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VOLUME 13, NUMBER 7 JULY 1987 $3.70
BS-
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Cover:
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See article page 6.
2MBSFM
PROGRAMME GUIDE JULY 1987
CONTENTS
Highlights Phillip Sametz 2
Australian Approaches to Jazz Improvisation
John Whiteoak 3
Patrons, Acknowledgements 3
Fast and Still Martin Davidson 4
Vogels/2MBS-FM Young Performers Competition 5
Mike Nock Bruce Johnson 6
Jazz Records Joya Jenson 8
Jottings from Betsy Brown 10
The Volunteer Scene Jim Cullen 10
Hot Off The Press 13
Your Discount Retailers 16
Composer Listing 20
Programmes 22
Sustaining Subscribers 62
This month...
2MBS-FM will present an Australian Music Week in late January of the
Bi-centennial Year 1988. A number of proposals have already been
initiated, and we hope to continue an Australian Music week as an
annual event.
The Station has several other projects for the Bi-centennial. One of
these is to be a major series on the history of Australian Jazz. This will
use recorded material — both commercial and private — including
remarkable tapes and acetates which were gathered by MBS Secretary
and Jazz Co-ordinator, Bruce Johnson, during the four years of research
which preceded his writing The Oxford Companion To Australian Jazz,
commissioned by Oxford University Press and scheduled for publication
towards the end of 1987. Although much of this material is of poor
technical quality it is priceless in terms of its historical significance
including, as it does, material by important musicians not previously
known to have recorded.
We should like to hear from any of you who have ideas for
Bicentennial programmes.
2MBS-FM 76 CHANDOS STREET, ST LEONARDS 2065 TELEPHONE (02) 439 4777
HIGHLIGHTS
Phillip Sametz
The Glorious Fourth
The USA is 211 years old on the 4th
of this month, and were not going to
let you forget it. Max Keogh starts
waving the flag on the night of Friday
3 with a programme that also celebrates
Canada Day, which falls on Wednesday
1. Confusing, ain’t it? You’d think they
could organise these things a little better,
being on the same continent. Bob
Goodnow’s Stars and Stripes tribute
goes from 10pmto midnight on Saturday
4 itself, with lots of folksongs, and music
by Cowell, Fillmore and Gershwin. Let’s
hope that by the country’s 212th birth-
day Ronald Reagan will admit that he
has grey hair.
Shall We Dance?
Those of us who believe ballet music to
be nothing more than aural wallpaper
may be converted to the Terpsichorean
cause by Romantic and Modern Ballet:
The Music, a new series beginning this
month. Ray Byron examines music
written for the dance over the last one
and three-quarter centuries. As an art
form that has inspired Debussy’s Jeux,
Tchaikovsky's Nutcracker and Holst’s
The Perfect Fool, it is surely worth
greater attention than it has perhaps
been accorded thus far: the three above-
mentioned works are among those to be
presented in the first three programmes
of what promises to be an illuminating
series. Tune in at 2pm on Fridays 3, 17
and 31.
Lohengrin’s Ankle
“One can’t judge Wagner’s opera Lohen-
grin after a first hearing, and I certainly
don’t. intend hearing it a second time”,
Rossini remarked. In August, though, we
can hear it many times over as the
Australian Opera will be performing it.
In anticipation, the Wagner Society is
presenting A Sample of Lohengrin,
which turns out to be not part of his
anatomy but the whole of Act III. Be
listening at 1pm on Sunday 26. The other
startling Wagnerian event this month
is acomplete performance of Tristan and
Isolde from the 1952 Bayreuth Festival,
with Ramon Vinay and Martha Moed!
in the title roles and Herbert von
Karajan conducting. It begins at 8pm
on the 22nd and concludes at midnight.
‘No-Doz’ tablets sent on request.
A Winter Crop?
