naxos 8.110886 17

Lehár, F. I have been in love; Love, you invaded my senses, from Paganini (1925). Richard Tucker, ten; Columbia SO/Franz Allers. Sony SBK 63059 6

Grieg, E. Strange music; I love you, from Song of Norway (1944). Helena Scott, sop; John Reardon, bar; O/Lehman Engel. Sony SBK 63059 6

Lehár, F. Excerpts from The merry widow (1905). Joan Sutherland, sop; Valerie Masterton, sop; Werner Krenn, ten; John Brecknock, ten; Ambrosian Singers, National PO/Richard Bonynge. Decca 461 315-2 19

20:00 LIVE AND LOCAL The Omega Ensemble Produced by Greg Ghavalas; prepared by Peter Bell


Boyd, A. St. Elmo’s fire. Sydney Omega Ensemble. 4

Arnold, M. Divertimento, op 37 (1952). Emma Scholl, fl; Shefali Pryor, ob; David Rowden, cl. 9

Mozart, W. Sonata in B flat, K292 (1775). Matthew Ockenden, bn; Rowena Crouch, vc. 10

Brahms, J. Clarinet quintet in B minor, op 115 (1891). Sydney Omega Ensemble. 39

Mozart, W. Trio in E flat, K498 (1786). David Rowden, cl; Jacqui Cronin, va; Bethany Cook, pf. 19

21:30 SERENADES À LA RuSSE

Rubinstein, A. Sérénade russe in B minor (c1879). Joseph Banowetz, pf. Naxos 8.570942 6

Glazunov, A. Serenade no 2 in F, op 11 (1884). Rumanian State O/Horia Andreescu. Marco Polo 8.220487 4

Rachmaninov, S. Serenade in B flat minor, from Fantasy pieces, op 3 (1892). Howard Shelley, pf. Hyperion CDS 44041 4

Tchaikovsky, P. Sérénade mélancolique in B minor, op 26 (1875). Ilya Kaler, vn; Russian PO/Dmitry Yablonsky. Naxos 8.55769 9




6:00 SuNDAY MORNING MuSIC with Nicholas Chaplin

9:00 CELESTIAL NOTES From the Low Countries Prepared by Elaine Siversen

Sweelinck, J. Da pacem, Domine, in diebus nostris. Gustav Leonhardt, org. Harmonia Mundi GD 77148 9

Peeters, F. Come, sweet death; The King of love my Shepherd is; You who live on the earth, from Hymn preludes for the liturgical year, op 100. Bernadette Znamensky, sop; Michel Labro, bar; Collegium Cantorum Chamber Choir; Albert de Klerk, org; Leo van Nevel, cond. LP Europa 1078/79 14

Wachet auf, ruft uns die Stimme, from op 68; O Gott du frommer Gott, op 68 no 1 (1948). Flor Peeters, org. LP Europa 1078/79 9

Benoit, P. Requiem (1863). Kortrijks Mixed Choir; Belgian RT CO; Herman Roelstraete, conductor. LP BRT PL 0005 50

10:30 CHAMBER MASTERWORKS Prepared by Frank Morrison

Mozart, W. Piano trio in E, K542 (1788). Florestan Trio. Hyperion CDA67556 19

Sculthorpe, P. Quartet no 9 (1975). Goldner String Quartet. Tall Poppies TP089 13

Weber, C.M. Quintet in B flat, op 34 (1815). Emma Johnson, cl; Gabor Takacs-Nagy, vn; Rebecca Hirsch, vn; Tim Boulton, va; Andrew Shulman, vc. ASV CDA1079 28

Dohnányi, E. Serenade in C, op 10 (1902). Mayumi Seiler, vn; Douglas Paterson, va; Jane Salmon, vc. Hyperion CDA66786 21


13:00 FOCuS ON FOLK Folk Federation of NSW with Gerry Myerson

14:00 SuNDAY SPECIAL Cellist composers Prepared by Elaine Siversen

Boccherini, L. Sonata no 17 in C, G17. Christian Benda, vc; Sebastian Benda, fp. Naxos 8.554324 15

Symphony in D minor, op 12 no 4, La casa del Diavolo (pub. 1771). Ensemble 415/Chiara Banchini. Harmonia Mundi HMX 2908601.30 15

Cello concerto no 9 in B flat, G482. Steven Isserlis, vc; Ostrobothnian O/Juha Kangas. Virgin VC 7 90805 2 19

Romberg, B. Quintet in G (pub. 1803). John Wion, fl; Eric Lewis, vn; Andrew Berdahl, va; Rosemary Glyde, va; Judith Glyde, vc. Hart HMP5W91514 22

Duport, J-L. Sonata in G minor. Klaus Storck, vc; Helga Storck, hp. LP Telefunken 6.4102 12

Servais, A-F. Grand fantasy, Souvenir of Bade, op 20. Smithsonian Chamber Players. EMI CDC 7 49009 2 14

Offenbach, J. Duet in A minor, op 53 no 2 (1847). Alain Meunier, vc; Philippe Muller, vc. Arion ARN 68234 9

Excerpts from Gaîté parisienne (1866; arr. Rosenthal 1938). Berlin RSO/Paul Strauss. DG 477 5349 25

Cello concerto in G (1850). Ofra Harnoy, vc; Cincinnati SO/Erich Kunzel. RCA RD 71003 21

Popper, D. Hungarian rhapsody, op 68 (pub. 1894). Maria Kliegel, vc; Nicolaus Esterházy Sinfonia/Gerhard Markson. Naxos 8.554657 8

17:00 HOSANNA Prepared by Keith Glendinning

Hymns: Abide with me; Onward Christian soldiers; All my hope on God is founded; O praise ye the Lord. Peter King, org; Ch & brass of City of Birmingham SO/Simon Halsey. Conifer CF 502 15

Darke, H. Evening service in F (1910-13). Choir of St Paul’s Cathedral; Christopher Dearnley, org; John Scott, cond. Helios CDH 55402 10

Parry, H. Long since in Egypt’s plenteous land, from Judith (1888). Choir of Winchester Cathedral; Bournemouth SO/David Hill. Decca 476 244 3 4

Wesley, S.S. Ascribe unto the Lord. Choir of Clare College Cambridge; James McVinnie, org; Christopher Robinson, cond. Naxos 8.570316 13

Bach, J.S. Lord our Redeemer, from St John Passion (1724/30/40s). Choir of New College, Oxford; Collegium Novum/Edward Higginbottom. Naxos 8.557296 9

18:00 A FIELD OF TALL POPPIES with Julie Simonds A monthly program of recordings selected from the Tall Poppies label

19:00 OPERA HIGHLIGHTS Prepared by Jan Brown

Puccini, G. Flower duet, from Madama Butterfly (1904). Mirella Freni, sop; Christa Ludwig, mezz; Vienna PO/Herbert von Karajan. Decca 421 314-2 8

Bizet, G. Je crois entendre encore, from The pearl fishers (1863). Plácido Domingo, ten; Los Angeles PO/Carlo Maria Giulini. DG 400 030-2 4

Wagner, R. Dich, teure Halle, from Tannhäuser, 70 (1845). Gundula Janowitz, sop; German Opera O/Ferdinand Leitner. Decca 467 910-2 5

Verdi, G. Figlia! Mio padre, from Rigoletto (1851). Cheryl Barker, sop; Jeannie Marsh, mezz; Peter Coleman-Wright, bar; Tasmanian SO/Martin André. ABC 465 699-2 8

19:30 SuNDAY NIGHT CONCERT Prepared by Stephen Wilson

Brahms, J. Tragic overture, op 81 (1880/81). Berlin PO/Claudio Abbado. DG 477 5424 15

Saint-Saëns, C. Violin concerto no 2 in C, op 58 (1879). Fanny Clamagirand, vn; Sinfonia Finlandia/Patrick Gallois. Naxos 8.572037 30

Mozart, W. Symphony no 36 in C, K425, Linz (1783). Scottish CO/Jukka-Pekka Saraste. Virgin VJ 791572-2 37

21:00 NEW HORIZONS Geosurvey Prepared by Oscar Foong

Birtwistle, H. Earth dances (1986). John Harle, sax; Paul Clarvis, drums; Cleveland O/Christoph von Dohnányi. Decca 468 804-2 37

Lam, B-C. Atlas (2004). Atlas Ensemble/Ed Spanjaard. RN Music MCCN120 12

Tüür, E-S. Symphony no 6, Strata (2007). Nordic SO/Anu Tali. ECM New Series 2040 32

22:30 uLTIMA THuLE


Monday - 16th July0:00 CLASSIC-ALL THROuGH THE NIGHT

6:00 MuSIC FOR A NEW DAY including Arts Calendar at 7.30am with James Hunter

9:00 DIVERSIONS IN FINE MuSIC Inspired by opera Prepared by Giovanna Grech

Beethoven, L. Excerpts from Fidelio (1804/14; transcr. Sedlak). Melbourne Windpower/Richard Runnels. Move MD 3110 17

Verdi, G. Il Grande’ Inquisitor! ... Son io dinanzi al Re?; Nell’ispano suol mai, from Don Carlo (1867). Nicolai Ghiaurov, bass; Ruggero Raimondi, bass; Berlin PO/Herbert von Karajan. EMI 769549 2 9

Rossini, G. I palpiti, from Tancredi (1813; arr. Kreisler). Gil Shaham, vn; Akira Eguchi, pf. DG 447 640-2 10

Liszt, F. Isolde’s love death, after Wagner’s Tristan and Isolde (1867). Barbara Moser, pf. Gramola 98774 6

Gounod, C. Le veau d’or; Walpurgis Night scene, from Faust (1859). Plácido Domingo, ten; Nicolai Ghiaurov, bass; Paris Opera Ch & O/Georges Prêtre. EMI 7 63582 2 7

10:00 MORNING CONCERT Prepared by Keith Glendinning

Dohnányi, E. Variations on a nursery theme, op 25 (1915). Howard Shelley, pf; BBC PO/Matthias Bamert. Chandos CHAN 9733 25

Bruckner, A. Symphony no 2 in C minor (1871). Chicago SO/Georg Solti. Decca 436 844-2 56

11:30 VARIATIONS ON A THEME Prepared by Elaine Siversen

Chopin, F. Variations in E on a theme of Rossini, op posth. (1824). Sharon Bezaly, fl; Ervin Nagy, pf. BIS CD-1039 5

Weber, C.M. Seven variations in B flat, op 33 (1811). Gershon Dembinsky, cl; Jonathan Zak, pf. CDI 18807 20


13:00 TIME FOR BAROQuE Prepared by Christine Scharzenberger

Corelli, A. Concerto grosso in F, op 6 no 2 (1711). Philharmonia Baroque O/Nicholas McGegan. Harmonia Mundi HMU 907014 9

Telemann, G. Oboe d’amore concerto in A (c1717). Thomas Stacy, ob d’amore; Toronto CO/Kevin Mallon. Naxos 8.570735 17

13:30 MuSIC FOR HEROES Prepared by Anne Irish

Liszt, F. Eroica in E flat (1851). Michele Campanella, pf. Nuova Era 6736 5

Farrar, E. Heroic elegy, op 36. Philharmonia O/Alasdair Mitchell. Chandos CHAN 9586 8

Chopin, F. Polonaise no 6 in A flat, op 53, Heroic (1842). Isador Goodman, pf. ABC 432 179-2 7

Rubinstein, A. Eroica fantasia, op 110 (1884). Slovak RSO/Robert Stankovsky. Naxos 8.55559 28

Giuliani, M. Sonata eroica, op 150 (c1820). David Russell, gui. Telarc 80525 10

Beethoven, L. 15 Variations and a fugue on an original theme, op 35, Eroica (1802). Olli Mustonen, pf. Decca 436 834-2 21

15:00 WILLOuGHBY SYMPHONY ORCHESTRA AND CHOIR Produced by Michael Morton-Evans

Previews and highlights of forthcoming concerts




22:00 KEYBOARD CONTRASTS Prepared by Phil Vendy

Marx, J. Six pieces (1916). Tonya Lemoh, pf. Chandos CHAN 10479 40

Alwyn, W. Rhapsody for piano quartet (1938). David Willison, pf; members of Quartet of London. LP Chandos ABRD 1153 10

Le Roux, G. Suite no 5 in F (pub. 1705). Kenneth Gilbert, hpd. Archiv 431 709-2 15

Dukas, P. Sonata in E minor (1899-1900) Margaret Fingerhut, pf. Chandos CHAN 241-32 48


Tuesday - 17th July0:00 CONTEMPORARY COLLECTIVE




Eric Friesen and Tom Deacon discuss Kristian Zimmerman, with music by Brahms, Debussy and Chopin.


Vaughan Williams, R. Overture to The wasps (1909). Queensland SO. ABC 476 4565 10

Gross, E. Three Dusekianas, op 55, 56 and 58 (1975). Geoffrey Michaels, vn; West Australian SO. ABC 476 4570 18

Heuberger, R. Overture to The opera ball (1898). Sydney SO. Philips 411 143 8

Rachmaninov, S. Symphony no 2 in E minor, op 27 (1906-07). Tasmanian SO. ABC 476 4570 47

Patrick Thomas, cond (all above)

11:30 MORNING CONCERT REVISITED Prepared by Sheila Catzel

Rachmaninov, S. Two pieces, op 2 (1891-92). Truls Mørk, vc; Jean-Yves Thibaudet, pf. Virgin 5 45119 2 10

Vaughan Williams, R. Phantasy quintet (1912). Members of Nash Ensemble. Hyperion CDA67313 14


13:00 GREAT BEGINNERS Prepared by Michael Morton-Evans

Bellini, V. A te, O cara, from I puritani (1835). Ermonela Jaho, sop; Juan Diego Flórez, ten; Nikola Mijailovic, bar; Nicola Ulivieri, bass; Milan Giuseppe Verdi Symphony Ch & O/Riccardo Frizza. Decca 473 440-2 7

Donizetti, G. Pronto io son, from Don Pasquale (1843). Ruth Ann Swenson, sop; Thomas Hampson, bar; Philharmonia Ch & O/Eugene Kohn. EMI 5 55554 2 9

Mercadante, S. La dea di tutti cor ... Bella adorata incognita, from Il giuramento (1837). José Carreras, ten; Royal PO/Roberto Benzi. Philips 426 643-2 4

Rossini, G. Overture to Il signor Bruschino (1813). Academy of St Martin in the Fields/Neville Marriner. Philips 446 196-2 5

Rossini, G. Della rosa il bel vermiglio, from Bianca ed Faliero (1819). Katia Ricciarelli, sop; Lyon Opera Ch & O/Gabriele Ferro. Virgin VC 7 91484-2 8

Meyerbeer, G. Ah, quel spectacle, from Les Huguenots (1836). Ben Heppner, ten; London Voices; London SO/Myung-Whun Chung. DG 471 372-2 6

Garcia, M. E non lo vedo, from La figlia dell’aria (1826). Cecilia Bartoli, mezz; International Chamber Soloists; O La Scintilla/Àdám Fischer. Decca 475 9077 7

Rossini, G. Overture to Il Turco in Italia (1814). Academy of St Martin in the Fields/Neville Marriner. Philips 446 196-2 8

Bellini, V. Eccomi in lieta vestra, from I Capuleti e i Montecchi (1830). Cristina Gallardo-Domas, sop; Munich RO/Maurizio Barbacini. Teldec 8573-86440-2 10

Sediziose voci ... Casta diva ... Ah! bello me ritorna, from Norma (1831). Joan Sutherland, sop; Royal Opera House Ch & O/Francesco Molinari-Pradelli. Decca 414 450-2 13

14:30 THE SCOTTISH CONNECTION Prepared by Anne Irish

Mendelssohn, F. Overture: The Hebrides, op 26, Fingal’s Cave (1830). Sydney SO/Stuart Challender. ABC 446 279-2 10

Glinka, M. Variations on a Scottish theme, from A greeting to my native land (1847). Victor Ryabchikov, pf. BIS CD-979 8

Bruch, M. Scottish fantasy in E flat, op 46 (1880). Midori, vn; Natalie Tal Glazer, hp; Israel PO/Zubin Mehta. Sony SK 58967 31

Beethoven, L. Faithfu’ Johnie, from 25 Scottish songs, op 108 (1818). Edith Mathis, sop; Dietrich Fischer-Dieskau, bar; Andreas Roehn, vn; Georg Donderer, vc; Karl Engel, pf. DG 480 0385 4

Mackenzie, A. Scottish concerto, op 55. Steven Osborne, pf; BBC Scottish SO/Martyn Brabbins. Hyperion CDA67023 28

16:00 KEEPING YOu COMPANY Includes Arts Calendar at 5.00pm Prepared by David Ogilvie


20:00 RECENT RELEASES with David Garrett

22:00 BEYOND ROMANTICISM A history of the 20th century: 1950s Prepared by Troy Fil

Britten, B. Five flower songs, op 47 (1950). The Sixteen/Harry Christophers. Collins 12862 10

Lauro, A. Suite venezolana (1951-52). Adam Holzmann, gui. Naxos 8.554348 11

Shostakovich, D. Symphony no 10 in E minor, op 93 (1953). London SO/André Previn. EMI CDD 7 64105 2 52

Hyde, M. The Illawarra flame (1954). Wendy Dixon, sop; David Miller, pf. Wirripang WIRR 044 3

Sculthorpe, P. Sonatina (1954). Alex Furman, pf. Move MD 3031 7

Carter, E. Variations for orchestra (1955). New Philharmonia O/Frederick Prausnitz. LP Columbia MS 719 26




6:00 MuSIC FOR A NEW DAY including Arts Calendar at 7.30am with Trisha McDonald

9:00 DIVERSIONS IN FINE MuSIC Aspects of Baroque Prepared by Frank Morrison

Quantz, J. Horn concerto no 9 in E flat. Barry Tuckwell, hn; Academy of St Martin in the Fields/Iona Brown. Decca 417 406-2 9

Schütz, H. Herzlich lieb han ich dich o Herr, from Geistliche Chormusic (1620-48). Dresden Chamber Choir/Hans-Christoph Rademann. Carus 83.232 9

Weiss, S. Guitar concerto. Slava Grigoryan, gui; Melbourne Mandolin O/Fred Witt. Move MD3159 8

Goldberg, J. Prelude and fugue in F minor. Gregor Hollman, hpd. MD+G L 3318 9

Bach, J.S. Double concerto in D minor, BWV1043 (1730-31). Itzhak Perlman, vn; Isaac Stern, vn; New York PO/Zubin Mehta. Sony SMK 66 471 16

10:00 MORNING CONCERT Prepared by Stephen Wilson

Rimsky-Korsakov, N. Suite from The tale of Tsar Saltan (1899). Queensland SO/Vladimir Verbitsky. ABC 438 880-2 21

Alwyn, W. Harp concerto: Lyra angelica (1954). Royal Liverpool PO/David Lloyd Jones. Naxos 8.557647 28

Beethoven, L. Symphony no 4 in B flat, op 60 (1806). O Révolutionnaire et Romantique/John Eliot Gardiner. Archiv 439 900-2 32

11:30 RuSSIAN VOICES Prepared by Elaine Siversen

Bortnyansky, D. Sacred concertos nos 6 and 7 (1790s). Russian State Symphonic Cappella/Valery Polyansky. Chandos CHAN 9729 12

Sviridov, G. Four choruses from Songs of troubled times (1980). James Bowman, ct; Holst Singers/Stephen Layton. Hyperion CDA66928 13


13:00 YOuTH DEVELOPMENT HOuR Sydney Eisteddfod final 2011: Musica Viva Chamber Music Award with Andrew Bukenya; recorded by Jayson McBride Supported by St Catherine’s School, Waverley

14:00 LISTENERS’ CHOICE with Michael Morton-Evans

Phone 9439 4777 or go to finemusicfm.com and follow the links to choose your music



16:00 KEEPING YOu COMPANY Includes Arts Calendar at 5.00pm Prepared by Andrew Dziedzic


20:00 AT THE OPERA Legendary Met performances: 3 February 1951 Prepared by Michael Tesoriero

Wagner, R. Die Walküre, Act III. Opera in three acts. Libretto by composer. First performed Vienna, 1862. SIEGLINDE: Astrid Varnay, sop BRüNNHILDE: Kirsten Flagstad, sop WOTAN: Ferdinand Frantz, bass-bar Metropolitan Opera Ch & O/Fritz Stiedry Gebhardt 0038-11 1: 1:29

The valkyries bring dead heroes to Valhalla, but Brünnhilde appears with Sieglinde, now carrying Siegmund’s child, who will grow up to be a mighty hero. Sieglinde escapes, but Wotan banishes Brünnhilde: she is to be locked in sleep and become the wife of the first man who finds her. He relents and surrounds her with a wall of fire which only a man who has no fear can cross.