As it’s now planting time for so many
New South Welshpeople, 2MBS-FM has
thoughtfully provided three pro-
grammes to help you in your hours of
horticultural need. Ruth Warren’s
Scenes Pastorales come into bloom on
Saturday 4 at 10.30am and Friday 17
at 5pm, bringing Goldmark’s Rustic
wedding symphony, the Forest murmurs
from Siegfried, Beethoven’s Pastoral
sonata and lots more. Immediately
before the first of these programmes
Ross Norton waters more musical flora
in In Your Garden. Pruning your
receiver during any or all of the works
played is inadvisable.
Modern Living
Got You Down?
Try ‘Omo! No, not really. But seriously,
folks, are you frightened by modern
music? Do endless minor seconds make
your cakes fall down and frighten your
pets? Elaine Hamilton has the answer
in Melodic Moderns, which features
music of our time that can be listened
to without ear-plugs, namely: works by
Malcolm Arnold, Samuel Barber, Britten
and Khachaturian. Attend without fear
on Monday 6 at 3.30pm.
Washed by History’s Tides
Mrs DH DA Beach, pianist and composer
of renown in her own day, has become
as obscure as the eccentric Mr d’Albert;
one would have expected the feminist
movement to have turned her into a
martyr by now. But no, it’s the ever-
gallant Bob Goodnow to the rescue! In
his programme devoted to her on Wed-
nesday 22 at 9am the centrepiece will
be her beautiful Piano Quintet. Hear for
yourself what the lady has to offer the
world of music.
He Comes
Witold Lutoslawski’s visit here next
month is eagerly-awaited indeed. One of
the giants of post-war music, he will
conduct the SSO in a concert of his own
works including his Third Symphony.
A substantial preview of this event, and
a broad cross-section of Lutoslawski’s
music, can be heard on Sunday 26 at
9pm. Works featured include the Cello
concerto, Dance preludes and Concerto
for oboe, harp and strings.
A Special Celebration
Brendan Walsh’s Early Evening Con-
cert is worth including in this column
virtually every time it goes to air, but
Wednesday 22 brings a very special
edition of this terrific programme: the
600th in the series, in fact. Mr Walsh
will be playing his own and your
favourite pieces on this landmark
occasion, after which we can only say
that the 1200th will really be something
to look forward to.
d’Albert’s Revenge
Eugene d’Albert — the man about whom
you read so much last month — returns
to the 2MBS-FM airwaves on Wednes-
day 29 with his opera Tiefland. This man
broke the mould, make no mistake, and
his entertaining opera tells us a lot about
him. Next month: d’Albert Goes to Rio
(in Technicolor).
A Tippett Conjunction
David McDonald’s presentation of
Tippett’s opera The Knot Garden is part
of the on-going Tippett Project, and
brings us an opportunity to hear a
creator-performance (with the original
Covent Garden cast) of a central work
in the output of one of the century’s
major composers. It airs at 8pm on
Wednesday 15. Don’t miss it.
Going Out With A Bang
If you intend having a quiet funeral the
Berlioz Requiem is not recommended as
suitable music for the occasion. In fact,
sensitive members of the congregation
might expire under the welter of sound.
This epic work will be presented on
Sunday 19 at 8pm, with Ronald Dowd
the tenor soloist in a performance
conducted by Colin Davis. A big piece.
Open for lunch
& dinner Mon
to Sat
“Soup Plus is certainly one of the
warmest jazz rooms in Sydney with
excellent food & very good accoustics
for laid back and not too strident jazz”
. S.M.H.
WHERE ELSE COULD YOU
& HEAR
AROUND $20 for 2
SOUP PLUS RESTAURANT
383 GEORGE STREET, SYDNEY
BOOKINGS AND INFORMATION
PHONE 29 7728
2 2MBS-FM PROGRAMME GUIDE JULY 1987
Australian Approaches
to Jazz Improvisation
John Whiteoak
Few Australian jazz musicians would
see themselves as custodians of a
tradition as old as music itself. Never-
theless, it is a fact that during the 20th
century the ancient tradition of musical
improvisation has been preserved prin-
cipally by the efforts of jazz musicians.