22:00 SYDNEY SOLOISTS Produced by Kerry Joyner


Brahms, J. Trio for clarinet, cello and piano, op 114 (1891). 25 Mozart, W. Clarinet quintet in A, K581 (1789). 30 Schumann, R. Piano quintet in E flat, op 44 (1842). 31

Sydney Soloists (all above)

23:30 THREE BEETHOVEN TRIOS

Beethoven, L. Allegro in B flat, WoO39 (1812); Allegretto in E flat, H48 (1782); 14 Variations in E flat, op 44 (1792). Pinchas Zukerman, vn; Jacqueline du Pré, vc; Daniel Barenboim, pf. EMI CMS 7 63124 2 23



Thursday - 19th July0:00 CONTEMPORARY COLLECTIVE


6:00 MuSIC FOR A NEW DAY including Arts Calendar at 7.30am with Simon Moore

9:00 DIVERSIONS IN FINE MuSIC Composer focus Prepared by Keith Glendinning

Brumby, C. Festival overture on Australian themes (1981). West Australian SO/Richard Mills. ABC 442 374-2 9

Flute concerto, mvt 2 (1975). Vernon Hill, fl; Melbourne SO/Hiroyuki Iwaki. Jade JADCD 1068 7

Piano concerto no 1, mvt 2 (1984). Wendy Pomeroy, pf; West Australian SO/Patrick Thomas. Jade JADCD 1049 9

Captain Logan’s fancy (1988). David Kinsela, org. Jade JADCD 1043 16

Gardens of the Villa Taranto (1991). Jane Rayner, fl; Peter Lynch, gui. Australian Music Centre LR 0001 10

10:00 MORNING CONCERT Prepared by Michael Morton-Evans

Tchaikovsky, P. Fantasy overture: Hamlet, op 67a (1888). SO of Russia/Veronika Dudarova. Olympia OCD 512 21

Arnold, M. Clarinet concerto no 2, op 115 (1974). Thea King, cl; English CO/Barry Wordsworth. Hyperion CDA66634 15

Svendsen, J. Norwegian rhapsody no 2, op 19 (c1872). Bergen SO/Karsten Andersen. NKFCD 50009-2 10

Spohr, L. Symphony no 4 in F, op 86 (1832). Swiss Italian O/Howard Shelley. Hyperion CDA67622 36

11:30 POLONAISES Prepared by Elaine Siversen

Chopin, F. Polonaise in A flat (1821). Idil Biret, pf. Naxos 8.554535 6

Dvorák, A. Polonaise in E flat (1879; arr. Zubaty). Duo Crommelynck. Claves 50-9106 5

Hummel, J. Polonaise in B flat, op 55, La bella capricciosa (c1810). Howard Shelley, pf. Chandos CHAN 9807 13


13:00 THE SuITE LIFE Prepared by Shamistha de Soysa

Boismortier, J. de Suite no 6, op 35 (pub. 1731). Anne Savignat, fl; Christine Plubeau, bass viol; Beatrice Martin, hpd. Naxos 8.554457 10

Bizet, G. Suite no 1 from L’arlésienne (1872). Philharmonia O/Herbert von Karajan. EMI CDM 1 66424 2 17

Ibert, J. Symphonic suite: Paris (1930). Montreal SO/Charles Dutoit. Decca 440 332-2 13

Clérambault, L-N. Harpsichord suite no 2 in C minor (pub.1702). Les Solistes du Concert Spirituel. Naxos 8.553744 12

14:00 THE BEST OF DECCA Prepared by Ron Walledge

Elgar, E. Variations on an original theme, op 36, Enigma (1899). London SO/Pierre Monteux. Decca 478 3190 29

Respighi, O. The pines of Rome (1924). Cleveland O/Lorin Maazel. Decca 478 3185 21

Falla, M. de Nights in the gardens of Spain (1907-16). Alicia de Larrocha, pf; London PO/Rafael Frühbeck de Burgos. Decca 478 3181 24

Stravinsky, I. The rite of spring (1913). Detroit SO/Antal Dorati. Decca 478 3170 34

16:00 KEEPING YOu COMPANY Includes Arts Calendar at 5.00pm Prepared by Shamistha de Soysa


20:00 EVENINGS WITH THE ORCHESTRA Creative links: Latin influences Prepared by Judy Ekstein

Monteverdi, C. Tirsi e Clori, ballo (1616). Patrizia Kwella, sop; Anthony Rolfe-Johnson, ten; Lawrence Dale, ten; Alan Woodrow, ten; Monteverdi Choir; English Baroque Soloists/John Eliot Gardiner. Erato 2292-45984-2 14

Vivaldi, A. Concerto in C for violin, cello, organ, strings and continuo, RV554. Ensemble Pian e Forte/Antonio Frigé. Giulia GS 201014 12

Bach, J.S. Violin concerto in E, BWV1042 (bef. 1730). Arthur Grumiaux, vn; Les Solistes Romands/Arpad Gerecz. Philips 420 700-2 17

Keyboard concerto no 3 in D, BWV1054 (c1738-39). Olli Mustonen, pf; German Chamber Philharmonia. Decca 476 2729 15

Respighi, O. Suite in E (c1901). Slovak RSO/Adriano. Naxos 8.55782 33

Malipiero, G. Vivaldiana (1952). Veneto PO/Peter Maag. Naxos 8.555515 15

22:00 CHAMBER SOIRÉE Prepared by Sheila Catzel

Kreisler, F. Quartet in A minor (1919). Nigel Kennedy, vn; Rosemary Furniss, vn; Bill Hawkes, va; Caroline Dale, vc. EMI 5 56626 2 30

Bartók, B. Contrasts (1938). Michael Collins, cl; Krysia Osostowicz, vn; Susan Tomes, pf. Hyperion CDA66415 17

Beach, A. Quintet in F sharp, op 67 (1907). Martin Roscoe, pf; Endellion Quartet. ASV DCA 932 27

Svendsen, J. String octet in A, op 3 (1866). Academy of St Martin in the Fields Chamber Ensemble. Chandos CHAN 9258 37


Friday - 20th July




9:00 DIVERSIONS IN FINE MuSIC Small forces Prepared by Jan Brown

Burgmüller, N. Duo, op 15 (1834). Michael Collins, cl; Michael McHale, pf. Chandos CHAN 10637 11

Mozart, W. Trio no 5 in E, K542 (1788). Anne-Sophie Mutter, vn; Daniel Müller-Schott, vc; André Previn, pf. DG 477 6114 19

Danzi, F. Wind quintet in G minor, op 56 no 2 (pub. 1821). Vienna-Berlin Ensemble. DG 423 591-2 14

Carulli, F. Duo in C, op 104 no 3. Jean-Pierre Rampal, fl; Alexandre Lagoya, gui. CBS MK 42130 6

10:00 MORNING CONCERT Prepared by Di Cox

Wagner, R. Overture to The flying Dutchman (1841). Berlin PO/Claudio Abbado. DG 471 348-2 10

Mendelssohn, F. Piano concerto no 1 in G minor, op 25 (1831). Stephen Hough, pf; City of Birmingham SO/Lawrence Foster. Hyperion CDA66969 19

Shostakovich, D. Symphony no 5 in D minor, op 47 (1937). Royal Concertgebouw O/Kurt Sanderling. Radio Nederland RCO11004 50


Poulenc, F. Four poems of Guillaume Apollinaire (1931). Gérard Souzey, bar. 4

Five poems of Max Jacob (1931). Elly Ameling, sop. 7

Tel jour, telle nuit (1937). Nicolai Gedda, ten. 14

Dalton Baldwin, pf (all above) EMI CMS 7 64087 2

12:00 JAZZ

13:00 HAPPILY EVER AFTER Prepared by Elaine Siversen

Tchaikovsky, P. Suite from The sleeping beauty, op 66a (1888-89). Berlin PO/Mstislav Rostropovich. DG 429 097-2 20

Paraphrase on Sleeping Beauty (arr. Pabst). Earl Wild, pf. Sony SK 62036 7

Prokofiev, S. Cinderella’s waltz; Midnight, from Suite no 1 from Cinderella, op 107 (1946). Royal Scottish NO/Neeme Järvi. Chandos CHAN 8939 5

Pavane; Gavotte; Valse lente, from Cinderella, op 95. Boris Berman, pf. Chandos CHAN 9069 11

The prince finds Cinderella; End of the fairytale; Amoroso, from Suite no 3 from Cinderella, op 109 (1946). Royal Scottish NO/Neeme Järvi. Chandos CHAN 8939 10

14:00 OuT OF AFRICA Celebrating twinning of Fine Music 102.5 with FMR in Cape Town Prepared by Sheila Catzel

Rajna, T. Violin concerto (2007). Susanne Martens, vn; Stellenbosch University SO/Corvin Matei. Amarantha 24

Forsyth, M. The Kora dances. Julia Shaw, hp; Nora Bumanis, hp. CBC MCVD1062 8

Wyk, A. van Symphony no 1 (1941-43). Cape Town SO/Omri Hadari. GSE 1509 19

Klatzow, P. Marimba concerto (1985). Robert van Sice, mar; Claremont String O/Enrique Garcia Asencio. Etcetera KTC 1085 17

Hely-Hutchinson, V. Carol symphony (c1928). Pro Arte O/Barry Rose. EMI 7 64131 2 24

Wagner, R. Liebstod, from Tristan und Isolde (1857-59). Berlin PO/Wilhelm Furtwängler. 6

Heuberger, R. Geh’n wir ins chambre séparée, from The opera ball (1898). 3 Strauss, J. II Czárdás, from Die Fledermaus (1874). 5

Cape Town SO/Ogan D’Narc (2 above)

Andrea Catzel, sop (3 above) GSE 1549

16:00 KEEPING YOu COMPANY Includes Arts Calendar at 5.00pm Prepared by Lloyd Capps

19:00 JAZZ

20:00 THE ROMANTIC CENTuRY Prepared by Heather Sykes

Sinding, C. Suite in A minor, op 10 (1889). Itzhak Perlman, vn; Pittsburg SO/André Previn. EMI 5 66060 2 12

Mendelssohn, F. Double concerto in E (1823). Güher Pekinel, pf; Süher Pekinel, pf; Philharmonia O/Neville Marriner. Chandos CHAN 9711 29

Grieg, E. Olav Trygvason, operatic fragments, op 50 (1873). Toril Carlsen, sop; Vessa Hanssen, mezz; Asbjørn Hansli, bar; Oslo Philharmonic Ch; London SO/Per Dreier. Unicorn-Kanchana UKCD 2056 34

Svendsen, J. Symphony no 1 in D, op 4 (1865-6). Danish National RSO/Thomas Dausgaard. Chandos CHAN 9932 35

22:00 BAROQuE AND BEFORE The King’s Music Master Prepared by Elaine Siversen

Lully, J-B. Ballet des plaisirs (1655). Aradia Baroque Ensemble/Kevin Mallon. Naxos 8.554003 13

Lambert, M. Ombre de mon amant. Anne Sofie von Otter, mezz; Les Arts Florissants/William Christie. Archiv 477 8610 5

Cavalli, F. Ombra mai fu, from Serse (1654). Concerto Vocale; René Jacobs, ct & dir. Harmonia Mundi HMX 290605.07 4

Lully, J-B. Excerpts from L’Amour médecin, comédie-ballet (1665). Isabelle Poulenard, sop; Agnès Mellon, sop; Bernard Delétré, bass; Les Musiciens du Louvre/Marc Minkowski. Erato 245 286-2 11

Excerpts from Le bourgeois gentilhomme (1670). Musica Antiqua Cologne/Reinhard Goebel. DG 463 446-2 5

Excerpts from Alceste (1674). Felicity Palmer, sop; Anne-Marie Rodde, sop; Monique Pouradier-Duteil, sop; Armande Olivier, sop; Mary Criswick, mezz; Bruce Brewer, ten; François Loup, ten; Pierre-Yves Le Maigat, bass-bar; Max van Egmond, bass; Marc Vento, bass; Chorale Raphael Pasquet; La Grande Écurie et la Chambre du Roy/Jean-Claude Malgoire. LP CBS SBR 235828 39

Te Deum (1677). Le Concert Spirituel/Hervé Niquet. Naxos 8.554397 29


Saturday - 21st July0:00 CLASSIC-ALL THROuGH THE NIGHT

6:00 SATuRDAY MORNING MuSIC with Stephen Wilson


9:30 SPOTLIGHT ON JORDI SAVALL Prepared by Oscar Foong

Purcell, H. Suite from The prophetess (1690). Le Concert des Nations/Jordi Savall. Alia Vox AVSA 9866 14

Monteverdi, C. Sinfonia à cinque; Ballo, Volgendo il ciel ... Movete al mio bel suon, from Madrigals bk 8, War and Love (pub. 1638) Montserrat Figueras, sop; Elisabetta Tiso, sop; Gloria Banditelli , mezz; Paolo Costa, ct; Lambert Climent, ten; Francesc Garrigosa, ten; Daniel Carnovich, bass; Manfredo Kraemer, vn; Pablo Valetti, vn; Eunice Brandao, va da gamba; Sergi Casademunt, va da gamba; Andrew Lawrence-King, double hp; Michael Behringer, clvd, org; Rolf Lislevand, theorbo; Lorenz Duftschmid, vle; La Capella Reial de Catalunya/Jordi Savall, va da gamba & dir. Alia Vox AVSA 9884 15

Merula, T. Su la cetra amorosa. Montserrat Figueras, sop; Jean-Pierre Canihac, cornett; Lorenz Duftschmid, vle; Jordi Savall, va da gamba; Rolf Lislevand, vihuela, theorbo, gui; Andrew Lawrence-King, hp; Ton Koopman, hpd. Alia Vox AVSA 9862 8

Telemann, G. Overture with suite in D, TWV55:D6. Le Concert des Nations/Jordi Savall. Alia Vox AVSA 9877 20

Dowland, J. Excerpts from Lachrimae or Seven teares figuered in seven pavans (c 1600). Jordi Savall, Christophe Coin, Sergi Casademunt, Lorenz Duftschmid, Paolo Pandolfo, Jose Miguel Moreno, viols. Astrée E 8701 15

Rameau, J-P. Excerpts from Les indes galantes (1735-61). Le Concert des Nations/Jordi Savall. Alia Vox AVSA 9877 10

Trad. The Galway set. Jordi Savall, treble va da gamba, lyra viol; Andrew Lawrence-King, harp. Alia Vox AVSA 9878 10

Valente, A. Gallarda; Jarabe loco. 4 Marin, J. Niña como en tus mudanzas. 6 Anon. Balaju jarocho. 3

Montserrat Figueras, sop; Tembembe Ensamble Continuo; Capella Reial de Catalunya; Hesperion XXI/Jordi Savall (3 above) Alia Vox AVSA 9876

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

McCunn, H. Overture: Land of the mountain and the flood. Carlton Main (Frickley) Colliery Band/Robert Oughton. LP Grosvenor GRS 1043 9

Lloyd Webber, A. Pie Jesu, from Requiem (1984). Skellerup Woolston Band. Rayjon CDR 0045 4

Trad. Nursery rhymes. Ian Cameron’s Marching Up and Down Band/Ian Cameron. LP Contour 2870-410 6

Sousa, J.P. Sound off! Allentown Band/Ronald Demkee. AMP 95163 3


13:00 CLASSIC VOICES Prepared by Shamistha de Soysa

Mozart, W. Dalla sua pace, from Don Giovanni (1787). O/Lawrance Collingwood. Naxos 8.110271 5

Toselli, E. Serenata. Nimbus NI 7874 4

Beniamino Gigli, ten (2 above)

Lotti, A. Pur dicesti, o bocca bella, from Arie antiche (arr. Parisotti). György Fischer, pf. Decca 436 267-2 5

Bellini, V. Ah! Non credea mirarti, from La sonnambula (1831). Juan Diego Flórez, ten; O La Scintilla/Alessandro de Marchi. Decca 478 2558 5

Cecilia Bartoli, mezz (2 above)

Monteverdi, C. Luci serene e chiare; Oimè, se tanto amate; Piagn’e sospira; e quando i caldi raggi. I Solisti Madrigale/Giovanni Acciai. Nuova Era 7006 10

Mahler, G. Five Lieder on poems by Friedrich Rückert (1902). Thomas Hampson, bar; Vienna PO/Leonard Bernstein. DG 477 8825 22

14:00 MuSICAL EXPLORATIONS Vienna: Mozart to Mahler and more Prepared by Stephen Schafer

Mozart, W. Symphony no 41 in C, K551, Jupiter (1788). Anima Eterna/Jos Van Immerseel. Zig Zag ZZT 2030501 34

Haydn, J. Missa in angustiis, Hob.XXII:11, Nelson Mass (1798). Donna Brown, sop; Sally Bruce-Payne, mezz; Peter Butterfield, ten; Gerald Finley, bass; Monteverdi Choir; English Baroque Soloists/John Eliot Gardiner. Philips 475 103-2 39

Mozart, W. Ave verum corpus, K616 (1791). Les Arts Florissants/William Christie. Erato 0630-10697-2 4

15:30 ARCHIVAL FINE MuSIC: KEYBOARD AND BRASS

Scarlatti, D. Sonata in A minor, Kk136. Raisa Dobrinsky, pf 8

Scheidt, S. Battle suite. Peter Walmsley, tpt; Catherine Walmsley, tpt; Louise Balletti, hn; Justin Kearin, tb; Matthew Walmsley, tuba. 9

Stanley, J. Voluntary in C, op 5 no 1, from Ten voluntaries for organ or harpsichord (1748). David Pentreath Kinsela, org. 7

Fine Music Tape Archive (all above)

16:00 SYDNEY PHILHARMONIA IN CONCERT Symphony of a thousand Prepared by Peter Bell

Mahler, G. Symphony no 8 in E flat, mvt 1, Symphony of a thousand (1906). Twyla Robinson, sop; Marina Shaguch, sop; Sara Macliver, sop; Dagmar Peckova, mezz; Bernadette Cullen, mezz; Simon O’Neill, ten; Markus Eiche, bar; Martin Snell, bass; Sydney Philharmonia Choirs; Adelaide Symphony Ch; West Australian SO Ch; Sydney Children’s Choir; Gondwana Voices; Sydney SO/Vladimir Ashkenazy. Sydney Symphony SSO201002 1:20

18:00 MuSICA VIVA PRESENTS Viennese masters Produced by Roger Doyle; prepared by Peter Bell


Webern, A. Langsamer Satz (c1905). 9 Schubert, F. Quartet no 15 in G, D887 (1826). 45

Goldner String Quartet (2 above)

19:00 THE MAGIC OF STAGE AND SCREEN Prepared by Elaine Siversen

Benatzky - Stolz. Excerpts from The White Horse Inn (1930). Jeanette Scovotti, sop; Rosalind Elias, mezz; William Lewis, ten; John Hauxvell, bar; Ch & O/Lehman Engel. LP Readers Digest/RCA RDS 40 19

Kern, J. The folks who live on the hill; Can I forget you, from High, wide and handsome (1937); Smoke gets in your eyes; I won’t dance, from Roberta (1933/35). Sylvia McNair, sop; David Finck, db; André Previn, pf. Philips 442 129-2 15

Excerpts from film Show Boat (1927; film version 1951). Kathryn Grayson, sop; Annette Warren, voice; Howard Keel, bar; MGM Studio Ch & O/Adolph Deutsch. Sony 88697638372 19


Saturday - 21st / Sunday - 22nd July20:00 LIVE AND LOCAL Australian Trio with voices Produced by George Hilgevoord


Haydn, J. Scottish folksongs (1801): The sutor’s daughter; Kellyburn Braes. Jane Edwards, sop; Didier Frédéric, bar. 4

Mozart, W. Divertimento in B flat, K25 (1776). 20

Arias and duets from Don Giovanni (1787), The marriage of Figaro (1786) and The magic flute (1791). Jane Edwards, sop; Didier Frédéric, bar. 10

Beethoven, L. Piano trio in B flat, op 97, Archduke (1811). 40

Australian Trio (all above)

21:30 PASSACAGLIA Prepared by Angela Bell

Biber, H. Passacaglia (pub. 1681). Maria Lindal, vn. BIS CD-608 8

Halvorsen, J. Passacaglia, op 32 no 1. Stephan Barratt-Due, Jr, vn; Soon-Mi Chung, va; Bergen PO/Karsten Andersen. NKFCD 50013-2 7

Kapsberger, J. Passacaglia (1623). Catacoustic Consort/Annalisa Pappano. Naxos 8.557538 9

22:00 AFTER HOuRS

SuNDAY 22ND JuLY0:00 CLASSIC-ALL THROuGH THE NIGHT

6:00 SuNDAY MORNING MuSIC with David Garrett

9:00 CELESTIAL NOTES Prepared by Elaine Siversen

Ryba, J. Missa pastoralis in D (1788). Dagmar Vankátová, sop; Pavla Ksicová, cont; Vladimír Dolezal, ten; Václav Sibera, bass; Josef Ksica, org; Czech Madrigalists Ch & O/Frantisek Xaver Thuri. Naxos 8.554428 14

Biber, H. The Annunciation; The Nativity, from Rosary sonatas (c1676). Andrew Manze, vn; Richard Egarr, hpd, org. Harmonia Mundi HMX 2908250.79 13

Reicha, A. Missa pro defunctis (aft. 1809). Venceslava Hrubá-Freiburger, sop; Anna Barová, cont; Vladimir Dolezal, ten; Ludek Vele, bass; Prague Philharmonic Choir; Jaroslav Tvrzsk, org; Dvorák CO/Lubomír Mátl. Supraphon SU 3859-2 55

10:30 CHAMBER MASTER WORKS Prepared by Judy Ekstein

Mozart, W. Quartet no 3 in G, K156 (1772). Australian String Quartet. ABC 434 721-2 12

Myaskovsky, N. Sonata no 1, op 12 (1911/45). Truls Mørk, vc; Jean-Yves Thibaudet, pf. Virgin 5 45119 2 20

Ravel, M. Quartet in F (1902-03). Australian String Quartet. ABC 434 721-2 28

Poulenc, F. Sextet for piano and winds (1932-39). Ian Brown, pf; members of Nash Ensemble. Hyperion CDA67255/6 18

12:00 CLASSIC JAZZ AND RAGTIME Prepared by John Buchanan

13:00 WORLD MuSIC: Whirled Wide with Anna Tranter

14:00 SuNDAY SPECIAL Jos van Immerseel and Anima Eterna Prepared by Stephen Schafer

Beethoven, L. The consecration of the house, op 124 (1822). Jos van Immerseel, cond. Zig Zag ZZT080402.6 11

Mozart, W. Piano concerto no 12 in A, K414 (1782). Jos van Immerseel, fp & dir. Channel Classics CCS SEL 0194 24

Strauss, J. II Overture to Die Fledermaus (1874); Csárdás polka; The blue Danube waltz, op 314 (1867). Zig Zag ZZT2020601 24

Berlioz, H. Symphonie fantastique, op 14 (1830). Zig Zag ZZT100101 56

Ravel, M. Bolèro (1928). Zig Zag ZZT060901 17

Mozart, W. Symphony no 40 in G minor, K550 (1788). Zig Zag ZZT2030501 26

Jos van Immerseel, cond (4 above)

Anima Eterna (all above)

17:00 HOSANNA Prepared by Warwick Bartle

Hymns: O praise ye the Lord; Christ is our cornerstone; Praise to the holiest; Jerusalem the golden; The church’s one foundation. Choir of Wells Cathedral; Rupert Gough, org; Malcolm Archer, cond. Hyperion CDP12102 16

Darke, H. Communion service in F. Choir of Wakefield Cathedral; Keith Wright, org; Jonathon Bielby, cond. Priory PRCD 5030 13

Anthems: O sacrum convivium; Teach me O Lord; Ave verum corpus; Like as the hart; Psalm 150. Choir of Lincoln Cathedral; James Vivien, org; Colin Walsh, cond. Priory PRCD 454 18