This is particularly true in the case of
Australia, and Australian Approaches
To Jazz Improvisation* sets out to trace
the origins and subsequent development
of an Australian tradition of improvising
jazz, and also to show how this tradition
belongs to an older, larger-scale tradition
of improvisation by Australians.
The initiative for this work came
directly from a personal interest in both
Australian musical history and impro-
vised music, particularly jazz. Because
spontaneous variation is, to a greater or
lesser degree, a characteristic of all styles
of jazz it is hoped that this study will
give a new perspective of Australian jazz
history, a perspective not influenced by
style preference, in which jazz history
can be followed with some detachment
from the general history of dance and
other popular music.
The study begins in the period before
jazz bands began to appear in Australia,
and examines those musical activities
which included some form of improvi-
sation: for example, vaudeville and silent
movie accompaniment. Ragtime
reached Australia by 1899 and influ-
enced Australian popular musical cul-
ture for more than 20 years. Ragtime,
and the question of whether the spon-
taneous ‘ragging’ of existing tunes was
practised here, is therefore examined in
considerable detail. Close relationships
between stage, circus, film accompani-
ment and other musical activities are
also pointed out. For example, silent
movie and vaudeville were often com-
bined. Many of Australia’s early ‘jazz’
musicians emerged from vaudeville.
Overall the study covers a period from
1850 to the present day, and is divided
into 12 periods of Australian pre-jazz and
jazz history. Post-1918 topics range from,
for example, Improvisation by early
Australian jazz bands, or Collective
improvisation in Australian Traditional
Jazz to Early Australian experiments in
Ù
Ml
2MBS-FM
THE MUSIC LOVERS’ STATION
PATRONS
FOUNDATION PATRONS:
Sir Francis McLean; Professor Cyril Renwick; the late
W.A. Dullo.
The following people have allowed us to publish
their names as Patrons of the Music Broadcasting
Society.
HONORARY MUSIC PATRON: Roger
Woodward
BENEFACTORS ($1000 or more): R.O. Albert; B.
Carson; R.D. Low; M. Martire; J. Millard: L.F. Winton;
Deutsche Bank Australia Ltd.
PATRONS ($150 or more): R.O. Albert, C.E.
Allingham, J.M.R. Baines, Bayer Aust Ltd, M.H. A
J.K. Beattie, P. Becker, L.J., Bennett, Mrs Blaiklock,
S. Boniecki, P.E.C. Brun, R. Campbell, J. Carden, Dr
S.K. Chen, Dr. R. Compton, R. Connors, A.F.
Cooper, |. & P. Davidson, L.J. De Bord, R. Duck-
Chong, S. Epthorp, C.A. Fall, J.E. Fanoy, W.E.
Farber, Dr J. Gabriel, J.M. Gibb, J.A. Gilbert, J.
Goldhawk, J. Graham, A.H. Hale, H.S. Hancock, Dr.
L. Hansen, B. Helm, Henkel Ltd, J.D. Heydon, D.
Hitchings, R. Holliday, Dr. E.A. Jackson, Sir Keith
Jones, R.A. Kennedy, R. Kingcott, H.G. Kippax,
Krupp (Aust) Pty Ltd, Dr. B. Lake, D.G.N. Lake,
R.H.Y. Lambert, Dr. R. Lauenstein, R.D. Lawlor, Dr
W. Leatherdale, A. Lewis, Lindfield Bookshop, R.D.
Low, M.A.N. Automotive Aust Pty Ltd, M.A.N.
Australia, D. Menzies, Mercedes Benz Australia, E.N.
Millner, MTU Pty Ltd, Dr John Nattrass, B. Newton-
John, The Hon. Justice K.W. Pawley, G.C. Potts, A.
Ramsay, R. Reimer, Prof. C. Renwick, M. Samlowski;
M. Sampson, Schenker & Co Pty Ltd, E.J. Selby,
Siemens Ltd, M.P. Susman; L.L. Tammelo, Dr. J.
Thirlwell, C.A. Thorndike, K. Tribe, Two Seasons
Trading Co., X. Voigt, J.H. Wheeler.
tree jazz and Jazz elements in contem-
porary improvisation.
As each successive period is examined,
an increasing emphasis is placed on
detailed analysis of improvised jazz on
record. This approach was used success-
fully in Early Modern Jazz In Australia
and is an ideal way of applying the
particular listening and analytical
training, which is stressed at Latrobe,
to Australian jazz history research. A
typical example of the use of these skills
would be the transcription of collective
improvisation in a free jazz style using
simple graphic notion.
In conclusion, the distinctive charac-
teristics of this study are: a narrow focus
on a single musical practice and a very
wide chronological span in which
technical detail about Australian
approaches to the problems of improv-
isation are presented within an Austral-
ian jazz history framework. Jazz improv-
isation is an elusive subject, and one
which Australian musicians have gener-
ally preferred to avoid discussing.
Nevertheless, this is an attempt to
present the efforts of these musicians in
an objective way, but also in a way that
avoids value judgements, and shows an
understanding of the considerable obsta-
cles these musicians had to overcome.
ACKNOWLEDGEMENTS
The assistance of many people and organisations in
the construction of the operation of 2MBS-FM has
made our task infinitely easier. Our particular thanks
for their help and support go to:
Amalgamated Wireless A-Asia; Austen & Butta Ltd;
Australia Music Centre Limited; Belgian Consulate-
General; Black Inc Recorders (cassette recording for
the blind-guide); Brazilian Consul-General; British
Paints (Aust) Pty Ltd; Bulgarian Consulate-General;
Canadian Consulate-General; Consulate General of
the People’s Republic of Poland; The Cultural Affairs
Division of the Premier's Department; Denon;
Deutsche Bank Australia Ltd; Finnish Broadcasting
Company; German Chamber of Commerce &
Industry; Israeli Consulate-General; Italian
Consulate-General; Lebanese Consulate-General;
Lufthansa Airlines; Minitprint Pty. Ltd; Musica Viva
Australia; Norwegian Consulate-General; Nylex
Corporation Ltd; Peoples Republic of Hungary;
Portuguese Consul-General; Radio Deutsche Welle;
Radio 5UV Adelaide; Radio France; Radio Moscow;
Radio Nederland; Radio New Zealand; Reckitt &
Coleman; Romanian Consulate; Schenker & Co;
Spanish Consulate; Spanish Chamber of Commerce;
St Stephens Uniting Church; Swiss Consulate-
General; Sydney Latvian Society; TDK (Australia)
Pty Ltd (cassettes for the blind); Transfield Limited;
The Australian Opera; Tubemakers of Australia (steel
for transmitter room); Turkish Consulate-General;
United States Information Service.
* In 1985John Whiteoak was awarded a Latrobe University
scholarship for two years full time Australian jazz research
on the basis of his honours thesis Early Modern Jazz In
Australia. His current thesis Australian Approaches to Jazz
Improvisation is being supervised by Jeff Pressing at
Latrobe, but he also consults Bruce Johnson. John plays
piano and tuba and has a very diverse musical background;
he also conducts ‘improvisation laboratory’ tutorials at
Latrobe.
2MBS-FM PROGRAMME GUIDE JULY 1987 3
FAST AND STILL
THE MUSICS OF CONLON NANCARROW
AND GIACINTO SCELSI
Martin Davidson
If fame and original talent went together
in the contemporary world of composed
music Conlon Nancarrow and Giacinto
Scelsi would surely be the most famous
composers around today. Gyorgy Ligeti
recently said of Nancarrow, “His music
is so utterly original, enjoyable, perfectly
constructed but at the same time emo-
tional, for me it’s the best music of any
composer living today”. Meanwhile...