Hymn: The day Thou gavest, Lord, is ended. Choir of Wells Cathedral; Rupert Gough, org; Malcolm Archer, cond. Hyperion CDP12102 3

18:00 WHAT’S ON AT THE CON with Julie Simonds A monthly program of music, news and interviews from the Sydney Conservatorium

19:00 OPERA HIGHLIGHTS Prepared by David Rossell

Weber, C.M. Where shall I hide? from Euryanthe (1823). Thomas Quastoff, bass-bar; Berlin Opera O/Christian Thielemann. DG 471 493-2 9

Mozart, W. Gentle Zephyrs, soft caressing, from Idomeneo (1781). Yvonne Kenny, sop; Philharmonia O/David Parr. Chandos CHAN 3035 6

Bizet, G. The flower that you threw me, from Carmen (1875). Roberto Alagna, ten; London PO/Richard Armstrong. EMI 5 55477 2 4

Verdi, G. Finale, from La traviata (1853). Anna Netrebko, sop; Thomas Hampson, bar; Vienna PO/Carlo Rizzi. DG 477 5953 5

19:30 SuNDAY NIGHT CONCERT Prepared by Paul Hopwood

Arnold, M. Suite from Hobson’s choice, op 38 (1953). London SO/Richard Hickox. Chandos CHAN 9100 17

Vanhal, J. Concerto in F for two bassoons. Umea Sinfonietta/Jukka-Pekka Saraste. BIS CD-288 23

Dvorák, A. Symphony no 8 in G, op 88 (1889). London PO/Mstislav Rostropovich. EMI 5 65705 2 41

21:00 NEW HORIZONS Side note to glorious heartbreakers Prepared by Robert Small

Binsbergen, C. Side note: Howard report, page 30 (2008). Barbara Hannigan, sop; Asko Schönberg Ensemble/Étienne Siebens. 14

Veldhuis, J. ter Heartbreakers (1999). Aurelia Saxophone Quartet. 18

Radio Nederland MCCP123 (2 above)

Rutter, J. Gloria (1974). St Albans Cathedral Choirs; Ensemble de Chorum; Tim Winpenny, org; Andrew Lucas, cond. Naxos 8.572653 17

Schwantner, J. Percussion concerto (1994). Christopher Lamb, perc; Nashville SO/Giancarlo Guerrero. Naxos 8.559678 28

22:30 uLTIMA THuLE



6:00 MuSIC FOR A NEW DAY including Arts Calendar at 7.30am with Robert Small

9:00 DIVERSIONS IN FINE MuSIC Inspired by opera Prepared by Elaine Siversen

Liszt, F. Paraphrase on Verdi’s Aïda (pub. 1879). Daniel Barenboim, pf. Erato ECD 75477 12

Verdi, G. Willow song, from Otello (1887). Renata Scotto, sop; Elizabeth Bainbridge, mezz; London PO/Gianandrea Gavazzeni. LP CBS SBR 235763 14

Wagner, R. Overture and Venusberg ballet scene, from Tannhäuser (1845). Royal Scottish NO/Neeme Järvi. Chandos CHSA 5077 20

Pilgrims’ chorus, from Tannhäuser (transcr. Lemare). David Drury, org. ABC 432 527-2 5

10:00 MORNING CONCERT Prepared by Di Cox

Liszt, F. Hungarian rhapsody no 6 in D, Carnival in Pest (1846-85). London SO/Antal Dorati. Mercury 432 015-2 12

Prokofiev, S. Piano concerto no 3 in C, op 26 (1913-21). Martha Argerich, pf; Montreal SO/Charles Dutoit. EMI 5 56654 2 29

Franck, C. Symphony in D minor (1888). Philharmonia O/Carlo Maria Giulini. EMI CZS 7 67723 2 40

11:30 A CHAMINADE INTERLuDE Prepared by Elaine Siversen

Chaminade, C. L’été. Anne Sofie von Otter, mezz; Bengt Forsberg, pf. DG 471 331-2 4

Trio no 1 in G minor, op 11 (1881). Tzigane Piano Trio. ASV CD DCA 965 23


13:00 COMPASS Prepared by Phil Vendy

Goossens, E. East of Suez, op 33 (1922). Antony Gray, pf. ABC 476 7636 26

Holst, G. Songs of the West, op 21 no 1 (1906-07; arr. Curnow). City of London Wind Ensemble/Geoffrey Brand. LDR LDRC 1001 12

Ponce, M. Concerto of the South (1941). Andrés Segovia, gui; Symphony of the Air/Enrique Jordá. MCA MCAD 42067 25

Bax, A. Three northern ballads. BBC PO/Vernon Handley. Chandos CHAN 10446 32

Carr-Boyd, A. Southern Cross (2005). John Martin, pf. Jade JADCD 1106 5

Saint-Saëns, C. East and West, op 25 (1869). Royal Northern College of Music Wind O/Timothy Reynish. Chandos CHAN 9897 8

15:00 FIVE AND FIVE MAKES TEN Prepared by Elaine Siversen

Holzbauer, I. Quintet in B flat for flute, violin, violetta, cello and harpsichord. Members of Concentus Musicus Vienna/Nikolaus Harnoncourt. Teldec 8.41062 14

Mozart, W. Quintet in E flat, K407 (1782). Nury Guarnaschelli, hn; Signum Quartett. Capriccio C 5059 17

Krommer, F. Partita in B flat for two oboes, two clarinets, two horns, trumpet, two bassoons and double bassoon, op 45 no 1 (pub. 1803). Members of Collegium Musicum Prague. Supraphon 11 0097-2 22

16:00 KEEPING YOu COMPANY Includes Arts Calendar at 5.00pm Prepared by Tom Forrester-Paton



22:00 KEYBOARD CONTRASTS

Stepán, J. Sonata no 2 in G. Robert Hill, pf. MDG 620 0870-2 6

Satie, E. Trois pièces froides (1897). Laurent Gianini-Rima, pf. Onyx Classix 69992 7

Mozart, W. Fantasia in C minor, K475 (1786). Friedrich Gulda, pf. DG 431 084-2 12

Schubert, F. Piano trio in B flat, D898 (1827). Trio Concertante. Renaissance RO 1707 36

Schumann, R. Four pieces, op 32. Hugo Steurer, pf. Elap 44057 10

Rameau, J-P. Harpsichord suite, bk 1. Alan Cuckston, hpd. Amadis 7156 22

Clementi, M. Sonata in E flat, op 41 (1804). Tanya Bannister, pf. Naxos 8.557453 17

Monday - 23rd July


Tuesday - 24th July




9:00 DIVERSIONS IN FINE MuSIC Great Pianists of the 20th century By courtesy of Canadian Broadcasting Corporation

Eric Friesen and Tom Deacon discuss Byron Janis and William Kapell, with music by Liszt, Bach, Rachmaninov and Schumann.

10:00 MORNING CONCERT

Berlioz, H. Overture: Roman carnival, op 9 (1844). Polish State PO/Kenneth Jean. Naxos 8.550231 9

Mussorgsky, M. A night on the Bare Mountain (1867; arr. Rimsky-Korsakov 1886). Berlin PO/Lorin Maazel. DG 439 269-2 10

Brahms, J. Double concerto in A minor, op 102 (1887). Emmy Verhey, vn; János Starker, vc; Amsterdam PO/Arpád Joó. Sony AU71010 35

Pleyel, I. Symphony in C minor (1778). Capella Istropolitana/Uwe Grodd. Naxos 8.554696 28

11:30 PLuCKED STRINGS PLuS

Linley, T. the elder Alas, from the day my poor heart. Julia Gooding, sop; Frances Kelly, hp. Hyperion CDA66698 3

Danyel, J. Mistress Anne Grene her leaves be green. David Miller, lute. Hyperion CDA66714 5

Purcell, H. She moved through the fair. Alfred Deller, ct; Mark Deller, ct; Desmond Dupré, lute, gui. Harmonia Mundi HMX 2908250.79 4

Williams, L. Paganini variations. Michael Conn, gui; English CO/Leslie Williams. Decca 480 3913 12


13:00 DRESDEN’S GOLDEN AGE OF MuSIC Prepared by Francis Frank

Veracini, F. Overture no 6 in B flat (1716). Musica Antiqua Cologne/Reinhard Goebel. Archiv 439 937-2 11

Heinichen, J. Concerto à 8 for four recorders and strings. Clas Perhrsson, rec; Musica Dolce Ensemble; Drottningholm Baroque Ensemble. BIS CD-8 7

Zelenka, J. Hipocondrie à 7 concertanti in A. Das Neu-Eröffnete O/Jürgen Sonnentheil. cpo 999 458-2 9

Pisendel, J. Violin concerto in D. Concerto Amstersdam/Jaap Schröder, vn & dir. Pro Arte CDD 330 12

Lotti, A. Psalm 50 (51): Miserere mei Deus in G minor (c1736). Ensemble Métamorphoses de Paris/Maurice Bourbon. Arion ARN 68154 13

14:00 IN SEASON

Beethoven, L. Sonata no 5 in F, op 24, Spring (1805). David Garrett, vn; Alexander Markovich, pf. DG 445 657-2 26

Haydn, J. Summer, from The seasons (1801). Gundula Janowitz, sop; Werner Hollweg, ten; Walter Berry, bass; Choir of German Opera Berlin; Berlin PO/Herbert von Karajan. EMI 4 79545 2 19

Vivaldi, A. Violin concerto in F, RV293, Autumn, from The four seasons (1725). Alan Loveday, vn; Academy of St Martin in the Fields/Neville Marriner. Decca 436 587-2 11

Tchaikovsky, P. Autumn, from The seasons, op 37b (1875-78). Arkady Sevidov, pf. Arte Nova 74321 34029 2 11

Glazunov, A. Ballet: The seasons, op 67 (1899). Moscow SO/Alexander Anissimov. Naxos 8.553915 40

16:00 KEEPING YOu COMPANY Includes Arts Calendar at 5.00pm Prepared by Michael Morton-Evans


20:00 RECENT RELEASES with Stephen Wilson

22:00 BEYOND ROMANTICISM Prepared by Frank Morrison

Bernstein, L. Suite from West Side story (1960; arr. Brown). Joshua Bell, vn; Philharmonia O/David Zinman. Sony SK89358 19

Shostakovich, D. Trio no 1 in C minor, op 8 (1923). Vienna Piano Trio. Nimbus NI 5572 13

Martin, F. Ballade (1940). Christian Lindberg, tb; Swedish RSO/Leif Segerstam. BIS CD-538 8

Kodály, Z. Dances of Marosszék (1930). Brno State PO/José Serebrier. BIS CD-875 14

Hyde, M. Piano concerto no 1 in E flat minor (1933). Miriam Hyde, pf; West Australian SO/Geoffrey Simon. ABC 446 285 2 30

Sibelius, J. Symphony no 7 in C, op 105 (1926). Royal Scottish NO/Alexander Gibson. Chandos CHAN 6557 21


Wednesday - 25th July0:00 CONTEMPORARY COLLECTIVE


6:00 MuSIC FOR A NEW DAY including Arts Calendar at 7.30am with Ross Hayes

9:00 DIVERSIONS IN FINE MuSIC Aspects of Baroque: from Italy Prepared by Paul Hopwood

Albinoni, T. Double concerto in C. Maurice André, tpt; Lionel André, tpt; Jean-François Paillard CO/Jean-François Paillard. Erato 2292-45062-2 11

Frescobaldi, G. Capriccio sopra ut, re, mi, fa, sol, la (pub. 1624-26). Gustav Leonhardt, hpd. EMI CDM 7 69551 2 10

Corelli, A. Sonata in G minor, op 5 no 7 (pub. 1700). Frans Brüggen, rec; Anner Bijlsma, vc; Gustav Leonhardt, hpd. Pro Arte CDD 291 9

Locatelli, P. Concerto grosso in C, op 1 no 10 (pub. 1721). Capella Istropolitana/Jaroslav Krecek. Naxos 8.553446 9

Matteis, N. Sett of ayres in E. Palladian Ensemble. Linn CKD 041 10

10:00 MORNING CONCERT Prepared by Derek Parker

Strauss, R. Also sprach Zarathustra, op 30 (1896). Sydney SO/Charles Mackerras. Sydney Symphony SSO 200705 25

Vaughan Williams, R. Suite (1934). Lawrence Power, va; BBC Welsh NO/Martyn Brabbins. Hyperion CDA67839 26

Beethoven, L. Symphony no 5 in C minor, op 67 (1808). La Chambre Philharmonique/Emmanuel Krivine. naïve V 5258 32

11:30 BEETHOVEN PLuS Prepared by Heather Sykes

Beethoven, L. 14 Variations in E flat, op 44 (1803). Isaac Stern, vn; Leonard Rose, vc; Eugene Istomin, pf. Sony SM2K 64510 14

Adelaïde, op 46 (1795-96). 6

Schubert, F. An Sylvia, D891 (1826). 3

Fritz Wunderlich, ten; Hubert Giesen, pf (2 above) Orfeo C432961


13:00 YOuTH DEVELOPMENT HOuR Sydney Eisteddfod final 2011: Allison/Henderson Piano Scholarship with Nicholas Young recorded by Greg Ghavalas Supported by St Catherine’s School, Waverley

14:00 CLASSICAL DISCOVERIES Prepared by Michael Morton-Evans

Caplet, A. Rêverie et petite valse (1905). Robert Aitken, fl; Robin McCabe, pf. BIS CD-184 7

Tagliaferri, E. Mandulinata a Napule. Beniamino Gigli, ten; O/Rosario Bourdon. Naxos 8.110264 3

Bauer, M. American youth concerto, op 36 (1943). Diana Ambache, pf; Ambache CO. Naxos 8.559253 16

Jacchini, G. Sonata. David Staff, tpt; Mark Bennett, tpt; St James’ Baroque Players/Ivor Bolton. Teldec 4509-91192-2 6

Abt, F. The cuckoo. Joan Sutherland, sop; New Philharmonia O/Richard Bonynge. ABC 468 513-2 3

Matteis, N. Suite in E minor, from Ayres for the violin bk IV nos 21-29 (pub. 1685). Arcadian Academy/Nicholas McGegan. Harmonia Mundi HMU 907067 16



16:00 KEEPING YOu COMPANY Includes Arts Calendar at 5.00pm Prepared by Peter Kurti


20:00 AT THE OPERA Transformations: A Symbolist opera Prepared by Elaine Siversen

Debussy, C. Pelléas et Mélisande. Opera in five acts. Libretto by Maurice Maeterlinck; abridged by Debussy. First performed Paris, 1902. PELLÉAS, grandson of Arkel: Richard Stilwell, bar MÉLISANDE, wife of Golaud: Fredericka von Stade, sop GOLAUD, grandson of Arkel: José van Dam, bar ARKEL, King of Allemonde: Ruggero Raimondi, bass German Opera Berlin Ch; Berlin PO/Herbert von Karajan. LP HMV SLS 5172 2:41

While Golaud is out hunting he encounters a strange girl sitting by a spring in the forest. After repeated urging, she tells him that her name is Mélisande, and she agrees to follow him out of the woods. Golaud writes to his half-brother Pelléas asking for his help in getting his father, the blind king Arkel, to approve of his marriage to Mélisande. But Pelléas and Mélisande develop an intimate relationship, which arouses Golaud’s jealousy. He kills Pelléas, and after the subsequent death of Mélisande, he is convinced that their relationship was innocent.

23:00 TO THE FOuR WINDS Prepared by Elaine Siversen

Handel, G. Trio sonata in C minor (pub. 1733). Carl Dolmetsch, rec; Frank Preuss, vn; Marguerite Dolmetsch, bass viol; Nigel Foster, hpd. Allegro PCD 990 13

Bach, J. Christian Quartet in B flat. Max Artved, ob; Elise Båtnes, vn; Tue Lautrup, va; Lars Holm Johansen, vc. Naxos 8.557361 10

Lovreglio, D. Fantasia on themes from Verdi’s La traviata, op 45. Colin Bradbury, cl; Oliver Davies, pf. ASV DCA 701 10

Czerny, C. Brilliant fantasy on themes by Schubert, op 339 no 3 (1836). Barry Tuckwell, hn; Daniel Blumenthal, pf. Etcetera KTC1121 19




6:00 MuSIC FOR A NEW DAY including Arts Calendar at 7.30am with Simon Moore

9:00 DIVERSIONS IN FINE MuSIC Name the composer

Be the first to identify the mystery composer and win a CD. All other correct answers go in a draw for a second CD: 9439 4777

10:00 MORNING CONCERT Prepared by Shamistha de Soysa

Chabrier, E. Pastoral suite (1888). Ulster O/Yan Pascal Tortelier. Chandos CHAN 8852 19

Rodrigo, J. Madrigal concerto for two guitars and orchestra (1969). Narciso Yepes, gui; Godelieve Monden, gui; Philharmonia O/Garcia Navarro. DG 439 526-2 31

Mozart, W. Symphony no 39 in E flat, K543 (1788). Tasmanian SO/Sebastian Lang-Lessing. ABC 476 4561 30

11:30 MASTER OF OPERA SERIA

Handel, G. Ah! mio cor!, from Alcina (1735). Yvonne Kenny, sop; Australian Brandenburg O/Paul Dyer. ABC 456 689-2 9

Sonata in D, op 1 no 13 (c1750). Andrew Manze, vn; Richard Egarr, hpd. Harmonia Mundi HMX 2907259 12

Oh sleep, why dost thou leave me?, from Semele (1743). Yvonne Kenny, sop; Australian Brandenburg O/Paul Dyer. ABC 456 689-2 3


13:00 PIANO PLuS Prepared by Jan Brown

Liszt, F. Fantasy on Mozart themes (1842). Leslie Howard, pf. Hyperion CDA66861/2 22

Symphonic poem: Les préludes (1856; transcr. Liszt). Tami Kanazawa, pf; Yuval Admony, pf. Naxos 8.570736 15

Wanderer fantasy, after Schubert, op 15 (1854). Victor Sangiorgio, pf; Queensland SO/En Shao. ABC 456 680-2 21

Piano concerto no 2 in A (1839/49/61). Geoffrey Tozer, pf; Suisse Romande O/Neeme Järvi. Chandos CHAN 9360 21

14:30 LATE ROMANTICS Prepared by Francis Frank

Humperdinck, E. Overture no 2 to Marriage against their will. Bamberg SO/Karl Anton Rickenbacher. Schwann 3-1197-2 12

Boito, A. L’altra notte in fondo al mare, from Mephistopheles (1868). Renata Tebaldi, sop; Mario del Monaco, ten; Cesare Siepi, bass; St Cecilia Academy O/Tullio Serafin. Decca 470 280-2 8

Parry, H. An English suite (1921). English String O/William Boughton. Nimbus NI 5366 19

Moszkowski, M. Spanish dances, op 12 nos 1-5 (1878). Olga Kharitonova, pf; Igor Machlak, pf. Move MD 3185 13

Bottesini, G. Romance: Une bouche aimée. Jacquelyn Fugelle, sop; Thomas Martin, db; Anthony Halstead, pf. Naxos 8.570399 5

Grieg, E. Old Norwegian romance with variations, op 51 (1906). Malmö SO/Bjarte Engeset. Naxos 8.557991 22

16:00 KEEPING YOu COMPANY Includes Arts Calendar at 5.00pm Prepared by Marilyn Schock


20:00 EVENINGS WITH THE ORCHESTRA Nationalist composers: The mighty five Prepared by Denis Patterson

Balakirev, M. Overture on three Russian themes (1858-81). Philharmonia O/Yevgeny Svetlanov. Hyperion CDA66586 9

Borodin, A. Symphony no 3 in A minor, Unfinished (1882; orch. Glazunov). Seattle SO/Gerard Schwarz. Naxos 8.572786 18

Mussorgsky, M. Dance of the Persian slaves, from Kovanshchina (1872-80). Minnesota O/Eiji Oue. Reference RR-71CD 7

Cui, C. Ballad: Budrys and his sons, op 98 (1915). Andrei Baturkin, bar. 5

Scherzo in C, op 82 no 1 (pub. 1910). 5

Russian State SO/Valery Polyansky (2 above) Chandos CHAN 10201

Suite concertante, op 25 (1884). Takako Nishizaki, vn; Hong Kong PO/Kenneth Schermerhorn. Naxos 8.555244 21

Balakirev, M. Symphony no 1 in C (1864-97). BBC PO/Vassily Sinaisky. Chandos CHAN 9667 42

22:00 CHAMBER SOIRÉE

Spohr, L. Double quartet in D minor, op 65 no 1 (1823). Kreuzberg String Quartet; Eder Quartet. Teldec 2292-42444-2 20

Mozart, W. Sonata in B flat, K15 (1764). Er’ella Talmi, fl; Yoav Talmi, pf. PWK 1133 8

Tchaikovsky, P. Trio in A minor, op 50 (1882). Zvi Zeitlin, vn; Robert Sylvester, vc; Barry Snyder, pf. Vox PVT 7199 49

Beethoven, L. Trio (1800; arr. from Septet, op 20). Vlad Weverbergh, cl; Benjamin Glorieux, vc; Vasily Ilisavsky, pf. Brilliant Classics 93684 36

Thursday - 26th July


Friday - 27th July




9:00 DIVERSIONS IN FINE MuSIC Small forces

Schumann, R. Fantasiestücke, op 73 (1849). Gershon Dembinsky, cl; Jonathan Zak, pf. PWK 1142 12

Poulenc, F. Sextet (1932-39). Peter Toperczer, pf; Bratislava Wind Quintet. Point Classics 2671812 20

Hummel, J. Sonata in E flat, op 5 no 3 (c1798). Milan Telecky, va; Helena Gafforova, pf. Point Classics 2671812 21


Korngold, E. Symphonic serenade in B flat, op 39 (1948). BBC PO/Matthias Bamert. Chandos CHAN 9508 31

Williamson, M. Sinfonia concertante (1962). Mervyn Simpson, tpt; John Schmidli, tpt; George Dobson, tpt; strings of Melbourne SO/Patrick Thomas. LP ABC RRCS 127 17

Schumann, R. Symphony no 3 in E flat, op 97, Rhenish (1850). Bavarian RSO/Rafael Kubelik. Sony SBK 48 270 34

11:30 SCHuMANN IN SONG Prepared by Elaine Siversen

Schumann, R. Zigeunerlied, op 29 no 3 (1840); Der König in Thule, op 67 no 1 (1849); Talismane, op 141 no 4 (1849). Monteverdi Choir/Jürgen Jürgens. Novalis 150 032-2 14

Jagdlieder, op 137 (1849). Camerata Vocale Gummersbach; Waldhorngruppe Freischütz, Essen/Gus Anton. Koch Schwann 3-1080-2 11

12:00 JAZZ

13:00 SELECT YOuR CLASSICS with Stephen Schafer

15:00 FROM NORWAY Prepared by Stephen Schafer

Grieg, E. String quartet no 1 in G minor, op 27 (1878; arr. Tognetti). 32 Erottik, op 43 no 5, from Lyric pieces, bk 3 (1886; arr. Tognetti). 3 Holberg suite, op 40 (1885). 18

Australian CO/Richard Tognetti (all above) BIS SACD-1877

16:00 KEEPING YOu COMPANY Includes Arts Calendar at 5.00pm Prepared by Derek Parker

19:00 JAZZ

20:00 THE ROMANTIC CENTuRY Early and late Prepared by Chris Blower

Berlioz, H. Overture to Beatrice and Benedict (1860-62). Philharmonia O/Jean-Philippe Rouchon. ASV DCA 895 8

Tchaikovsky, P. Scherzo à la russe in B flat, op 1 no 1; Impromptu in E flat minor, op 1 no 2 (1867). Michael Ponti, pf. LP Vox S/6529-30-31 9

Brahms, J. Serenade no 1 in D, op 11 (1858). Ulster O/Vernon Handley. Chandos CHAN 8612 47

Berlioz, H. Herminie (1828). Michèle Langrange, sop; Lille NO/Jean-Claude Casadesus. Harmonia Mundi HMC 901542 21

Brahms, J. Chorale preludes, op 122 (1896; orch. Leinsdorf): no 8, Est ist ein Ros’ entsprungen; no 7, O Gott, du frommer Gott. Gelderland O/Yoav Talmi. Ottavo OTR C98402 7

Tchaikovsky, P. Piano concerto no 3 in E flat, op 75 (1893). Konstantin Scherbakov, pf; Russian PO/Dmitry Yablonsky. Naxos 8.557257 16

22:00 BAROQuE AND BEFORE

Gabrieli, A. Aria della battaglia à 8 (1590). John Scott, org; Philip Jones Brass Ensemble/Philip Jones. Decca 448 993-2 10

Barsanti, F. Sonata in F, op 1 no 5. Barnaby Ralph, rec; Louise King, vc; Huguetto Brassine, hpd. Naxos 8.557944 10

Anon. Ecce Rex Darius venit cum principus. Clemencic Consort/René Clemencic. Aura AUR 184-2 10

Durante, F. Magnificat in B flat. Ann Monoyios, sop; Hermann Oswold, ten; Balthasar Neumann Choir; Freiburg Baroque O/Thomas Hengelbrock. DHM/BMG 05472 77369 2 12

Scarlatti, A. Arias with solo trumpet. Susanne Rydén, sop; Niklas Eklund, tpt. Naxos 8.553735 12

Locatelli, P. Volin concerto in C minor, op 3 no 2 (pub. 1733). Susanne Lautenbacher, vn; Mainz CO/Günther Kehr. Membran 222143-444 24

Vivaldi, A. Gloria in D, RV589. Margaret Marshall, sop; Anne Murray, sop; Birgit Finnila, cont; John Alldis Choir; English CO/Vittorio Negri. Philips 446 908-2 29 30



6:00 SATuRDAY MORNING MuSIC with Peter Bell


9:30 SPOTLIGHT ON CONCENTuS MuSICuS VIENNA Prepared by Francis Frank

Telemann, G. Overture in C, TWV55:C6. Teldec 8.42589 24

Bach, J. Christian Quintet in D for flute, oboe, violin, viola and continuo, op 11 no 6 (1774). Teldec 8.41062 14

Handel, G. Concerto grosso in G, op 6 no 1 (1739). Teldec 8.42589 12

Haydn, J. Keyboard concerto in D, Hob.XVIII:11 (1781). Herbert Tachezi, fp. Teldec 2292-44196-2 20

Mozart, W. Symphony no 24 in B flat, K182 (1773). Teldec 9031-74728-2 11

Bach, J.S. Cantata, BWV1: Wie schön leuchtet der Morgenstern (1725). Treble of Vienna Boys’ Choir; Kurt Equiluz, ten; Max van Egmond, bass; Vienna Boys’ Choir; Ch Viennensis. Teldec 8.35027-2 25

Concentus Musicus Vienna/Nikolaus Harnoncourt (all above)

11:30 ON PARADE Prepared by Paul Hopwood

Sousa, J.P. National fencibles (1888; arr. Langford). Band of the Blues and Royals/E.W. Jeanes. Chandos CHAN 6517 3

Grainger, P. Over the hills and far away. Concert Band of RAN/G.D.C. Coxon. LP EMI SCXO 8015 7

Sousa, J.P. Songs of grace and songs of glory (1892). Royal Artillery Band/Keith Brion. Naxos 8.559059 8

Hurst, M. Pacific haven. Concert Band of RAN/G.D.C. Coxon. LP EMI SCXO 8015 5


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 LISTENERS’ CHOICE with Christina MacGuinness

Phone 9439 4777 or go to finemusicfm.com and follow the links to choose your music

15:30 AT THE MOVIES Prepared by Nicholas Chaplin

Scott, J. Title track from Wake in fright (1971). O/John Scott. JOS Records JSCD 111 3

Newman, T. Soundtrack: Oscar and Lucinda (1997). Studio O/Thomas Newman. Sony SK 60088 50

16:30 AT THE BALLET Prepared by Raj Gopalakrishnan

Massenet, J. Manon, Act III (1884; arr. Lucas, 1974). Royal Opera House O/Richard Bonynge. LP Decca 414 585-2 24

Carr, E. The snow maiden, ballet for young people (1963). Queensland SO/Edwin Carr. LP ABC SLD 55 22

Tchaikovsky, P. Swan Lake, Act II, op 20 (1877). Royal Opera House O/Mark Ermler. Sony 88697575342 33

18:00 AuSTRALIAN COMPOSERS’ HOuR Prepared by Janie Fitch

Schultz, A. The meaning of water (2006). Seven Harp Ensemble. Tall Poppies TP204 8

Vine, C. Sonata no 2 (1997). Michael Kieran Harvey, pf. Tall Poppies TP120 20

Koehne, G. Unchained melody (1990). Sydney SO/Takuo Yuasa. Naxos 8.555847 10

Kerry, G. Heart’s clarion (1998). Geoffrey Payne, tpt; strings of Tasmanian SO/David Porcelijn. ABC 476 226-8 13

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

Fain, S. Excerpts from Calamity Jane (1953). Debbie Shapiro, Jason Howard, voices; National SO/John Owen Edwards. TER MUS C N19 18

Rodgers, R. Ballet, from Carousel (1945). Royal National TO/Martin Yates. First Night Records OCRCD 6042 12

Excerpts from South Pacific (1949). Mary Martin, Juanita Hall, William Tabbert, voices; Ezio Pinza, bass; original Broadway cast. Columbia SMK 60722 18

20:00 LIVE AND LOCAL Part 1: Australia Ensemble Produced by George Hilgevoord


Weber, C.M. Trio in G minor, J259 (1819). Geoffrey Collins, fl; Julian Smiles, vc; David Bollard, pf. 19

Mozart, W. Quartet in C, K285b (1777). Geoffrey Collins, fl. 9

Quintet in A, K581 (1789). Catherine McCorkill, cl; Dimity Hall, vn. 29

Dene Olding, vn; Irina Morozova, va; Julian Smiles, vc (2 above)

Part 2: Sydney Wind Quintet

Hook, J. Trio, op 83 no 4 (c1797). Michael Scott, fl; Josef Hanic, ob; Gabor Reeves, cl. 7

Bozza, E. Variations on a free theme, op 42 (1943). Sydney Wind Quintet. 13

Fine Music Tape Archive (2 above)

21:30 FROM THE ORGAN LOFT Prepared by Keith Glendinning

Bach, J.S. Fantasia and fugue in G minor, BWV542 (c1717). 12 Prelude and fugue in C, BWV545 (c1708). 2 Prelude and fugue in B minor, BWV544 (1725-28). 11

Christopher Herrick, org (all above) Hyperion CDA66791/2


Saturday - 28th July



6:00 SuNDAY MORNING MuSIC with Eleonore Fuchter

9:00 CELESTIAL NOTES From Dresden’s Augustan Age

Zelenka, J. Aleph: Quomodo obscuratum est aurum in F, from Lamentationes Jeremiae Prophetae (1722). James Bowman, ct; Fiori Musicali/Penelope Rapson. Metronome MET CD 1082 12

Heinichen, J. Pastorale in A. 6

Psalm 2: Warum toben die Heiden? (1715). Raimund Nolte, bass. 14

Musica Antiqua Cologne/Reinhard Goebel (2 above) Archiv 447 092-2

Vivaldi, A. Concerto in G minor, RV576 (1716-17). Petr Zejfart, rec; Maurice Steger, rec; Stefano Vezzani, ob; Simone Toni, ob; Claudio Pinardi, ob; François de Rudder, bn; Europa Galante/Fabio Biondi, vn & dir. Virgin VC 5 45424 2 10

Zelenka, J. Requiem in D, ZWV46 (1733). Hana Blazniková, sop; Markéta Cukrová, cont; Sébastian Monti, ten; Tomás Král, bass; Marián Krejcik, bass; Collegium Vocale 1704; Collegium 1704/Václav Luks. Accent ACC 24244 40

10:30 CHAMBER MASTERWORKS Prepared by Rex Burgess

Alkan, C-V. Grand duo concertant in F sharp minor, op 21 (1840). James Clark, vn; Ronald Smith, pf. APR 7032 25

Bruckner, A. String quintet in F (1879). L’Archibudelli. Sony SK 66 251 44

Poulenc, F. Sonata, op 185 (1962). Han de Vries, ob; Rudolf Jansen, pf. Astoria 96604/5 13


By popular demand, we re-broadcast a special program on Billie Holiday, who is considered by many to be the greatest female jazz singer. It includes an interview she gave on her first visit to London in February 1954.

13:00 PIANO FOuR-IN HAND Produced by George Hilgevoord


Debussy, C. Petite suite (1889). 14

Schubert, F. Lebensstürme, D947 (1828). 12 Bladwell, G. Tarantella (1993). 10 Grieg, E. Four Norwegian dances, op 35 (1881). 11

Elizabeth Powell, Ffrangcon Davies, pf (all above)

14:00 SuNDAY SPECIAL Richard Strauss: The man and his music Prepared by Margaret Farquhar

Strauss, R. Tone poem: Till Eulenspiegel’s merry pranks, op 28 (1894-95). Royal Concertgebouw O/Eugen Jochum. DG 480 0478 15

In silent forests; Beside the spring; Reverie, from Moods and fancies, op 9 (1882-84). Stefan Veselka, pf. Naxos 8.557713 11

Cäcilie; Tomorrow; Rest my soul, op 27 (1894). Jessye Norman, sop; Gewandhaus O/Kurt Masur. Philips 411 052-2 11

Dance of the seven veils, from Salome, op 54 (1905). Staatskapelle Dresden/Giuseppe Sinopoli. DG 480 0478 10

Suite from Der Rosenkavalier (1911). Vienna PO/André Previn. DG 437 790 2 22

Sextet, from Capriccio, op 85 (1942). Stuttgart CO/Karl Münchinger. DG 480 0478 10

Metamorphosen for 23 solo strings (1945). Berlin PO/James Levine. DG 469 804-2 32

Oboe concerto in D (1946). Heinz Holliger, ob; New Philharmonia O/Edo de Waart. Newton 8802066 26

Four last songs, op posth. (1948). Jessye Norman, sop; Gewandhaus O/Kurt Masur. Philips 411 052-2 25

17:00 HOSANNA Prepared by Richard Munge

Hymns: For all the saints; King of glory, King of peace; Love Divine, all loves excelling. Choir of St Anne’s Anglican Church, Strathfield; Mark Bensted, org; Peter McMillan, cond. MBS 25 CD 9

Psalms: no 139: O Lord, Thou hast searched me out; no 98: O sing unto the Lord a new song. Choir of St John’s College, Cambridge; John Scott, org; George Guest, cond. Decca 452 941-2 19

Blair, H. Magnificat; Nunc dimittis. Choir of St Paul’s Cathedral, London; Christopher Dearnley, org; John Scott, cond. Hyperion CDA66249 11

Vaughan Williams, R. Song of the tree of life. 3 Campbell, S. Praise to God in the highest. 3 Hurford, P. Litany to the Holy Spirit. 3 Handel, G. Let the bright seraphim, from Samson (1743). 8

Choristers of Canterbury Cathedral; Michael Harris, org; David Flood, cond (4 above) York 120

Hymns: The Lord is my Shepherd; All people that on earth do dwell. Church of England Grammar School Choir, Sydney; Keith Mitchell, cond. 5

Lang, C. Tuba tune. 2

Robert Fox, org (2 above) MBS 25 CD

18:00 THE SYDNEY SOLOISTSProduced by Kerry Joyner


Beethoven, L. String trio in G, op 9 no 1 (1797-98). John Harding, vn; Esther van Stralen, va; Catherine Hewgill, vc. 25

Dvorák, A. Serenade in D minor, op 44 (1878). Sydney Soloists. 24

19:00 OPERA HIGHLIGHTS Prepared by Giovanna Grech

Auber, D-F-E. Overture to The crown diamonds (1841). Detroit SO/Paul Paray. Mercury 432 014-2 7

Verdi, G. Di’ tu se fedele il flutto m’aspetta, from A masked ball (1859). Carlo Bergonzi, ten; Ambrosian Singers; New Philharmonia O/Nello Santi. ABC 480 5629 3

Dvorák, A. Song to the moon, from Rusalka (1901). Renée Fleming, sop; Czech PO/Charles Mackerras. ABC 480 5629 6

Bellini, V. Ah! Forever I have lost you, from The Puritans (1835). Teddy Tahu Rhodes, bar; Sinfonia Australis/Anthony Walker. ABC 476 227-2 4

Flotow, F. She appeared to me, from Martha (1847). Roberto Alagna, ten; London PO/Richard Armstrong. EMI 5 55477 2 3

19:30 SuNDAY NIGHT CONCERT Prepared by Jan Brown

Beethoven, L. Overture: Consecration of the house, op 124 (1822). New York PO/Leonard Bernstein. CBS MK 42222 10


Bach, J.S. Suite no 4 in D, BWV1069 (1725). Amsterdam Baroque O/Ton Koopman. Erato 0630-17868-2 19

Mozart, W. Violin concerto no 4 in D, K218 (1775). Arthur Grumiaux, vn; London SO/Colin Davis. Philips 438 323-2 22

Schubert, F. Symphony no 5 in B flat, D485 (1816). Academy of St Martin in the Fields/Neville Marriner. Philips 410 045-2 28

21:00 NEW HORIZONS Places in Australia Prepared by Elaine Siversen

Sculthorpe, P. Kakadu (1988). Sydney SO/Stuart Challender. ABC 434 715-2 15

Lloyd, R. Nullarbor (1987). Robert Lloyd, octaban; Leigh Giles; octaban; David Montgomery, timbales. Move MD 3171 18

Conyngham, B. Vast II: The coast (1988). Australian Youth O/John Hopkins. ABC 432 528-2 15

Edwards, R. Ulpirra suite (1993-98). Deborah de Graaff, cl; Len Vorster, perc. Walsingham WAL80442 13

Carmichael, J. Excerpts from Thredbo suite (1980). James Galway, fl; Sydney SO/Louis Frémaux. LP RCA VRLI 7373 4

Conyngham, B. Vast IV: The cities (1988). Australian Youth O/John Hopkins. ABC 432 528-2 16

22:30 uLTIMA THuLE

MONDAY 30TH JuLY0:00 CLASSIC-ALL THROuGH THE NIGHT

6:00 MuSIC FOR A NEW DAY including Arts Calendar at 7.30am with Troy Fil

9:00 DIVERSIONS IN FINE MuSIC Inspired by opera Prepared by Chris Blower

Strauss, J. II Quadrille on themes from The merry war, op 402 (1882). Johann Strauss O/Jack Rothstein. Chandos CHAN 8527 5

Coste, N. Fantasy on two themes from Bellini’s Norma, op 16. Pavel Steidl, gui. Naxos 8.554353 7

Herz, H. Non più mesta: variations on themes from Rossini’s Cinderella. Earl Wild, pf. Vanguard OVC 4033 10

Carulli, F. Fantasy in G on themes from Bellini’s Il pirata, op 337. Jean-Pierre Rampal, fl; Alexandre Lagoya, gui. CBS MK 42130 11

Wieniawski, H. Fantaisie brillante in A minor on themes from Gounod’s Faust , op 20 (pub. 1868). Andrei Korsakov, vn; USSR RT Large SO/Vladimir Fedoseyev. LP Melodiya C10 15219 001 19


Brahms, J. Variations on a theme by Haydn, op 56a (1873). Vienna PO/István Kertész. Decca 448 197-2 19

Bowen, Y. Viola concerto in C minor, op 25 (1908). Lawrence Power, va; BBC Scottish SO/Martyn Brabbins. Hyperion CDA67546 35

Haydn, J. Symphony in D, Hob.I:104, London (1795). Collegium Musicum 90/Richard Hickox. Chandos CHAN 0655 27

11:30 MORNING CONCERT REVISITED! Prepared by Sheila Catzel

Haydn, J. Keyboard trio in E flat, Hob.XV:31 (1795). Beaux Arts Trio. Philips 454 098-2 13

Bowen, Y. Romance in D flat (1900; arr. 1904). Lawrence Power, va; Simon Crawford-Phillips, pf. Hyperion CDA67651-52 6

Brahms, J. Intermezzo in A, op 118 no 2 (1892). Roger Woodward, pf. Artworks AW 001 7


13:00 STRINGS ACROSS TIME Prepared by Marcia Murray

Vivaldi, A. Trio in G minor, RV82 (c1730). Nils-Erik Sparf, vn; Kari Otteson, vc; Jakob Lindberg, archlute; Maria Wieslander, org. BIS CD-290 9

Bach, J.S. Suite no 1 in G, BWV1007 (c1720). Michael Goldschlager, vc. ABC 476 4625 19

Mozart, W. Sonata no 30 in E flat, K481 (1785). Salvatore Accardo, vn; Bruno Canino, pf. Nuova Era 6742 25

Paganini, N. Violin concerto no 1 in D, op 6 (1811). Jaap van Zweden, vn; Netherlands RSO/Keith Montgomery. Philips 464 371-2 28

14:30 INSPIRED BY DANTE Prepared by Michael Field

Liszt, F. Après un lecture du Dante, fantasia quasi sonata, from Years of pilgrimage, bk 2, Italy (1837-49). Stephanie McCallum, pf. ABC 476 124-2 15

Wallace, W. Symphonic poem no 1: The passing of Beatrice (1892). BBC Scottish SO/Martyn Brabbins. Hyperion CDA66848 16

Liszt, F. A Dante symphony (1857). Berlin Radio Women’s Choir; Berlin PO/Daniel Barenboim. Teldec 9031-77340-2 50




22:00 KEYBOARD CONTRASTS Prepared by Judy Ekstein

Dohnányi, E. Humoresques, op 17 (1907). Jenö Jandó, pf. Koch Schwann 3-1219-2 26

Chopin, F. Fantasia in A on Polish airs, op 13 (1828). Idil Biret, pf; Slovak State PO/Robert Stankovsky. Naxos 8.554541 16

Ravel, M. Le tombeau de Couperin (1913-17). Louis Lortie, pf. Chandos CHAN 7004/5 24

Schumann, R. Fantasiestücke, op 88 (1842). Florestan Trio. Hyperion CDA67175 18

Rachmaninov, S. Sonata no 2 in B flat minor, op 36 (1913). Zoltán Kocsis, pf. Philips 446 220-2 23

Sunday - 29th / Monday - 30th July


Tuesday - 31st July0:00 CONTEMPORARY COLLECTIVE




Eric Friesen and Tom Deacon discuss Arturo Benedetti Michelangeli, with music by Galuppi, Scarlatti, Ravel and Debussy.