Scelsi had already predated some
famous Ligeti works with his 1959 Four
Pieces on One Note.
The music of these two composers is
almost at the two extremes of possibil-
ities. Nancarrow has settled for the
player piano (or pianola) as his main
instrument, allowing him to make music
which is, at times, super-humanly fast;
however he has accepted the given notes
of the piano. Scelsi’s mature music, on
the other hand, appears very still,
although it is like the surface of a lake
in that the nearer you get to it the more
movement you discover. He is particu-
larly interested in micro-tones, and
many of his recent pieces consist of
explorations of one or two notes and the
micro-notes around them.
Conlon Nancarrow was born in 1912
in the USA (Texarkana). In the 1930s
he studied with Walter Piston, Nicolas
Slonimsky and Roger Sessions, and also
worked as a jazz trumpeter. In 1937 he
joined the Lincoln Brigade in Spain,
where he participated in the fight
against the fascist Franco forces which
were backed by Hitler and Mussolini. In
1939, upon returning to America, he
underwent political harassment from
the US government, and in 1940 re
located to Mexico City where he has
resided ever since.
He soon found that the complexity of
his compositions, combined with the
inadequacies of the available interpre-
ters, precluded any reasonable perfor-
mances of his music. A Sonatina (1941)
and String Quartet (1942) from this
period show these difficulties, and also
point to the music to come. (The Sonat-
ina has been transcribed for player piano
and speeded-up in the process.)
Acting on a suggestion from Henry
Cowell Nancarrow opted for the player
piano as a way to realise his conceived
music into actual music — electronic
music was still a few years in the future
— and has thus turned what is largely
thought of as a novelty toy into a serious
instrument. In composing a piece he not
only writes out the score but also
individually cuts all the holes in the
piano roll, using a punching machine
designed for his special needs.
Since his music is primarily poly-
phonic and rhythmic (with as many as
12 separate voices and/or tempos simul-
taneously) he has modified the sound of
his player pianos, to much the same as
that of a ‘honky tonk’ piano, so that the
sound is somewhere between that of a
piano and a harpsichord. This gives
greater clarity just as the harpsichord
does to earlier polyphonic music.
Nancarrow started writing his Studies
for Player Piano in 1947 and has so far
written about 45. Most of them are short,
single-movement pieces.
The first 12 are generally tonal or
modal, often with the feeling of the blues,
jazz, flamenco or neo-classicism. These
are the ones that most listeners will take
to, even though much of them is too
complex and/or too fast to be played by
humans. They certainly make such
virtuosi as Maurizio Pollini and Cecil
Taylor sound like beginners!
Special mention should be made of the
five-part Third Study. The first and last
movements sound as if all the boogie-
woogie pianists that ever existed are
playing simultaneously at double speed,
while the central movements consist of
a medium-tempo blues, a neo-classical
fugue, and a slow blues.
Starting with the next group of
Studies, nos 13 to 19, the music becomes
largely non-idiomatic, and each study is
a strict canon. But do not expect them
to sound much like the canons of Bach,
or even of Stravinsky.
Studies nos 20 to 27 are very austere
and feature precisely-controlled, very
gradual, changes of tempo. The most
obvious example of this is no 21, known
as Canon X, in which a fast high-register
line decelerates while a slow low-register
line accelerates, until they end at beyond
their opposite speeds. As for no 25, the
arpeggios and glissandi have to be heard
to be believed or even conceived. No
verbal description could do this hyper-
fast music (relieved by a bluesy central
section) any justice.
Nos 28 to 30 are similar to the previous
group, except that they are written for
a prepared piano player. This turned out
to be impractical, so we will hear nos
28 and 29 on the same machine as before.
(A recording of no 30 had not been
published at the time this article was
written.) Nos 31 and 32 are two mini-
atures rather akin to nos 13 to 19, a
relative calm before the next storm.