10:00 MORNING CONCERT Prepared by Oscar Foong

Rameau, J-P. Suite from Naïs (1749). O of the Eighteenth Century/Frans Brüggen. Glossa GCD C81106 30

Franck, C. Suite from Psyché (1888). Paris O/Daniel Barenboim. DG 476 2800 27

Debussy, C. Suite from Pelleas and Melisande (1902). Lyon NO/Jun Märkl. Naxos 8.570993 25

11:30 MORCEAuX DE CHANSONS Prepared by Oscar Foong

Debussy, C. Songs of Bilitis (1897-98). Régine Crespin, sop; John Wustman, pf. Decca 460 973-2 10

Chausson, E. La nuit, op 11 no 1 (1883); Sérénade, op 13 no 2 (1887); Le réveil, op 11 no 2 (1886). Geraldine McGreevy, sop; Ann Murray, mezzo; Chris Pedro Trakas, bar; Graham Johnson, pf. Hyperion CDA67321/2 9

Debussy, C. Claire de lune, from Suite

bergamasque (1905; arr. Rutter). Jane Rutter, fl; Gerard Willems, pf. ABC 476 6475 5


13:00 LOVE THEMES Prepared by Elaine Siversen

Korngold, E. Love theme, from The adventures of Robin Hood (1938). Moscow SO/William Stromberg. Naxos 8.578005/06 6

Liszt, F. Dreams of love (1845-49). Marilyn Meier, pf. Mala-Daki MAM 29464 16

Berlioz, H. Love scene, from Romeo and Juliet, op 17 (1839). Polish State PO/Kenneth Jean. Naxos 8.550231 16

Tchaikovsky, P. Do you not hear the nightingale? (1869; compl. and orch. Taneyev). Suzanne Murphy, sop; Keith Lewis, ten; Scottish NO/Neeme Järvi. Chandos CHAN 8476 13

14:00 POPuLAR SELECTIONS Prepared by Christine Scharzenberger

Beethoven, L. Overture to The creatures of Prometheus, op 43 (1801). Australian CO/Richard Tognetti. ABC 476 102-6 5

Chopin, F. Mazurka no 40 in F minor, op 63 no 2 (1846; orch.); Waltz no 14 in E minor, op posth. (1830; orch.). Yevgeny Kissin, pf; Moscow PO/Dmitri Kataenko. RCA 09026 68378 2 4

Vaughan Williams, R. The lark ascending (1914/20). Richard Tognetti, vn; Australian CO/Roland Peelman. ABC 476 1026 16

14:30 LATE ROMANTIC MuSIC Prepared by Phil Vendy

Vianna da Motta, J. Fantasia dramática (1893). Artur Pizarro, pf; Gulbenkian O/Martyn Brabbins. Hyperion CDA67163 29

Widor, C-M. Suite, op 34 (1898). Sharon Bezaly, fl; Love Derwinger, pf. BIS SACD-1639 17

Ives, C. Symphony no 2 (1897-1901/09). Los Angeles PO/Zubin Mehta. Decca 478 3156-67 38

16:00 KEEPING YOu COMPANY Includes Arts Calendar at 5.00pm Prepared by Andrew Dziedzic


20:00 RECENT RELEASES with Robert Small

22:00 BEYOND ROMANTICISM Pre and post World War II Prepared by Robert Small

Walton, W. Coronation march: Crown Imperial (1937). Eastman Wind Ensemble/Frederick Fennell. Mercury 432 009-2 10

Viola concerto in A minor (1929/36/61). Nigel Kennedy, va; Royal PO/André Previn. EMI 5 62813 2 26

Diamond, D. Symphony no 3 (1945). Seattle SO/Gerard Schwarz. Naxos 8.559155 31

Bernstein, L. Suite, from West Side story (1960; arr. Crees). Phillip Jones Brass Ensemble. Decca 417 354-2 23

Copland, A. Clarinet concerto (1948). Martin Fröst, cl; Lucy Reeves, hp; Benjamin Martin, pf; Australian CO/Richard Tognetti. BIS SACD 1863 16

KeyMusic duration is shown after the record and citation

SO: Symphony OrchestraPO: Philharmonic OrchestraNO: National OrchestraRO: Radio OrchestraFO: Festival OrchestraCO: Chamber OrchestraTO: Theatre OrchestraRSO: Radio Symphony OrchestraRTO: Radio & Television OrchestraProm O: Promenade Orchestra

Ch & O: Chorus & OrchestraNSO: National Symphony Orchestra

alto: male altoban: bandoneonbar: baritonebshn: basset hornbass: bassbn: bassoonbass-bar: bass-baritonecl: clarinetclvd: clavichordcont: contraltocora: cor anglais

ct: counter-tenordb: double bassdbn: double bassoonelec: electroniceng horn: English hornfl: flutefp: fortepianogui: guitarhn: French hornhp: harphpd: harpsichordmand: mandolinmar: marimbamezz: mezzo-sopranonarr: narratorob: oboe

org: organperc: percussionpf: pianorec: recordersax: saxophonesop: sopranotb: tromboneten: tenortimp: timpanitpt: trumpettreb: treble voiceva: violavc: cellovle: violonevn: violin


Albéniz, I. 1860-1909 3 Albinoni, T. 1671-1751 25 Alkan, C-V. 1813-1888 1,8,29 Allegri, G. 1582-1652 4 Alwyn, W. 1905-1985 14,16,18 Arensky, A. 1861-1906 6 Armanini, M. 20th c 8 Arnold, M. 1921-2006 14,19,22 Arnold, S. 1740-1802 1 Auber, D-F-E. 1782-1871 29 Avison, C. 1709-1770 12 Bach, C.P.E. 1714-1788 5,6,9 Bach, J. Christian 1735-1782 25,28 Bach, J.S. 1685-1750 1,6,10,11,12,13,15,18,19,28,29,30 Balakirev, M. 1837-1910 12,26Barsanti, F. 1690-1772 27 Bartók, B. 1881-1945 2,19 Bauer, M. 1855-1955 25 Bax, A. 1883-1953 23 Beach, A. 1867-1944 2,19Beethoven, L. 1770-1827 1,6,9,10,12,16,18,21,22,24,25,26,29 Bellini, V. 1801-1835 17,21Benoit, P. 1834-1901 15 Berlioz, H. 1803-1869 1,2,8,13,22,24,27,31 Bernstein, L. 1918-1990 24,31Biber, H. 1644-1704 21,22 Binsbergen, C. b1957 22Birtwistle, H. b1934 15 Bizet, G. 1838-1875 3,19 Blair, H. 1864-1932 29 Boccherini, L. 1743-1805 15 Boismortier, J. de 1689-1755 19 Boito, A. 1842-1918 26 Borodin, A. 1833-1887 5,26 Bortnyansky, D. 1751-1825 18 Bottesini, G. 1821-1889 26 Bowen, Y. 1884-1961 30 Bozza, E. 1905-1991 28 Brahms, J. 1833-1897 5,6,10,14,15,18,24,27,30 Brian, H. 1876-1972 10 Bridge, F. 1879-1941 4 Britten, B. 1913-1976 1,2,7,10,11,17 Bruch, M. 1838-1920 4,17 Bruckner, A. 1824-1896 11,16,29 Brumby, C. b1933 19 Burgmüller, N. 1810-1836 20 Busoni, F. 1866-1924 8 Byrd, W. 1543-1623 1

Cale, B. b1939 14 Caplet, A. 1878-1925 25 Carr, E. 1926-2003 28

Llobet, M. 1878-1938 1 Lloyd, R. 20th c 29 Locatelli, P. 1695-1764 25,27 Loevendie, T. b1930 3 Lotti, A. c1667-1740 21,24 Lovreglio, D. 1841-1907 25 Lully, J-B. 1632-1687 20 Lumbye, H 1810-1874 5 Lutoslawski, W. 1913-1994 3

Mackenzie, A. 1847-1935 17 Mahler, G. 1860-1911 6,8,21 Malipiero, G. 1882-1973 19 Mancini, F. 1672-1737 4 Marin, J. c1619-1699 21 Martin, F. 1890-1974 24 Marx, J. 1882-1964 16 Massenet, J. 1842-1912 28 Matteis, N. d c1707 25 McCunn, H. 1868-1916 21 Meale, R. b1932 14 Méhul, É-N. 1763-1817 9 Mendelssohn, F. 1809-1847 7,8,17,20 Merula, T. c1595-1665 21 Meyerbeer, G. 1791-1864 5,17 Mompou, F. 1893-1987 4 Monteverdi, C. 1567-1643 13,19,21 Moscheles, I. 1794-1870 9 Moszkowski, M. 1854-1925 26 Mozart, W. 1756-1791 4,6,8,9,12,14,15,18,20,21,22,23,26,28,29,30 Mudarra, A. c1510-1580 1 Mussorgsky, M. 1839-1881 6,24,26 Myaskovsky, N. 1881-1950 22

Newman, T. 20thc 28Nielsen, C. 1865-1931 10 Noble, T. 1867-1953 1 Novello, I. 1893-1951 7 Nystroem, G. 1890-1966 10

Offenbach, J. 1819-1880 2,15

Paderewski, I. 1860-1941 3Paganini, N. 1782-1840 1,4,6,30 Panufnik, A. 1914-1991 3 Parry, H. 1848-1918 26 Pärt, A. b1935 1 Pasculli, A. 1842-1924 4 Peeters, F. 1903-1986 15 Pergolesi, G. 1710-1736 7Pisendel, J. 1687-1755 24Pizzetti, I. 1880-1968 12 Pleyel, I. 1757-1831 24 Ponce, M. 1882-1948 23 Popper, D. 1843-1913 15 Porpora, N. 1686-1768 5Poulenc, F. 1899-1963

Carter, E. b1908 17 Carulli, F. 1770-1841 20,30 Castelnuovo-Tedesco, M. 1895-1968 1,3 Chabrier, E. 1841-1894 12,26 Chausson, E. 1855-1899 31 Cherubini, L. 1760-1842 9 Chin, G. b1957 1 Chopin, F. 1810-1849 6,9,16,19,30 Clementi, M. 1752-1832 23Clérambault, L-N. 1676-1749 19 Conyngham, B. b1944 29 Copland, A. 1900-1990 11,31 Corelli, A. 1653-1713 7,16,25 Coste, N. 1806-1883 30 Couperin, L. c1626-1661 10 Croes, H. de 1705-1786 11 Crusell, B. 1775-1838 7 Cui, C. 1835-1918 26 Czerny, C. 1791-1857 4,12,25

D’Rivera, P. b1948 1 Danzi, F. 1763-1826 7,20 Darke, H. 1888-1976 15,22 Debussy, C. 1862-1918 3,5,7,29,31 Desplat, A. b1961 14 Diamond, D. b1915 31 Dohnányi, E. 1877-1960 15,16,30 Donizetti, G. 1797-1848 2,17 Dowland, J. c1563-1626 21 Dukas, P. 1865-1935 16 Duport, J.-L 1749-1819 15 Durante, F. 1684-1755 7,27 Durey, L. 1888-1979 7 Dussek, J. 1760-1812 12 Dvorák, A. 1841-1904 2,5,9,19,22,29

Edwards, R. b1943 29 Elgar, E.1857-1934 1,12,19

Fain, S. 1902-1989 28 Falla, M. de 1876-1946 1,3,5,19 Farrar, E. 1885-1918 16 Fasch, J. 1688-1758 13 Forsyth, M. b1936 20 Francesco da Milano. 1497-1543 1 Franck, C. 1822-1890 23,31Frescobaldi, G. 1583-1643 25

Gabrieli, A. c1510-1586 27 Garcia, M. 1775-1882Gaubert, P. 1879-1941 11 Giuliani, M. 1781-1829 1,16Glazunov, A. 1865-1936 1,13,24 Glinka, M. 1804-1857 9,12,17 Goldberg, J. 1727-1756 18 Goossens, E. 1893-1962 23 Gounod, C.

11,12,22,27,29 Prokofiev, S. 1891-1953 1,5,6,12,13,23 Puccini, G. 1858-1924 15 Purcell, H. 1659-1695 6,21

Quantz, J. 1697-1773 5,18

Rachmaninov, S. 1873-1943 6,8,9,14,17,30 Raff, J. 1822-1882 13 Rajna, T. b1928 20 Rameau, J-P. 1683-1764 21,23,31 Ravel, M. 1875-1937 2,7,9,11,13,22,30 Rawsthorne, A. 1905-1971 10 Reicha, A. 1770-1836 22 Respighi, O. 1879-1936 11,19 Reubke, J. 1834-1858 2 Ries, F. 1784-1838 5,10 Rimsky-Korsakov, N. 1844-1908 14,18 Rodgers, R. 1902-1979 28 Rodrigo, J. 1901-1999 3,9,26 Roman, J. 1694-1758 12 Romberg, B. 1767-1641 15 Romberg, S. 1887-1951 14 Röntgen, J. 1855-1932 13 Rosetti, F. 1746-1792 3 Rossini, G. 1792-1868 7,10,12,16,17 Rubinstein, A. 1829-1894 9,14,16 Rutter, J. b1945 11,22 Ryba, J. 1765-1815 22

Saint-Saëns, C. 1835-1921 2,5,13,15,23 Sammartini, G. 1693-1750 4 Satie, E. 1866-1925 23 Scarlatti, A. 1659-1725 7,8,27Scarlatti, D. 1685-1757 4,21 Scheidt, S. 1587-1654 1,21 Schnelzer, A. b1972 8 Schubert, F. 1797-1828 8,9,10,13,21,23,29 Schultz, A. b1960 28 Schumann, R. 1810-1856 5,18,23,27,30 Schütz, H. 1585-1672 18 Schwantner, J. b1943 22Sculthorpe, P. b1929 11,15,17,29 Servais, A-F. 1807-1866 15Shostakovich, D. 1906-1975 1,2,17,20,24 Sibelius, J. 1865-1957 4,6,13,24 Sinding, C. 1856-1941 20Smetana, B. 1824-1884 5,6 Sor, F. 1778-1839 9 Sousa, J.P. 1854-1932 28 Spohr, L. 1784-1859 8,13,19,26 Stanley, J. 1712-1786 7,21 Stepán, J. 1726-1797 23

1818-1893 16 Grainger, P. 1882-1961 14,28 Grieg, E. 1843-1907 1,6,13,14,20,26,27 Gross, E. b1926 17

Halvorsen, J. 1864-1935 21 Handel, G. 1685-1759 1,6,7,9,25,26,28,29 Hasse, J. 1699-1783 5 Haydn, J. 1732-1809 2,6,10,21,24,28,30 Heinichen, J. 1683-1729 5,24,29 Hellendaal, P. 1721-1799 11 Hely-Hutchinson, V. 1901-1947 20 Henderson, M. b1941 8 Herz, H. 1803-1888 30 Heuberger, R. 1850-1914 17 Hill, A. 1870-1960 7 Holbrooke, J. 1876-1958 12 Holst, G. 1874-1934 14,23 Holzbauer, I. 1711-1783 23 Hook, J. 1746-1827 28 Hughes, A. 1909-1990 10Hugues, L. 1836-1913 2 Hummel, J. 1778-1837 12,19,27 Humperdinck, E. 1854-1921 26 Hurst, M. b1925 28 Hutter, G. b1971 8 Hyde, M. 1913-2005 2,24

Ibert, J. 1890-1962 19 Ippolitov-Ivanov, M. 1859-1935 9 Ives, C. 1874-1954 31

Jacchini, G. c1663-1727 25 Jacob, G. 1895-1984 10 Janácek, L. 1854-1928 3,7

Kapsberger, J. c1580-1651 21 Kats-Chernin, E. b1957 8 Kern, J. 1885-1945 21 Kerry, G. b1954 7,28 Khachaturian, A. 1903-1978 3,10 Klatzow, P. b1945 20 Kodály, Z. 1882-1967 24 Koehne, G. b1956 3,28 Koppel, A. b1947 1 Korngold, E. 1897-1957 1,27,31 Kreisler, F. 1875-1962 19 Krommer, F. 1759-1831 23

Lalande, M-R. de 1657-1726 1 Lam, B-C. b1954 15 Lauro, A. 1917-1986 17 Le Roux, G. c1650-1705 16 Lehár, F. 1870-1948 14 Linger, C. 1810-1862 2 Liszt, F. 1811-1886 2,8,16,23,26,30,31

Stradella, A. 1644-1682 7 Strauss, J. II 1825-1899 12,22 Strauss, R. 1864-1949 5,25,29 Stravinsky, I. 1882-1971 1,6,19Suk, J. 1874-1935 9 Sullivan, A. 1842-1900 7 Svendsen, J. 1840-1911 19,20 Sviridov, G. 1915-1998 18 Sweelinck, J. 1562-1621 11,15 Szymanowski, K. 1882-1937 3

Tansman, A. 1897-1986 11 Tárrega, F. 1852-1909 3 Tawadros, Joseph. b1982 11 Tchaikovsky, P. 1840-1893 1,2,5,6,7,9,12,14,19,20,24,26,27,28,31 Telemann, G. 1681-1767 12,16,21,28 Turina, J. 1882-1949 13 Tüür, E-S. b1959 15

Vallet, N. c1585-c1642 11Vanhal, J. 1739-1813 8,22 Vaughan Williams, R. 1872-1958 1,4,17,25,31 Veale, J. b1922 14 Veldhuis, J. ter b1951 22 Veracini, F. 1690-1768 24 Verdi, G. 1813-1901 8,15,16,22,23 Vianna da Motta, J. 1868-1948 31 Vine, C. b1954 28 Vivaldi, A. 1678-1741 4,12,19,24,27,29,30

Wagner, R. 1813-1883 2,20,23 Wallace, W. 1860-1940 30 Walton, W. 1902-1983 31 Ward, J. 1571-1638 6 Wassenaer, U. 1692-1766 11Weber, C.M. 1786-1826 3,9,10,15,16,22,28 Webern, A. 1883-1945 21 Weiss, S. 1686-1750 5,18Wesley, S.S. 1810-1876 15 Widor, C-M. 1844-1937 31 Wieniawski, H. 1835-1880 30 Williams, L. b1963 24 Williamson, M. 1931-2003 27 Worthington, R. 20thc 8 Wyk, A. 1916-1983 20

Zelenka, J. 1679-1745 5,24,29

The following composers have works of at least five minutes on the July dates listed


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and Johnny Hodges but also the best of today including two of my favourite mainstream tenor players Scott Hamilton and Harry Allen. Pianists will also help accentuate the late hour mood, Bill Evans with his lyrical sensitivity and the musings of John DiMartino and his Romantic Jazz Trio.

The mood will be mainly mellow and based on melody but there will be exceptions. For example, two Harold Arlen standards: first the unusual treatment of It’s Only A Paper Moon by

the Tierney Sutton Band to be aired in the first program on July 7 and then Mel Tormé’s bravura performance with Marty Paich’s Orchestra of Blues In The Night on July 14.

There’s a wonderful treasure trove that has been forgotten and neglected. I intend to explore it and I hope you, the listeners, will join me on this musical journey into the past and present. Kevin Jones

Tune in to After HoursWith Kevin JonesEvery Saturday 10pm to Midnight

It appears my life’s journey of musical discovery has completed a full circle.

I guess I was lucky hearing Benny Goodman as a teenager and finding many Melbourne commercial radio stations in the 1950’s had jazz programs, mainly Saturday afternoons and nights but none better than Eric Child’s Rhythm Unlimited on the ABC.

The bane of my life as a copyboy and then cadet on my local newspaper, The Advocate in Burnie on the north-west coast of Tasmania, was working Saturdays but the highlight was tuning in to Rhythm Unlimited at 10.15 a.m. on the paper’s ancient radio which was usually followed by an hour of music by the big bands. It was an era when popular music was synonymous with good music. The tsunami of rock that was to engulf the field of popular music was still building despite the payola scandals in the United States.

My love of jazz took a more sophisticated turn when I discovered Arch McKirdy and his legendary Relax With Me program. Sydney radio could only be picked up late at night in those days. Admittedly I once heard one of Goodman’s Swing series recordings but the program was a treasure chest for a teenager discovering the golden chestnuts in what was to become known as The Great American Songbook.

The music of the Gershwins, Cole Porter, Rodgers and Hart, Irving Berlin, Jerome Kern and Harold Arlen to name but a few - all with a jazz flavour both vocally and instrumentally. The head of Verve Records, jazz impresario Norman Granz, in a move to make the label more amenable to the public had his roster of great soloists, especially those master balladeers, the tenor giants Ben Webster and Stan Getz, record standards.

It was through McKirdy that I really discovered Ella Fitzgerald as I lay in bed in the early hours of one morning with the rain drumming on the roof. She had had a hit recording in 1956 with A Satisfied Mind but to hear her sing In The Still Of The Night backed by Buddy Bregman’s Orchestra from The Cole Porter Songbook was a revelation. It was the first album of Ella’s I bought. Her songbook albums have been an important part of my record (or should I say CD) collection for many years.

There were other programs I can recall: Music To Midnight with Ian Neill, My Kind Of Music with Ralph Rickman. I guess I was lucky to have my musical taste influenced by such programs because as the cloth-eared brigade gained the ascendancy they disappeared from the airwaves. And today what are we left with on late night radio - a wasteland of pop and shock jocks fuelling paranoia to the insomniacs who listen to them.

Although I have been broadcasting jazz on 2MBS-FM since 1975, I’ve always had the dream of one day producing a late night

jazz-influenced program in the style of those legendary announcers who so influenced my love of music. And it has come to fruition with After Hours.

It will be built around The Great American Songbook especially from albums by vocalists who have defined the term: the legendary Frank Sinatra sessions on Capitol Records with arrangers Nelson Riddle and Billy May, the songbooks by Ella, and the marvellous recordings by Mel Tormé with arranger Marty Paich. I will not only look to the past with Sarah Vaughan, Anita O’Day, Billie Holiday, Carmen McRae, June Christy, Shirley Horn, Helen Merrill and Julie London but also the present with Diana Krall and those that have followed her. They include Italian-born Robert Gambarini, rising Canadian star Sophie Millman, the San Francisco-based Jackie Ryan and Newcastle-born bassist Nicki Parrott whose ‘endearing voice’ was praised by The New Yorker magazine in naming her album with pianist Rossano Sportiello, People Will Say We’re in Love, one of the best of 2007. (Further proof that The Great American Songbook is timeless: England’s greatest jazz singer Claire Martin has just released her first album of standards with that exceptional pianist Kenny Barron and America’s Judy Silvano has released a tribute album to Ella and Sarah. I hope to feature both).

Instrumentally the great ballad players will hold centre stage. One thinks of Stan Getz, Ben Webster, Coleman Hawkins, Lester Young

Bedlam

Although I have been broadcasting jazz on 2MBS-FM since 1975, I’ve always had the

dream of one day producing a late night jazz-influenced program in the style of those legendary

announcers who so influenced my love of music.

“

“


Karajan – Herr Brandis, if we’re to believe Elisabeth Schwarzkopf, the subject of our interview was a demigod.Let me start off by telling a nice story. Last night I couldn’t sleep and suddenly found myself sitting in my living room in front of the TV. A concert with the Scala Orchestra and Chorus was being broadcast, conducted by Herbert von Karajan. It was the Verdi Requiem, one of his big numbers. I was so spellbound that I listened to the very last note, until almost half past two at night. But it was worth it: Karajan was fabulous. I don’t think anyone can conduct the Verdi Requiem with such calm discipline, such coherence and concentration, as Karajan did. I once saw it done by Leonard Bernstein. He was a fidgety bundle of nerves; all you see is the conductor. Karajan was often accused of ‘play-acting’ the part of the conductor, but that wasn’t true at all. Still, the La Scala Chorus and Orchestra didn’t thrill me as much as the performance we gave him with the Berlin Phil.You’ve probably heard the famous Karajan joke. Bernstein, Böhm and Karajan are sitting together arguing who’s the greatest conductor on earth. Bernstein says that God appeared to him and said, ‘It’s you!’ Böhm replies that that’s not very likely because God appeared to him and told him, ‘It’s you!’ At which point Herbert von Karajan drily adds, ‘I said nothing of the sort!’Now, the bit about Karajan’s divinity is true in that he never admitted a mistake. He just never did anything wrong. More than that, he had a unique aura that ensured him a special status. He had no friends in the orchestra; he never used the familiar form of address with any musician. And he was right not to: that way no one felt envious.Was it something like this: the demigod on one side and the orchestra on the other, separated by a scrim?No, Karajan had many human traits. One proof is a letter he sent to me on 12 March 1983 after I’d announced my departure from the orchestra. He thanked me in the warmest terms for my empathy as concertmaster of the Berlin Philharmonic. He never expressed his feelings like that in public. But to me one thing is certain: the older I get, the more I revere him, for two basic reasons. First, anyone who’s got all of Wagner’s operas in his head – and by that I mean both the music and the words – and who conducts them all from memory has simply got to be a genius. Second, rather than conducting every Bruckner symphony like an act of worship he viewed Bruckner as a Romantic. Besides, I don’t think there’s anyone today who can conduct a Bruckner Eighth like Karajan.

What about the grand old men Günter Wand, Sergiu Celibidache and Eugen Jochum? Weren’t they all major Bruckner conductors?I heard Karajan and Celibidache in Bruckner’s Fifth and Ninth one after another, and I preferred Karajan by far. Celibidache’s strength lay more in French music, in Debussy and Ravel, and in Brahms as well.

Getting back to Karajan: you joined the Berlin Philharmonic as concertmaster in 1962, when he’d been its principal conductor for seven years. Was anything left of the typical Furtwängler sound at that time, or had Karajan already established his own distinctive sound?He was forced to continue along the path Furtwängler had taken if only because we always entered late. There was a good reason for that: it increased the tension. Beethoven’s A major Symphony, for example, always began after the beat. That came from Furtwängler, who always had such a vague beat.It wiggled down from on high?Exactly!Did Karajan have a perfect beat?He always made very round movements because he wanted to avoid rigidity. But even so his beat was clear. The German conductor with the best beat of all was Joseph Keilberth. His downbeat was like a plumb line. That was always a delight for orchestras. But Karajan was excellent, too. I got to know him early on with Beethoven, Brahms, Strauss, Bruckner and Wagner, and it was always exhilarating.Can you describe what was so extraordinary about his conducting style?The internal and external tension. None of the musicians leaned back in their chairs; we all sat on the edge of our seats because we were so tense. This same tension was magnified in every symphony because Karajan conducted with his eyes closed. We musicians found that a great help. Why?Karajan never expressed displeasure when anything happened, unlike Karl Böhm, who gave full vent to his displeasure. Karajan simply let us play.Someone once put it nicely that Karajan conjured up every sound as if in a trance. Was his conducting a bit like that?I think so, yes. It was indeed a bit other-worldly.

I’ve experienced many conductors who had less to say although they conducted fabulously. But they seldom left me moved. With Karajan, on the other hand, we were actually always moved. That brings us back to his godlike qualities. Once, in Japan, he botched the beat. He beat one syncopation too

many in Beethoven’s Fifth, and the brass didn’t enter until we strings had already finished. The next morning he stormed furiously up to the conductor’s desk and said we had to rehearse it. Yet we were absolutely in the right. But what’s the point: it can happen to any conductor.Karajan being a perfectionist, it’s safe to assume that mishaps like that were the exception.That’s correct. I played in almost all his Salzburg Wagner performances. Only once did he miss a beat, but he corrected it on the spot. And nothing happened, even though he was conducting the operas and handling the stage direction at the same time.What was it like when you first met Karajan?Actually it was pretty awful, though I have to laugh about it today. It was at my audition for the Berlin Phil. I felt he liked me because my Mozart and Dvorák concertos were very good. Then I had to sit in the orchestra and play Brahms’s First as concertmaster. That went off very well, too. But then came Strauss’s Zarathustra. Simply put, I didn’t know the piece because I’d prepared Heldenleben, not Zarathustra. Well, the love affair was over for the time being. After that, the orchestra debated for a long time – and took me in the end, though I’d pretty much botched Zarathustra.Nonetheless, he didn’t speak out against you. That sounds almost like clemency. Did he ever comment on it?No, Karajan didn’t speak to me at all. The orchestra’s managing director, Wolfgang Stresemann, came up to me to say that I’d passed the audition and got the job.What happened then?Stresemann said, ‘You know what would be good? If you were to join our upcoming America tour, but in the tutti.’ I answered, ‘My dear Doctor Stresemann, I wouldn’t want to, for now, if I play in the tutti and seem unsure of myself, I’ll never in my life be the concertmaster of this orchestra.’ Besides, I still had three months to go on my

v

When we stepped on to the stage on the evening of the performance he asked me whether I was nervous and I said, ‘Definitely.’ All he said was, ‘Good to hear.’

From that moment on I was fine.


Karajan – close up of a demigod Jürgen Otten interviews the Berlin Philharmonic’s legendary

concertmaster Thomas Brandis

contract as concertmaster of the Hamburg Symphony and the tour was supposed to start right away. I’d have had to play thirty pieces without a rehearsal.Being the concertmaster, you were physically very close to Karajan. What did that feel like? Was it anything special, or did you get used to each other, as in a normal marriage, and say, like a smart wife, ‘That’s just the old grouch up there’?It wasn’t always splendid. Sometimes Karajan no longer knew what he was supposed to rehearse because he always conducted the same pieces. I had fun playing the prophet. When he programmed a Tchaikovsky symphony, for example, I knew he’d start the rehearsal with the third movement and break off after four bars. And that’s exactly what happened. Everyone I told it to burst out laughing. But those are minor points. Karajan was usually admirable in concert. What discipline! He focused on the crux of the matter: the music. And he drew the most amazing things out of the works we played. I particularly recall his performance of Bruckner’s Eighth in the Amsterdam Concertgebouw and, as already mentioned, the Venice performance of Verdi’s Requiem in the late 1960s. Those were the grand moments. He was usually very friendly when he rehearsed, even going so far as to tell jokes. True, before long we knew them all, but that didn’t matter. We wanted to hear them over and over again.That almost makes him sound like a completely normal human being.He was.Then how did the ‘Karajan myth’ come about?Mainly because he turned out countless records. He recorded what was perhaps the world’s largest symphonic repertory. And the reviews were usually very positive, especially

with the Beethoven symphonies of 1962–63, and of them especially the First, Third, Fifth, Seventh and Ninth.You’d just joined the orchestra when the project got under way.That’s right. I sat at the concertmaster’s desk for every symphony except the First.Did Karajan’s presence make you nervous?Absolutely, I was very nervous at times. There’s no other way to put it.How did you withstand such pressure?I wasn’t afraid of him, but he definitely had a taskmaster mentality. In the end I got used to his severity. The precarious moments were always those where I had to play solo and the entire orchestra watched and listened. I’ll never forget one experience I had along those lines because it was so beautiful. I was allowed to play the Beethoven concerto under Karajan……the most difficult violin concerto under the sun…Precisely. Actually I knew I could bring it off. Karajan discussed it with me in detail beforehand. When we stepped on to the stage on the evening of the performance he asked me whether I was nervous and I said, ‘Definitely.’ All he said was, ‘Good to hear.’ From that moment on I was fine. Perhaps it was easier to play with him as a soloist then to serve under him as concertmaster. To a certain extent you’re right, in that he always supported me when I played a concerto with him.It’s said that he was equally empathetic with singers, that of all the great conductors of his day he was the best singer’s conductor. Was that your impression?Yes, he sustained the singers and encouraged them every inch of the way.

There’s a wonderful quip from Carlyle about Frederick the Great: ‘Genius means transcendent capacity of taking trouble.’ Does this quip also fit Herbert von Karajan?That’s very good. Karajan was always perfectly prepared. For example, I once saw him working through the score of the Sinfonia domestica while sitting in his car and listening to recordings – a full year before he conducted it! And he also started rehearsing it with us at that time. He was that way with every piece he played. He was, simply put, an almost perfect human being.An almost perfect human being? Don’t you mean an almost perfect musician?Perhaps the latter, in the main, but in a certain sense he was simply a great human being who hid behind a façade, though he also had his foibles. He didn’t like Carlos Kleiber, and do you want to know why? He found him too good. Were you ever interested or even disturbed by Karajan’s much-quoted ‘double’ membership of the Nazi party?No, for a simple reason: I’m sure that Herbert von Karajan was completely apolitical. But he was self-centered and egoistic. He joined the party to advance his career.Not a modicum of politics?Not a bit!You lost some Jewish relatives during the Third Reich. Didn’t you feel angry for a second at a man who was able to launch his career with Nazi help, even if you feel he was apolitical?No, and I’ll tell you why. Because my mother taught her children to look for the good in human beings, even in the darkest of times.

Courtesy of Deutschegrammophone/ Universal MusicTranslation: J. Bradford Robinson 4/2012

KARAJAN 1960sHe was the most influential conductor of his generation. It’s almost incredible that between 1959 and the end of the following decade, Herbert von Karajan recorded 82 CDs worth of orchestral and choral music. That’s apart from the opera recordings he was making with DG and Decca … little things like Wagner’s Ring. And this was arguably his “best” period, when he achieved the perfect balance between discipline and authority in his work.

Now, for the first time, Deutsche Grammophon releases the complete recordings from the 1960s, generally considered to be Karajan’s glory years: 82 CDs of the original LPs in their original couplings, in their original cover-art, arranged in four snug compartments.

To win this fabulous box set visit www.finemusicfm.com/mag Click on the image Karajan 1960’s and follow the prompts.

The older I get, the more I revere him


cd reviews

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The chamber music of Beethoven’s middle and late periods contains so many masterpieces that the chamber music from his early period tends to be overlooked. The three Piano Trios constituting op 1 (once memorably recorded by Casals) are worth getting to know; the Piano Quartet op 16 is almost worthy to stand next

to Mozart’s quintet for the same instruments; the Serenade in D op 25 for flute, violin and viola is a delightful work. But the general consensus of musical opinion is that the three string trios on this disc are the finest examples of Beethoven’s early chamber music. Beethoven himself thought highly of them; at the time he wrote them he described them as the finest of his works. All of the op 9 trios have a wealth of musical invention and harmonic interest, but the third, in C minor, is probably the best of the three. Beethoven abandoned this musical form after writing these works; from that time on he

wrote string quartets. Evidently, the addition of a fourth instrument gave him more opportunities to write works of greater substance. One of Beethoven’s earliest biographies states that ‘none of the works earlier than the op 9 trios can compare with them in terms of beauty and novelty of invention, tasteful execution, treatment of the instruments and so on; overall they surpass the quartets that appeared shortly afterwards’. It would be difficult to improve on the performances of the Trio Zimmermann in terms of perfection of execution and tonal beauty. – Richard Gate.

BEETHOVEN: STRING TRIOS OP 9Trio ZimmermannBIS-SACD-1857*****


As usual, the choral music of Mendelssohn is beautiful and inspiring and this is a superb recording of Part I of the unfinished oratorio Christus framed by three cantata-chorales. Queen Victoria wrote in her diary during Mendelssohn’s last visit to England: ‘for some time he has been engaged in composing an oratorio but has lost courage. The subject for the oratorio is Earth, Hell and Heaven, and he played one of the choruses out of this to us which was very fine’. Only 13 movements were completed on the life of Christ and Parts II and III were to have focused on the sufferings, death, descent into Hell, Resurrection and Ascension. When his brother Paul had it

Having been very impressed a few years ago by Andrew Schultz’s cantata, Journey to Horseshoe Bend, I approached this collection of his orchestral works with great anticipation. I was not disappointed. He is, in my opinion, one of the finest composers in this country today. The music is well-crafted in a modern idiom which is pleasing to the ear.The major work on the disc is Violin Concerto. The work had an inauspicious beginning with its premiere in 1996 aborted due to the orchestra becoming bankrupt. After that no Australian orchestra was interested in performing it and it was not until Schultz was on the faculty of the Guildhall School of Music and Drama in London that anyone took an interest and through roundabout means, the Tasmanian Symphony Orchestra finally decided to perform the work. It seems such a terrible waste of time, and

certainly frustration for the composer, for this work to have remained unheard for 15–16 years since its completion.This is a work of tender lyricism and dramatic power, and while there are occasionally a few bars similar to some parts of the concerto of Ross Edwards, this is still a very individual work. In two movements, the first is the slow movement titled Chorale with a hymn-like chordal structure alternating with long melodic lines. The second movement, Dance, is in direct contrast with fast, exuberant rhythms which give a feeling of joy and exultation. Double-stopping and drone techniques are employed by the violin and the rhythmic energy is explained by Schultz as ‘possibly influenced by the rich world of folk-style-violin playing’. The soloist is Jennifer Pike who was one of the people in London who encouraged Schultz in his endeavours to have the work performed. She is a young virtuoso who is achieving great success beginning in 2002, at the 12, by becoming the youngest winner of the BBC Young Musician of the Year competition. Since then, her career has spiralled.The other works on the disc are also most enjoyable. Endling is a work for two horns,

timpani and strings. The name is defined as the ‘last surviving individual of a species or plant’. So this is not a joyous work but one of sombre colours as the composer contemplates the extinction of so many species from the planet.The final work, Once Upon a Time ... is Schultz’s reaction to the wonder of musical storytelling through the magical realm of the orchestra. The original was composed for the Queensland Symphony Orchestra with triple winds but for the Tasmanian Symphony Orchestra he has revised it down to double winds for the smaller orchestra.Despite being smaller than many symphony orchestras, the TSO has attained a very high status in the musical world and its conductor Richard Mills is one of Australia’s most sought after music directors. Being a composer as well, he obviously brings great insight into conducting from a composer’s perspective and one would assume that he is most respectful of the composer’s intentions.I believe this is a disc that would grace any collection but particularly one of a connoisseur of fine modern music. – Elaine Siversen

AuSTRALIAN COMPOSER SERIESANDREW SCHuLTZ ORCHESTRAL WORKSTasmanian Symphony Orchestra/Richard MillsABC Classics*****

published five years after the composer’s death, he named it Christus.The work begins without an overture with the soprano announcing the birth of Christ and the arrival of the Three Kings. Much influenced throughout his life by the music of Johann Sebastian Bach, Mendelssohn treats this work in much the same style as a Baroque oratorio with the use in the first movement of the Lutheran chorale, Wie schön leuchtet der Morgenstern (How brightly shines the morning star), the chorale used by Bach for his first church cantata. This influence also comes in the final chorus addressed to the Daughters of Zion, a reference to the opening of Bach’s St Matthew Passion and the chorale, Er nimmt auf seinen Rücken (He takes on his back the burdens that oppress me) which Bach used twice in his Passion.The three cantata-chorales on this recording include two of the most well known: O Haupt

voll Blut und Wunden (O Head covered in blood and wounds) and Vom Himmel hoch (From Heaven on high I come). The latter and the cantata-chorale, Verleih uns Frieden gnädiglich (Give peace in our time), which begins the disc are to words of Martin Luther. Mendelssohn had a great fondness for Lutheran chorales and was taught as a ten-year old boy how to harmonise in the style of Bach.The French ensemble Accentus was formed by Laurence Equilbey with the intention of performing a cappella works but, as in this recording, collaborates with major orchestras and orchestral ensembles in a wider repertoire which also includes contemporary music. Many of its recordings have received prestigious awards from the musical press.I cannot fault this recording: wonderful music, superb singing and excellent sound quality with an informative booklet. – Elaine Siversen

MENDELSSOHN: CHRISTuS I, CANTATA CHORALESSandrine Piau, soprano; Robert Getchell, tenor; Markus Butter, baritone; Accentus Ensemble Orchestral de Paris/Laurence EquilbeyNaïve V 5265*****


JAZZ CD REVIEWS

During the last five years the Dutch composer Henk de Vlieger has arranged the scores of Wagner’s Ring, Tristan und Isolde and Parsifal as purely orchestral works, and Die Meistersinger von Nürnberg now joins the catalogue. The works are presented more or less as a symphony – in this case eleven episodes from this sublime comic opera are re-orchestrated, each self-contained but joined seamlessly

to those before and after. The fact that the score has many light-hearted passages – the high jinks of the riot which ends Act II and the dances and choruses of the final section, for instance –allow Vlieger to lighten his score in a way impossible with the other operas. Neeme Järvi and the Scottish orchestra (responsible also for the Ring and Parsifal discs) embrace the work with enthusiasm, vigour and sensitivity: the big bow-wow episodes are given full Technicolor treatment, but even better are the introspective passages – Hans Sachs’ monologue, for instance, and the unequivocally persuasive account of Walther’s prize song.

WAGNER: MEISTERSINGER An orchestral tributeRoyal Scottish National Orchestra/Neeme JärviChandos CHSA 5092*****

Lovers of the opera may occasionally raise an eyebrow at the instruments to which Vlieger has given the vocal lines, but his general orchestration, respectful but not slavish – is irreproachable. Will the disc appeal more to those already devoted to the opera, or to those who think this may be an easy way into it? It doesn’t matter – except that those ready to be persuaded of the grandeur and glamour and extravert fun of this score may (fingers crossed) be persuaded into the opera house – or to try to find the disc of Opera Australia’s production of the work, praised by some critics as the best DVD available. If there is one minor cavil it is one common to many, many Wagner recordings: the occasionally over-dramatic variation of balance. Otherwise, congratulations all round. – Derek Parker

Miles Davis confessed that he was perhaps Ahmad Jamal’s greatest fan and that Jamal provided much

of the inspiration for the Davis Quintet with John Coltrane in the late 50’s. ‘I live until he makes another record’, said Miles of Jamal.

For present-day Jamal fans (and I am one), his latest release, Blue Moon: The New York Session is very welcome. It reminds me of his days with the Chess label some fifty years ago . . . not that this album is dated – far from it. As he showed the audience in the Sydney Opera House in May last year, Jamal has retained a freshness in his playing.

Blue Moon is a musical landscape of American music, combining tunes from Broadway (This is

BLuE MOON: THE NEW YORK SESSIONAhmad JamalJazz Village (Harmonia Mundi)*****

the Life and Invitation), Film Noir (Laura), popular song (Gypsy and Blue Moon) with Dizzy Gillespie’s Woody ‘n You. And to round it off there are three original compositions from Jamal (Autumn Rain, Morning Mist, I Remember Italy).

Accompanied by his three ‘impeccable guardians of the tempo’ (as the album notes describe them), Reginald Veal on bass, Herlin Riley on drums and Manolo Badrena, the exceptionally talented percussionist, Ahmad Jamal shows us what a masterful jazz pianist he is. Endlessly innovative, majestic and gracious, Jamal remains one of the few elder statesmen left in the pantheon of jazz greats. - Lloyd Capps

SAKuRA SAKuRANicki ParrottVenus Records VHCD 1068****

Newcastle-born Nicki Parrott had already made her mark in New York’s jazz scene when in 2006 she recorded an album with Italian-born pianist Rossano Sportiello for the Arbors label called People Will Say We’re In Love. It not only showed she was an exceptional bass player but more surprising was her singing, a lovely voice with an intimate and tender feeling for a ballad and penchant for melody. These attributes are accentuated on her latest album on the Japanese Venus label. The title track, Sakura Sakura, is a traditional folk song depicting spring, the season of the cherry blossom, Japan’s national flower. Hence the emphasis on songs with a touch of spring, the season of renewal, aimed at a Japanese population still reeling from the last year’s tsunami disaster.

Lisa Parrott (baritone and soprano) joins her sister on the date and instead of the tenor of Harry Allen we have trumpeter Dominick Farinacci. Both have their moments but always a plus on some of Nicki’s albums is the piano playing of John Di Martino. The epitome of good taste, he is at home in any setting. Listen to the way his elegant and dreamy piano adds to Nicki’s vocal after she begins Some Other Spring by accompanying herself on bass or her wistful duet with him on Spring Can Really Hang You Up The Most. The acoustic guitar of Paul Meyers shines on another duet (Spring Is Here). I mentioned melody earlier - no matter what the rhythm this set is awash with it. One for music lovers. – Kevin Jones


A GREAT LIFE WITH STRINGS ATTACHED

For Debbie Scholem, professional violinist and Fine Music 102.5 Presenter, life really began in a cupboard. The daughter of a land surveyor father and piano teacher mother, Debbie began piano lessons at the age of six and it was evident that she was musically gifted and for several years she practised assiduously. But then one day she opened a cupboard and found in it an old violin which had belonged to her grandfather.

‘That’s when my love of the violin began,” Debbie says. ‘My father had a deep love of music, he was almost fanatical about it and it was he who encouraged me to persevere with the violin. I’d been born in Cape Town, South Africa, but when I was eight the family moved to England and that’s when I started taking violin lessons.’

Debbie Berlin, as she then was, led what can only be described as a peripatetic childhood. Of Russian and German extraction, her parents were both born in South Africa where Debbie and her older sister, Ruth, were born. Twelve months after her birth, the family upsticked and moved to Israel for five years, where younger brother David, now the Principal Cellist with the Melbourne Symphony Orchestra, was born. 1965 was a time of great upheaval and danger in Israel and the family decided to get out just before the start of the Six Day War. They moved to England, where her father got a job at a university teaching the art of land surveying. Hearing of his abilities as a teacher, the University of New South Wales offered to bring him and his family out to Sydney, first-class, all expenses paid, and in 1970 they arrived in Australia.

‘We kids all thought it an exciting adventure, but my mother, who loved England, wasn’t at all pleased. I’m afraid my parents separated four years later,’ Debbie says.

Living with her mother in Maroubra, Debbie spent a year at the local school before auditioning for a place at the NSW Conservatorium High School. She won a place and spent the next six years there. Then fate played its hand.

‘I was asked if I would like to join a string quartet which was directed by my violin teacher at the Con, Robert Pikler. I said yes and the next thing I

knew we were off to England to the Aldeburgh Festival at Benjamin Britten’s old home. At that stage I was also doubling as a viola player – lots of violinists do – and the guy running the festival thought that my viola was an old box, so he lent me Benjamin Britten’s viola for the festival.’

It was now that Debbie realised that, if she wanted to become a full-time professional musician, she would have to be much more serious about practising. Returning to Australia, she practised like mad, working as a freelance at whatever gig she could find. She spent time with the fledgling Australian Chamber Orchestra and was also a frequent performer with the Elizabethan Theatre Trust Orchestra.

Then fate stepped in once more. ‘Out of the blue one day I got this letter from a member of the Primavera Quartet in New York whom I’d met when I was at the Aldeburgh Festival,’ Debbie says. ‘She asked if I would like to join them in New York as their second violinist. It was quite extraordinary. They hadn’t heard me play, but here was this invitation. I thought about it for all of 10 minutes, said yes, and flew to New York. Straight off the plane into rehearsals and then off on tour three days later. Talk about being thrown in the deep end!’

‘I subscribe to Nietzche’s adage

that ‘Without music life is unbearable’

It was to be an exciting year and a half. Debbie played all over the States, even at one stage joining the band and accompanying Frank Sinatra in Atlantic City. ‘I was thinking of going to Australia again,’ he said to his audience one night, ‘but why would I want to go to play to a couple of kangaroos?’

‘He was a rude man,’ is Debbie’s assessment of the great crooner.

Married now with three daughters, Debbie isn’t playing as much as she used to, but she stills enjoys the occasional gig and always makes time to prepare and present regular programmes for Fine Music 102.5, which she joined five years ago.

‘I subscribe to Nietzche’s adage that ‘Without music life is unbearable’,’ Debbie says. I feel very sorry for people who don’t have music in their lives. You can find the experience of all human joy and all human sadness in music, and I really enjoy presenting beautiful music to our listeners.”

There’s no better way to end this article than with the words that Debbie herself uses when she signs off from her programmes. ‘I wish you music in your life – today and always.’ - Michael Morton-Evans


The Sydney Morning Herald will be sharing the sounds of Fine Music 102.5 with a free ten track CD available with the

purchase of the newspaper on Saturday July 7.

102.5 will enjoy the chance to spread the fine music message all around Sydney and, through increasing use of internet radio, and our soon to be released Fine Music 102.5 Mobile Phone App, we’ll look forward to adding to our 240,000-plus weekly listeners – and reaching out beyond the confines of a normal radio frequency.

On our Fine Music CD you will find an interesting mix of Baroque, Classical, Opera, Contemporary and Jazz compositions including Bach’s Violin Concerto in A minor, Tchaikovsky’s Piano Concerto no 2 in G, Hill’s String Quartet no 5, 2nd movement and Gershwin’s Nice Work if You Can Get it. Performers include violinist Oscar Shumsky, the Dominion Quartet, the Sydney Symphony, pianist Konstantin Scherbakov, singer Sarah Vaughan and many more.

So, don’t miss out - pick up The Sydney Morning Herald on Saturday July 7 for your free CD – while stock lasts. Enjoy !

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itineraries

October 2–19, 2012Cost: $8,500 per person, twin share

Academy Travel is proud to offer its popular music tour to Germany for the sixth time. Enjoy nine great operas and concerts of the highest quality, visit some of Germany’s most cultured cities and enjoy the scenery of the Black Forest and the Rhine Valley. Pre-performance talks and post-performance discussions enhance your enjoyment of the music. All sightseeing and many meals included. Centrally located four and five star hotels throughout. Itinerary: ❖ Baden-Baden (5 nights)❖ Frankfurt (2 nights)❖ Leipzig (2 nights)❖ Dresden (3 nights)❖ Berlin (5 nights)Details at www.academytravel.com.au

Nine outstanding Performances❖ Mahler’s Song of the Earth and the

Adagio from the Tenth Symphony, Bamberg Symphony Orchestra

❖ Beethoven Missa Solemnis, Monteverdi Choir and English Baroque Soloists, conducted by John Eliot Gardiner

❖ Mahler’s Symphony No.5 and Brahms’s Four Serious Songs, Bamberg Symphony Orchestra

❖ Puccini’s La bohème at the Frankfurt Opera

❖ Shostakovich’s Cello Concerto No.2 and Brahms’s Symphony No.1, Leipzig Gewandhaus Orchestra

❖ A gala opera concert and Beethoven’s opera Fidelio at Dresden’s historic Semper Opera House

❖ Wagner’s Die Walküre by the Staatsoper Unter Den Linden in Berlin

❖ Messiaen’s L’Ascension and Tchaikovsky’s Symphony No.4, Berlin Philharmonic

FroM ThE BlaCK ForEsT To BErlin

MUsiC in EUroPE

Tour leader Robert Gay is one of Australia’s most experienced music educators and tour leaders. Over 25 years he has designed and led more than 70 musical and cultural tours abroad.


A model of a model future

for Fine MusicSo how does a group of over twenty volunteers, a team of architects, two external designers, a joinery company and the building’s main contractor and sub-contractors communicate effectively? Architects’ drawings are the time-honoured solution, but few 2MBS volunteers were skilled at reading them, not to mention redrafting and reiteration which generate vast amounts of paper plans that aren’t easy to disseminate among volunteers who may only visit the station once or twice a week, even with the use of email.

With a background in interior and graphic design, the task fell to me to work out a more effective method of communication, and here technological advances came to the rescue. Architects and designers use models, both real and virtual, to explain their ideas to their clients, but the proprietary CAD software employed isn’t much use to volunteers who live far from the offices of architects and designers and don’t possess the necessary software anyway.

What if a working virtual model could be built simply and cheaply, utilizing open source software on the Internet that could be accessed by anyone in Sydney (or the world for that matter) who possessed a computer powerful enough to download the viewer and a modicum of computer skills to use it?

The new ‘Den’ – the main volunteers’ area with seven workstations

David Ogilvie looks at the history of the move to new premises and the hi-tech means of communicating between the scores of volunteers, architects, designers and contractors involved in the project.

Night view of the Reception area

The gestation period of a new building is often a lot longer than its human equivalent, and the time taken to bring to fruition the new home of 2MBS, now rebranded as Fine Music 102.5, is no exception.

Peter Mayoh, principal of Mayoh Architects in Northbridge, first approached 2MBS in late 2007 with the idea of incorporating the old 2MBS building into a development of luxury apartments which would involve the demolition of existing cottages at Nos. 72 and 74, and crucially No.76.

Three Board Chairs later, our rebranded fine music station is poised to move across the road from its temporary home at No. 87 into the ground floor and basement of the new development where we hope to begin broadcasting from September. The project has not been without its challenges: Although the term ‘purpose-built’ has been bandied about a great deal, the demands of services for apartments – air-conditioning, water, electrics, sewage, not to mention car access and parking in the basement garage - were always going to conflict with the requirements of a radio station for quiet and minimal electrical interference with its sensitive equipment.

Designing a radio station is a complex business, difficult enough for commercial or national broadcasters with a large retinue of paid technical and administrative staff. 2MBS was lucky to have a few ex-professionals and technicians with TV and radio experience amongst its volunteers who were willing to dedicate a large amount of their time to

designing and implementing the project. Credit should be given here to Max Benyon and Roger Doyle, both veterans of previous moves and reincarnations, members of their technical team, and the band of volunteers collectively known as Team Chandos, which worked with the Volunteers’ Committee to co-ordinate the 1001 details and minutiae of the move.


Internet connection, Second Life reproduces the way we do business. My first task when establishing the site for the model was to contact a virtual real estate agent in-world (who resided in the United States) to lease a suitable site on the complex grid of sims each controlled by a separate server, that makes up the Second Life. As in real life, areas are zoned residential or commercial – at present the plot allocated sits appropriately enough between an art gallery and a graphic designers/photographers establishment. Unfortunately our model had to be constructed 3000m up in the air as commercial sims tend to be sited at ground level a few metres above water – walking down the stairs to the performance space would have required breathing apparatus.

One last thing! If you download the instructions and visit the model, make sure you turn on your computer’s audio and enable your viewer to access the live streaming of Fine Music 102.5 as Wolfgang Mozart leads you though the building! - David Ogilvie

Proposed Boardroom with reproduction Eames office chairs

There exists a virtual reality game on the Internet called Second Life, which apart from allowing the now familiar social interaction between avatars controlled by global participants, also provides a means of building 3D models of anything from clothes to spaceships.

Objects or models in Second Life are made from ‘prims’, building blocks that range from

basic cubes to quite complicated shapes such as toruses that are linked together and textured. The carpet in the illustration above utilized textures captured from a few digital camera shots of actual tiles, but other textures were sourced from the Internet. Second Life has a retail section of its own where ready-made items like the Eames office chairs in the Boardroom can be purchased for a few cents – the Wolfgang Mozart avatar who greets visitors to the model was dressed in 18th century costume completely sourced from the SL Marketplace.

As well as facilitating interaction with people who may come from anywhere in the world with an

If you are interested in accessing the new virtual studios in Second Life (N.B. the basement and rear offices are still under construction) and would like to download the instructions, go to our new website at

http://www.finemusicfm.com/virtual_studios_tour

Small meeting room to the right of Reception facing Chandos Street


2011 Allison/Henderson Piano Scholarship Wednesday 25 July 1pmThe Allison/Henderson Piano Scholarship is one of the highlights of the annual Sydney Eisteddfod and draws pianists of the highest calibre from all across Australia. As a lead-up to this year’s Finals, this program takes a look back at some of the exciting performances from the 2011 Scholarship Finals by Halina Leung, Alex Raineri, Rose Zhang and William Cesta. Presented by Nicholas Young and recorded by Greg Ghavalis.

2011 Musica Viva Chamber Music Award Final Wednesday 18 July 1pmAs a prelude to the 2012 Sydney Eisteddfod Finals series we are broadcasting the Musica Viva Chamber Music Award Final of 2011 presented by Andrew Bukenya and recorded by Jayson McBride.

Rosie Gallagher, winner of the 2010 NSW Doctors Orchestra Scholarship is now studying at the Juilliard School in New York.

YOUTH DEVELOPMENT AT

broadcasts the Youth Development Hour which highlights performances by many of the young performers that take part in the competitions.

This month broadcasts begin with Young Performer Award semi- finalist, Austin Shen on Wednesday 11 July at 1 pm. Presented by Oscar Foong and recorded by Jayson Mc Bride at St Catherine’s School, Waverley.

The Music Broadcasting Society has a long history of music education and supporting talented young musicians and technicians. Through various programs and competitions, Fine Music provides recording and broadcast opportunities from audition to production and all that is involved in between. It all began in 1977 when the station had a full time staff member dedicated to music education and working with the schools. With the changes in the state education syllabus, extra-curricular activities that encourage young people to

further their knowledge and engagement with music are even more imperative now than when our programs commenced.

Fine Music 102.5 runs two major annual competitions, the Young Performer Award which has both a state and a national award and the Young Composer Competition. Every second Wednesday from 1pm Fine Music 102.5

Austin Shen- Piano Wednesday 11 July 1 pm

16 year old Australian born pianist, Austin, is of Chinese heritage with both his parents migrating to Australia from Shanghai. He started piano studies at age 4. He is now in year 12 at The James Ruse Agricultural High School. In 2008 and 2009 Austin was a member of the Sydney Conservatorium Rising Stars program. In 2008, he received his AMusA and in 2011 his LMusA both with distinction. He has been the recipient of numerous awards in piano competitions. Next

The Fine Music Network Young Performer Award

This award is open to instrumentalists up to the age of 25 and singers up to the age of 30. Finals are held in the states of the Fine Music Network, Queensland, Victoria, NSW and South Australia. The NSW state award has a first prize of $3,000 (this year kindly donated by the Family Frank Foundation), a performance with the North Sydney Symphony Orchestra and a broadcast of the winning performance. There is also the Sydney Conservatorium Association Encouragement Award of $500. The National Finals will be held in Melbourne in November this year, hosted by our sister station 3MBS. Some notable past competitors have been string players; Asmira Woodward-Page, Richard Tognetti, Kenichi Mizushima and last year’s national winner, violinist, Anna Lisa da Silva Chen. Singers have included mezzo soprano Dominica Mathews and soprano, Lucinda-Mirikata Deacon and pianists include Tamara Anna Cislowska and Simon Tedeschi. For information email Judy Deacon: [email protected]

year he plans to do a Double Degree in Medicine and Music at Sydney University.

The Streeton Trio, won the 2011 Sydney Eisteddfod Musica Viva Chamber Music Award. Emma Jardine (violin), Benjamin Kopp (piano) and Matthew Smith (cello).


The Young Composer Award

2MBS established the Young Composer Award in 1993. Veronica Crowe started the ball rolling with a composition competition for young composers with instrumentation for small chamber works. In 2003 Julie Simonds involved the Willoughby Symphony Orchestra and was very pleased to involve The Australasian Performing Rights Association (APRA) with the first orchestral performance of the winning composition in 2004. The competition went to another level and the young composers were now given the chance to write for a full orchestra.

This is an exciting opportunity for young composers of orchestral music. Through these awards we celebrate the discovery and encouragement of young composers; we recognize their talent and acknowledge their

creative struggle. More importantly, we support their efforts to write orchestral compositions of a high standard that will become part of the growing body of works that are recognized world-wide as being uniquely Australian.

The Award is open to composers up to the age of 30 offering prize money of $3,000 and a Performance with the Willoughby Symphony Orchestra. There is also the APRA Encouragement Award of $500. Some notable past winners have been Matthew Hindson, Clare Jordan, Paul Stanhope and Paul Whitney. The winner for 2012 is Andrew Howes and the premiere of his work will be performed by the Willoughby Symphony on June 29 and July 1 at The Concourse, Chatswood.

We look forward to the evolution of the Young Composer Award and the APRA Encouragement

Andrew Howes

Fine Music Intern and Work Experience Programs

Some of our most recent volunteers have joined us as a result of completing the Fine Music Intern Program. Under the direction of Janine Burrus, our first program ran in early 2011 and we have now had three intakes of internees. The internships are designed as a general introduction to various aspects of radio broadcast and offered to second and third year students of the Sydney Conservatorium of Music. Once we move into our new premises the program will be extended in scope and availability to other music education institutions.With our experienced volunteers giving group and one-on-one mentoring to the students all areas are covered from programming to scripting to finally presenting a program. Students take on a variety of projects within the station and are also involved in at least one external live recording.

The internship program is a wonderful example of intergenerational exchange of ideas and knowledge. Whilst the students have all

commented on how much they have not only valued, but also enjoyed the opportunity to work with experienced volunteers, our volunteers have enjoyed exploring the new ideas of the students and hearing of their involvement in the Sydney Musical Scene. We also take pride in the achievements of some of the young Internees. One of our Interns, Nicholas Young, won the ABC Young Performers Awards Keyboard Final in 2011 and secured an audition for the 2012 Sydney International Piano Competition. Another, Anastasia Pahos, has won commissions to write a work for a female chamber choir based in San Francisco and a work for soprano, clarinet and cello. She has also composed music for a number of student films.

Students often have to juggle demanding university schedules with their time at Fine Music. A number have succeeded very successfully. Troy Fil can be heard regularly on Music for a New Day and Nicholas Young is a duty presenter and regularly presents the Youth Development Hour. In another field, Ellorey Mora found that what she most enjoyed was the challenge of producing a professional recording

of an outside performance within the inevitable constraints of the venue and has joined as a Technical Volunteer. Fine Music 102.5 encourages young audio engineers through our outside recording projects. Another, Chris Costaganna, has joined the Youth Development Team in a role he created – that of finding a way for 2MBS to broadcast the works of student composers at the Sydney Conservatorium of Music.

After quite a few years in abeyance, 2MBS re-started a Year 10 Work experience program in 2010, using some of the work activities that were being developed for the Intern Program. Students in Year 10 at High School can spend a one week period in a workplace to gain some experience of the working life.

In their week with us students who are passionate about music use our music catalogue to select music for their own program, write a radio script, learn how to use their voice in presenting, work the studio panels to record their program, and use the software to edit the recording. Students also spend time in the studio with one of our presenters so they experience broadcasting from all aspects.

YOuTH DEVELOPMENT COMMuNITY PARTNERS

Fine Music 102.5 would like to acknowledge our community partners that contribute to our Youth Development program.Willoughby Symphony Orchestra and Choirs, The Sydney Conservatorium Association, The Australian Singing Competition - The Marianne Mathy Scholarship, The North Sydney Symphony Orchestra, The Organ Music Society of Sydney, St Catherine’s School, Waverley, McDonald’s Sydney Eisteddfod

Take Note: The 2012 Sydney Eisteddfod continues with The Allison/Henderson Piano Scholarship Final at The Sydney Conservatorium on Friday 20 July; The McDonald’s Ballet Scholarships and Open Jazz Dance Group Final on Sunday 22 July in the Concert Hall at The Sydney Opera House. www.sydneyeisteddfod.com.au

Award and congratulate all who have submitted entries over the years for their passion and commitment. In 2013 the competition will take another leap forward where the young composers will be asked to compose for choir and orchestra.


LANG LANG Complete Recordings 2000-2009 (12-CD SET)Lang Lang’s complete recordings, on Deutsche Grammophon and

on Telarc, lavishly packaged with a 200-page book, new articles,original liner notes and photos galore of this uniquely

charismatic artist – who turns 30 on 14 June.

MASSENET EDITIONSutherland; Bonynge; et.al.

Decca 478 3963 (23-CD)

MESSIAEN: Orchestral worksPierre Boulez;

Myung-Whun ChungDG 479 0114 (10-CD)

ROSSINI: Il barbiere di SivigliaL’italiana in Algeri • La Cenerentola

Il viaggio a ReimsClaudio Abbado

DG 479 0125 (9-CD)

VIVALDI:Stravaganza – 55 Concertos

Trevor PinnockDG 479 0135 (7-CD)

BEETHOVEN:Complete Piano Sonatas

Claudio ArrauDecca 478 3694 (12-CD)

SIBELIUS: Complete SymphoniesTone Poems

Sir Colin DavisDecca 478 3696 (5-CD)

DEBUSSY PIANO EDITION Jean-Yves Thibaudet, et.al.

Decca 478 3690 (6-CD)

THE DEBUSSY EDITIONVarious artists

DG 479 0056 (18-CD)

KARAJAN 1960s (82-CD SET)The complete 1960s DG recordings of Karajan (except operas) in a lavish edition with original cover-art, a richly-documented

200-page book and memorabilia from the archives.

DG 479 0055DG 479 0058

GREAT NEW BOXED SETS

COLLECTORS EDITIONS

AVAILABLE FROM ALL GOOD MUSIC STORESwww.musicpages.com.au

NewBoxSets_FP_A4_FollowTheStars_DPS_Limelight 28/05/12 5:48 PM Page 1


‘Teenyboppers? They’re sub-pubescent 10 to 12-year-old sheilas! Next we’ll have eight to 10-year-olds deciding what type of music we should listen to.’ I belch in disgust at the thought.

‘Hey man, listen to that,’ shouts Rocca. It’s the climax of Caldonia, a Louis Jordan jazz novelty which Herman transformed into a big band classic in 1945 - the extraordinary five-trumpet unison chorus built on bop lines but unplayable by any bop trumpet section before Woody’s. And what a section - Sonny Berman, Charles Frankhauser, Ray Wetzel, Pete Candoli and Carl Warwick. There would be others who would join this section as replacements - Conrad Gozzo, the most brilliantly gifted lead trumpeter in jazz, Neal Hefti, Irving Markowitz, Cappy Lewis and Shorty Rogers. And a 16-year-old schoolboy would play in this section during his summer holidays. His name was Conte Candoli, brother of Pete, whose physical power as a trumpeter was matched by his swimming and weightlifting achievements. No trumpet section in jazz was more distinguished than Herman’s, all contributing to the band’s flash and power.

But as a soloist, none was the equal of

Sonny Berman. A modern soloist of grace and warmth, he was never featured too well with the band on record although Herman considered him ‘one of the greatest of all jazz trumpeters’. Silently we listen to his great solo on Sidewalks Of Cuba recorded in Hollywood on September 16, 1946 only a few months before his tragic death - the result of a heart attack brought on by drugs at a wild party. He was only 22. His was one of the few new trumpet sounds after Dizzy Gillespie, Fats Navarro and Miles Davis and some critics were of the opinion he was potentially of the same stature.

With the great trombonist Bill Harris, tenor saxophonist Flip Phillips and that magnificent rhythm section - bassist Chubby Jackson, guitarist Billy Bauer and Dace Tough, the greatest white drummer of his era. For almost a year from late 1944 until late 1945 Tough took authoritative charge of the section with his unyielding

beat and inspiring rhythmic variations. (He would be replaced by another great big band drummer in Don Lamond). Jackson credits Tough with giving him the enthusiasm and fire which made him the band’s cheerleader. They used to sit together in the back of the band bus discussing rhythm and music.

Herman’s musicians were individually impressive; as a band they were incomparable! But in December, 1946, despite grossing a million dollars and setting an all time attendance record of 6500 for a one-night dance in Birmingham, Alabama, Woody disbanded because of family problems. The best band after Duke Ellington and Count Basie was no more.

‘That Woody was some leader!’ There is no reply. Rocca lies inert on the floor snoring heavily. I look at Little J who cocks his head quizzically. ‘You can’t match that,’ I say. Black clouds are looming on the horizon; the sun has disappeared. I pick up a hessian bag. It’s time to clean up. With Little J trotting beside me I head for the duck pond.

- Patrick D Maguire

swinging on the vine

Little J snores contentedly, his drunken sighs all but drowned out by the power of Woody Herman’s First Herd thundering in the background of the den in my Hunter Valley hideaway. ‘That’s our man Woody,’ roars my Italian friend Rocca as the band roars through Northwest Passage. I agree toasting the great bandleader by draining another glass of the fruit of the red grape. ‘Woody always believed jazz had to swing to be jazz!’ he continues. ‘If it doesn’t swing, forget it. His First and Second Herds were swinging bands and so was the Third and many of the other Herds that followed.’ We have been listening to the Poll Winners reissue called The 3 Herds and getting more vocal with each track. We are well lubricated - not surprising after two hours of eating and drinking.

Gazing at the empty bottles of grappa, Rocca says: ‘That pig. Amazing. I have never seen grappa disappear like that before.’ I smile as I unscrew another bottle of red: ‘He’s been well trained. Drinks only the best wine and only eats what I eat.’

I pour an appreciative Rocca a glass of an award-winning shiraz. He’s been my salvation since arriving with this vast array of hams, salamis, cold meats and salads at the right time. The thought of more apples was too much.

But it’s been a feast fit for a king. ‘It doesn’t get any better than this - great music, food and wine,’ I say munching on a large roll full of cold meats, olives and tomatoes. I spit out a piece of ham before taking a long sip of red wine. Little J rolls over and snuffles the ham. ‘Cannibal,’ I mutter.

‘We’ve seen the best of times,’ says Rocca. ‘We knew what real bands were. Now they have boy bands. Callow youths; they look like fresh-faced schoolboys. And they’re idolised by squealing teenyboppers!’

Herman’s musicians were individually impressive; as a band they were incomparable!

Woody Herman


PERSONNEL

George Coumbis, Di Cox, George Cruickshank, Nick Dan, Kate Delaney, Nev Dorrington, Brian Drummond, Ian Dunbar, Andrew Dziedzic, Judy Ekstein, Emyr Evans, Margaret Farquhar, Michael Field, Richard Fielding, Troy Fil, Owen Fisher, Janie Fitch, Oscar Foong, Tom Forrester-Paton, Francis Frank, Eleonore Fuchter, David Garrett, Keith Glendinning, Raj Gopalakrishnan, Andrew Grahame, Giovanna Grech, Austin Harrison, Ross Hayes, Andre Hayter, Paolo Hooke, Pat Hopper, Paul Hopwood, Richard Hughes, James Hunter, Alistair Hyde-Page, Hilla Irani, Anne Irish, Paul Jackson, Kevin Jones, Sue Jowell, Peter Kurti, Ray Levis, Philip Lidbury, Christina MacGuinness, Linda Marr, Meg Matthews, Trisha McDonald, Jeannie McInnes, Terry McMullen, Maureen Meers, Peter Mitchell, Robin Mitchell, Simon Moore, Frank Morrison, Michael Morton-Evans, Richard Munge, Marcia Murray, David Nutting, David Ogilvie, Josh Oshlack, Chris Othen, Derek Parker, Denis Patterson, Andrew Piper, Howard Pritchard, Kate Rockstrom, Paul Roper, David Rossell, Stephen Schafer, Christine Scharzenberger, Marilyn Schock, Debbie Scholem, George Segal, Jon Shapiro, Dan Sharkey, Julie Simonds, Elaine Siversen, Robert Small, Shamistha de Soysa, Manfred Stäuber, Garth Sundberg, Heather Sykes, Michael Tesoriero, Patrick Thomas, Win Thompson, Anna Tranter, Phil Vendy, Ron Walledge, Brendan Walsh, Alastair Wilson, Stephen Wilson, Glenn Winfield, Chris Winner, Tom Zelinka

MuSIC BROADCASTING SOCIETY OF NEW SOuTH WALES CO-OPERATIVE LTDOwner and operator of Australia’s first community operated stereo FM station, 2MBS-FM now known as Fine Music 102.5. Member of the Community Broadcasting Association of Australia.

The Objects of the Society are primarily to broadcast fine music and operate one or more FM broadcasting stations for the encouragement of music. Another 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.

Our Mission is to be Sydney’s preferred fine music broadcaster.

DIRECTORSDavid Brett – ChairmanLloyd Capps – Vice-ChairmanPeter Kurti – SecretaryNicholas Chaplin – TreasurerJacqui AxfordMaureen MeersRoger DoyleDavid Ogilvie

STAFF OF FINE MuSICLiz Terracini – General ManagerPeter Bailey – Technical ManagerSue Ferguson – Financial AdministratorMichael Guilfoyle- Production CoordinatorLiz Herbert – Marketing PR ManagerDenise Schoupp – Sponsorship & Sales Manager

COMMITTEE CHAIRSBroadcasting – Robert SmallProgramming – Paul Hopwood Presenters – Andrew Dziedzic Technical – Max BenyonVolunteers- Sue Nicholas Finance – Ron WalledgeJazz – Kevin JonesLibrary- Bob HallahanYouth Development – Judy Deacon

FRIENDS OF FINE MuSIC ADMINISTRATORAllen Ford

MAGAZINE DISTRIBuTIONSissi Stewart

INTERNSHIP COORDINATORJanine Burrus

PROGRAM SuBEDITORSJan Akers, Chris Blower, Di Cox, Colleen Chesterman, Susanne Hurst, Simon Kung, Philip Lidbury, Frank Morrison, John Nowlan, Eve Salinas, Elaine Siversen, Jill Wagstaff, Theresa Yu

VOLuNTEER PROGRAMMERS AND PRESENTERSMatt Bailey, Warwick Bartle, Charles Barton, Angela Bell, Peter Bell, Chris Blower, David Brett, Jan Brown, Terry Brown, John Buchanan, Andrew Bukenya, Rex Burgess, Janine Burrus, Lloyd Capps, Vince Carnovale, Sheila Catzel, Nicholas Chaplin, Colleen Chesterman, Andrew Clark, Angela Cockburn, Liam Collins, Michael Cooper,

MEMBERSHIPThe Music Broadcasting Society of NSW Co-Operative Ltd is registered under the Co-operatives Act 1992 (NSW). There is an annual membership fee of $22 and members are entitled to vote at general meetings of the Society. Membership enquiries should be directed to [email protected]

VOLuNTEERSFine Music 102.5 has a small team of staff supported by many volunteers. If you would like to volunteer visit www.finemusicfm.com for more information and call 9439 4777 to make an appointment.


FINE MUSIC FRIENDSBENEFACTORS Mr Michael Ahrens, Mr Robert O Albert, Dr David Block, Mr Johann Bosch, Mr J D O Burns, Mrs L Alison Carr, Mr Michael Carter, Hon Mr Justice D Davies SC, The Berg Family Foundation, Frank Family Foundation, Ms Carolyn Gibbs, Prof Jacqueline Goodnow AC, Miss J E Hamilton, Miss Janet D Hine, Mrs Freda Hugenberger, Ms AM Mackie, Dr Bill McKee, Mrs Greta Moran, Ms Nola Nettheim, Hon Mr Justice B S O›Keefe AM, Mr K G Parker, Dr Peter E Power, Prof Jack Richards, Mrs Joyce Sproat, The Garrett Riggleman Trust, Mr R Walledge, Dr Richard Wingate, Anonymous 2

PATRONS Mr Chris Abbott, Mr Anthony Bartley, Dr H Bashir, Prof Peter Bayliss, Mr John Benecke, Mr Max Benyon, Mr David Brett, Mr Maximo Buch, Mr Lloyd Capps, Mr Frank & Mrs Mary Choate, Mr Robert E S Clark, Mrs Dorothy Curtis, Mrs M Evers, Ms Frances Farmer, Tenaru Timber & Finishes P/L, Mrs Flora Fisk, Mr Heinz Gager, Mrs Alison H Hale, Mr John Hastings, Miss Elizabeth Hawker, Mrs Freda Hugenberger, Mr Paul Jackson, Mrs Ann Kirby, Mr David Levitan, Mr Ian K Lloyd, Mr Lawrence Magid, Mr Philip Maxwell, Dr D S Maynard, Mr Ian & Mrs Pam McGaw, Mrs Judith McKernan, Mrs Patricia McLagan, Mr Malcolm McPherson, Mr J S Milford, Mr David Moss, Mr John Nowlan, Mr Steven Patterson, Mrs Renee Pollack, Dr Brian Quinn, Fed Magistrate K Raphael, Mid Winter Recital Group, Mr Kenneth Reed, Mr David Rothery, Dr Janice Russell, Mr Nigel Scott-Miller, Lady (Marie) Shehadie, Mr W & Mrs E Sheldon, Mrs Ruth A Staples, Mr Phillip Titterton, Dr J O Ward, Mr Stephen H W Watson, Mrs Beatrice L Watts, Mr P M Weate, Hon Mr Justice A G Whealy, Anonymous 11

PLATINuM Dr Anthony Adams, Mr Brian Adams, Mr Geoffrey Ainsworth, Evans Webb & Associates Pty Ltd, Mr John Bagnall, Mr Graham Barr, Mr M T Beck, Dr Kathrine Becker, Mr Russell Becker, Mr Max Benyon, Mr Anthony R Berg, Mrs Joan & Mr Ross Berglund, Mr David E W Blackwell, Mr M & Mrs L Blomfield, Dr Nancy Brennan, Mr Geoffrey Briot, Ms Jill Brown, Mr Mark Bryant, Mr Stephen Buck, Prof Elizabeth Burcher, Mr Rex Burgess, Ms Janine Burrus, Mrs E A Burton, Mr G K Burton SC, Mr Philip Butt, Mr Ian Cameron, Mrs Judith Campbell, Mrs L Alison Carr, Ms Chris Casey, Ms Deanne Castronini, Miss Emily Chang, Mr Roger Chapman, Dr Stephen K Chen, Mr Roger Cherry, Mr Peter Chorley, Dr Peter Chubb, Mr Gordon Clarke, Mr K G Coles, Mr Bernard Coles QC, Mr Phillip Cornwell, Mr Robin Cumming, Miss Sheila Darling, Mrs Susan Davey, Hon Mr Justice David Davies SC, Mr Geoffrey De Groen, Mr Lawrence D Deer, Mr Timothy Denes, Mr D J & Mrs C Dignam, Mr Alan Donaldson, Mrs Jennifer Dowling, Mr Peter Downes, Mr Peter Dunn, Mr Emyr Evans, Ms Elizabeth Evatt, Mr John Fairfax, Mr Ian Fenwicke, Mr Hugo D Ferguson, Prof Michael Field, Mr David Fisher, Dr Geoffrey Ford, Mr Francis Frank, Dr Sid French, Mr Ross Gittins, Mrs Inez Glanger, Mrs Betty Goh, Prof J Goodnow AC, Mr Gavin Gostelow, Mr Ray Grannall, Mr Michael J Guilfoyle, Mrs E W Hamilton, Mrs Emesini Hazelden, Mr Paul Hense, Ms Jill L N Hickson, Miss Janet D Hine, Dr Peter Hook, Mr Roger Howard-Smith, Mr David E Hunt, Mr Robert Hunt, Mr David Hurwood, Mr John Hyde, Dr C P Ingle, Mrs Virginia Jacques, Ms Ruth Jeremy, Mr Ken Johnstone, Mr Christopher Joscelyne, Mr Michael Joseph, Dr Thomas E Karplus, Dr Keith Keen, Mr Paul L Kelly, Mrs Christine Kelly, Ms Patricia Kennedy, Prof Clive Kessler, Mr Roger Kingcott, Mr R J Lamble, Mr Stewart Lamond, Ms Sophie Landa, Mrs Sarah Lawrence, Mr Gregory Layman, Ms Judy Lee, Ms Annette Lemercier, Ms Karen Loblay, Dr David C Ludowici, Mrs Ruth G MacLeod, Mr Joseph Malouf, Mrs Anita Masselos, Miss Lynne Matarese, Mr J T McCarthy, Ms Elizabeth McDonald, Miss H M McElhone, Mr Phillip McGarn, Mr Alain G Middleton, Mr Nick Minogue, Mrs Greta Moran, Ms Bernice Murphy, Mr Hal Myers, Mr Christopher John Nash, Ms Natasha Ng, Mr Mark Nichols, Mr Ken Nielsen, Ms Christina O’Faillbhe, Hon Mr Justice B S O’Keefe AM, Asst Prof Robt Osborn, Prof Earl R Owen AO, Ms Susan Pearson, Mr Michael Pope, Prof R G H Prince, Dr Neil A Radford, Mr Thomas Douglas Randall, Ms Elsina Rasink, Mrs Angela M Raymond, Mr Brian L Regan, Mr Alex & Mrs Pam Reisner, Mr Grahame Reynolds, Mr Bruce Richardson, Mr R E Rowlatt, Mrs Mitzi L Saunders, Mrs Clara Schock, Ms Marilyn Schock, Mr John Sharpe, Mrs Linda Shoostovian, Dr William Thomas Sidwell, Mr John Simpson, Mr Alan Slade, Dr J M Stern, Mr John Stevenson, Mr I R Stubbin, Miss Jozy Sutton, Mr Mark Swan, Ms Catharine Swart, Mr Edmund Sweeney, Baroness Taube-Zakrzewski, Australian Elizabethan Theatre Trust, Mr P A & Mrs H F Thomas, Miss Margaret Thompson, Mr Iain M Thompson, Mr Christopher A Thorndike, Dr Robin Torrence, Mrs Margaret Tuckson, Mrs Helen J Tweeddale, Mr Ronald Walledge, Mrs June Walpole, Dr Duff Watkins, Mr Roy Watterson, Ms Ellen M Waugh, Ms C A Webster, Drs Lourdes & Spencer White, Mr Neville Wilkinson, Mrs Elizabeth Wilkinson, Mr Cameron Williams, Ms Jocelyn Woodhouse, Mrs Robin Yabsley, Mr Nicholas Yates, Anonymous 12

GOLDMr James Allsop, Mr Martin Barnes, Mr Robert Baume, Mr Anthony Bonney, Dr Frances Booth, Mrs Barbara Brady, Sir Ron Brierley, Prof Colin Chesterman, Ms Elizabeth Collins, Prof Roger Covell, Mr Noel Craven, Dr Mark Cross, Mr Peter Deakin, Mr John Doyle, Ms Pauline Duncan, Mrs Rosemary Dunstan, Dr Nita Durham, Mr Richard Farago, Ms Frances Farmer, Mr Brian Ferrari, Mr John Gibson, Mrs Anna E Gillespie, Mr Brett Hannath, Mrs P & Mr A Harvey-Sutton, Prof Jacqueline Huie, Mr Rod Hyland, Ms Florence Jones, Mrs Alison King, Mr Peter Kolbe, Mr Nicholas Korner, Mr Ian Lansdown, Mr Warren Lazer, Mr Harold Levien, Prof Norelle Lickiss, Ms Carmel Maguire, Mr Peter McGrath, Mrs E M McKinnon, Dr Andrew Mitterdorfer, Tom Molomby, Mr Michael Morton-Evans OAM, Mr John Niland, Mr G Palmer, Mr Trevor Parkin, Mr Tim Perry, Dr Tri Pham, Mr Pino Re, Prof Jack Richards, Dr Janice Russell, Dr Roger Scurr, Mr Stuart Shaw, Mr Kenneth Shirriff, Mrs Petrina Slaytor, Miss Meg Smith, Mr James Strong, Mrs J R Strutt, Dr S Morris & Ms M Sullivan, Dr Phillip Taplin, Mrs Judy Timms, Dr Willem Van Der Merwe, Mr Gary Vassallo, Mrs Xenia Voigt, Mr D & Mrs C Wall, Mrs C & Mr L Welyczko, Ms Ann Whyte, Mr Richard Wilkins, Hon F L Wright QC, Ms Denise Yim, Anonymous 5

SILVERMr Robert O Albert, Miss Barbara Ames, Mr P & Mrs M Antmann, Mr Yianni Athanasopoulos, Mrs Patricia Azarias, Dr R & Mrs H Barnard, Mrs Norma Barne, Mr William J Barry, Mr Jim Bates, Ms Sandra Batey, Mr

Richard Bawden, Mr & Mrs J & M Beardow, Mr J & Mrs M Beattie, Dr David Bell, Mr Kerry Bennett, Mr John Boden, Prof Terry Bolin, Mr Stephen Booth, Mrs Jan Bowen, Mr David Brett, Mrs Halina Brett, Rev Peter G Carman, Ms Jane Chapman, Ms Joan Childs, Mr John Clayton, Prof Bruce Conolly, Mrs Susana Cubas, Prof & Mrs S J Dain, Mrs Rhonda Dalton, Mr Brett Ayron Davies, Ms Julie Dean, Prof C E Deer, Mr Hugh Doherty, Mrs Elizabeth Donati, Hon J R Dunford QC, Mr Paul Evans, Mr Ross Fairhurst, Mrs M J Farrands, Mr Michael Farry, Mr William G Fleming, Ms Helen Fleming, Mrs Jean Forbes, Mr Stephen Fortescue, Ms Eleonore Fuchter, Dr Michael Giblin, Mr Bill Gibson, Mr David Green, Mr R N Greenwell, Mr Jack Grimsley, Mr David & Mrs Alison Gyger, Dr A H Hardy, Mr Richard Hattersley, Ms Margaret Hext, Mr Peter Hillery, Mrs Diana R Hooper, Mr Paul Hopwood, Dr David Jeremy, Ms Patricia Keating, Mr Gerhard Koller, Dr Mary Langcake, Ms M Laurie, Mr David Levitan, Mrs Meryll Macarthur, Mr D M C Madden, Mr Philip Mahoney, Mrs Elisabeth Manchur, Mr Richard Maynard, Mrs Patricia McAlary, Mr T M McDougall, Dr R McGuinness, Mr John & Mrs Judith McKernan, Mr Kevin McVicker, Ms Maureen Meers, Ms Patricia Miles, Ms Judith Miller, Mr Dennis Murphy, Mr Andrew Nelson, Mr John Nowlan, Mr Robert Oastler, Ms Maryanne Ofner, Mr Pieter Oomens, Mr Julius Opit, Mr Bradley Oyston, Dr Gordon H Packham, Mr Gerry Pasqual, Mr Steven Patterson, Ms Beth Patterson, Mr Michael Peck, Mr Bert Percy, Ms Barbara Peretz, Ms Anne Pickles, Mrs Mavis Pirola, Mr Roger Porter, Mr James Poulos QC, Mr Thomas Reiner, Dr John G Richards, Mr R C Richardson, Mrs Gail Robison, Mr Al Rosen, Mr A & Mrs E Roth, Mr Gabriel Roy, Mrs Robin J Ruys, Mr Gregory L Sachs, Mr M D Salamon, Mr Harvey Sanders, Mr D J Schluter, Dr Gideon Schoombie, Mr Eric Scott, Dr Vivian Shanker, Mr William Sharpe, Ms Abigail Sheppard, Mr Andrew Sims, Mr Gary Stevenson, Prof Peter Stopher, Mrs Caroline Storch, Mr Douglas G Thompson, Ms Kathryn Tiffen, Mrs Janine M Tindall, Mrs Christine Tracy, Mr John Tweed, Mr Peter Van Raalte, Mr Jacobus Van Zijl, Mrs Ilda Wade, Mr Chris Wetherall, Mr Robin Wever, Mrs Ellen M Wickens, Mr Gerard Willems, Ms Penny Wilson, Mr Geoffrey L Winter, Mrs Dorothy Wood, Mr Tony Woodhead, Mrs Helen Xiao, Prof Klaus A Ziegert, Anonymous 11


MuSICAL TRIVIAJust how well do you know the world of classical music? Test your knowledge with these musical brain teasers from Michael Morton-Evans.

1. Who, in 2004, resigned his position with the Chicago Symphony Orchestra, citing stress brought on by the numerous non-musical activities conductors of American orchestras are expected to undertake.

2. Which Italian composer was buried in Paris’ Père Lachaise cemetery next to the graves of Vincenzo Bellini, Luigi Cherubini, and Frédéric Chopin, but whose body in 1887, was transferred from Paris to Santa Croce, in Florence, in a ceremony attended by more than 6,000 admirers.

3. Which composer, in 1854, threw himself into the freezing waters of the Rhine. After his rescue, he voluntarily entered an asylum, but despite periods of lucidity, his condition deteriorated, and he died there in 1856, of tertiary syphilis.

4. Which French composer became increasingly intrigued with American jazz and blues and in 1928 made a hugely successful tour of North America, where he met George Gershwin and had the opportunity to broaden his exposure to jazz. Several of his most important late works, such as the Sonata for Violin and Piano and the Piano Concerto in G show the influence of that interest.

5. Which Italian composer’s symphonies so closely resemble those of Josef Haydn that he was given the nickname Mrs Haydn?

6. What musical collection is colloquially known as The 48?

7. Which British conductor had such a phenomenal memory that he would often conduct without the use of a score?

8. Which musical scale consisting of only five notes is also known as the Scotch Scale?

To win the Decca 50 CD boxed set Magnificat 500 years of Choral Masterworks courtesy of Fish Fine Records send your answers to the address below by July 20 to go into the draw. Remember to put your name and address on the back of the envelope!

The Quiz Master87 Chandos Street St Leonards NSW 2065

1 2 3 4 5 6 7 89

10 11

12 13

14 15 161718 19 20

2122 23 24

25 26

27 28Nevil Anderson

Name:_______________________________________________________

Address: _____________________________________________________

Tel:______________ Email_______________________________________

crossword

ACROSS1. In open air, secretly RAF close in. (8)5. Slow movement primarily a

delicate and graceful intonated offering. (6)

10. Holiday accommodation includes Oriental bearing article of

faith. (5)11. Wheeler-dealer, absorbed, not

eating. (9)12. Take notice! Come 2200 hrs., bar electronically charged

particle. (9)13. The local exceedingly warm

overhead railroad (5)14. Buy stocks and shares wearing

part of three piece suit. (6)15. Action replay( missing Egypt’s

capital) in abundance (7)18. Manipulated low deck union. (7)20. Senescence resembles long

forgotten epoch (3,3)22. Elevation burdensome without a

few Fosters (5)24. Conceal ex student and melt

around moggy (9)25. Unbelievable perhaps but a sit-in

loo is there in Quarantine ! (9)26. Turn away venose borders within

creative activity (5)27. Cullis, or one who prepares the

fish for the pan? (6)28. Endless poem inside Brazilian

money turnabout (8)

DOWN1. Unusually, altars can be starlike. (6)2. Unfit Eden really needed

delicate adjustments made (4-5)3. Lucky antecedent role I played in

the friendly agreement between Britain and France in 1904 (7,8)

4. Rubicon victor now lives at Her Majesty’s pleasure (7)

6. Pay our own bills ? reminds me of a very nasty destroyer of forests last century ! (5,3,7)

7. Bestow on Cary. (5)8. Defeats away performances. (8)9. Hey, you ! Nation sounds like a

male goose (6)16. Aaron goes secretly to forbidden

places (2-2,5)17. Natant movement through water

a success (8)19. Restless oil tankers make fine

china material (6)20. Coffee with direction a cause for

anger (7)21. An undergarment, Mr. Martino, is

chaste (6)23. Turn gravy container into

submarine (1-4)

CROSSWORD SOLuTION:

-June 2012

Across: 6 Asinine, 7 Aloud, 9 Cafe, 10 Bottomless, 11 Educator, 13 Ink-jet, 15 Beta, 17 Cadet, 18 To-do, 19 Tittle, 20 Outclass, 23 Vermicelli, 26 Daub, 27 Ex-con, 28 Entrust.

Down: 1 Disenchant, 2 Titbit, 3 Best, 4 Canoeist, 5 Bowl, 6 Award, 8 Descend, 12 Rodeo, 14 Kettledrum, 16 Evil eye, 17 Crescent, 21 Thirty, 22 Spurt, 24 Mace, 25 Lien.

Send your July solution to the address below by July 20 to go in the draw for Eric Whitacre CD Water Night

The Crossword87 Chandos StreetSt Leonards 2065










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