With Study no 33, Nancarrow started
to use both higher-order rational and
fixed irrational tempo ratios (to use
mathematical terminology). He has also
included techniques and effects from all
of the previous Studies, while continuing
toinvent more. Thus no 36 is particularly
remarkable for its triadic arpeggios and
chromatic glissandi, while no 37 (at ten-
and-a-half minutes the longest single
movement in the series) consists of
canonic convolutions in 12 simultaneous
tempi.
As if this were not complex enough
Nancarrow’s more recent work involves
the simultaneous playing of two rolls on
two player pianos. Two such Studies
have been available on record. No 40 is
in two movements, the first a single roll,
and the second the same roll played at
slightly-different speeds on two instru-
ments. Listening to the ending of this
is one of the most exciting aural expe-
riences one is ever likely to have. The
first two movements of no 41 are two
separate rolls played separately, then
played at the same time to form the third
movement.
In case all this description of their
complexity and speed makes the music
sound cold and detached, I should like
to reemphasise Ligeti’s quote noted
above, in which he pointed out how
enjoyable and emotional these studies
are. In addition, they are by no means
always complex and/or fast. Nancarrow
does not over-use the super-human
capabilities of the instrument just for the
sake of it.
Like Nancarrow, Giacinto Scelsi has
been quietly making his own very
distinctive music for several decades. All
that Scelsi chooses to reveal about
himself is that he was born in 1905 to
an aristocratic family and that he now
lives in Rome. He was one of the first
composers outside the Viennese circle to
use dodecaphonic serialism in its stric-
test kind (some years before Dallapic-
cola, for instance), and he was also one
of the first to discard it as a blind alley.
4 2MBS-FM PROGRAMME GUIDE JULY 1987
Thus the First String Quartet of 1944
is the sort of string quartet one would
have expected someone to write in 1944,
except that it does have a very unex-
pected ending.
Scelsi’s stylistic breakthrough occured
in the 1950s, and is perhaps symbolised
by his Four Pieces on One Note. In each
of these pieces the 26 musicians play
only on or around one note. Similar
procedures are used in the Second, Third,
and Fourth String Quartets, and the Two
Duets for strings. It is amazing how
much emotion, tension and release can
be created from such a minimal amount
of material.
Probably, most listeners will find Kya
and Pranam IT more easily approach-
able. The first is a three-:movement mini-
concerto for clarinet and a seven-
instrument ensemble. The rather static
backdrop forms a perfect anchor for the
clarinet’s flights. The other piece, in
contrast, is a sedately quiet six minutes
provided by a nine-piece ensemble.
The longest work to be heard is the
forty-minute Trilogia representing “The
three ages of man’. A solo work in three
sections, this is performed by the
dedicatee, the cellist Frances-Marie Uitti.
It is an incredibly difficult work to
perform, and just goes to show that
virtuoso music can be slow. To quote the
notes supplied by the composer: “The
impatience of the passengers does not
make the train go any faster”.
Anyone with adventurous ears should
make a point of listening to this series
of programmes. (Those with 19th-
century ears may even enjoy the first
two hours.) Certainly, anyone who
wants to experience very fast or very still
music should investigate. I certainly
know of no other music that is either
faster or stiller. Most importantly, the
series Fast and Still will go a little way
in exposing some of the amazing music
that has been created by Conlon Nan-
carrow and Giacinto Scelsi.
Listen Wednesdays 1, 8, 15 and 29 at
11pm.
Vogels/2MBS-FM
Young Performers Competition
Sharon Swift began her clarinet studies
in Newcastle where she was born. She
studied at the Newcastle Conservato-
rium with the late Clive Amadio and
with Kevin Murphy.
She is now in her final year of the
Bachelor of Music Degree at the NSW
State Conservatorium of Music where
she is studying with Lawrence Dobell.
In 1985 she was a member of the Sydney
Youth Symphony Orchestra and toured
to the USA with the NSW State Con-
servatorium Symphony Orchestra.
Her 2MBS-FM recital is on Tuesday
July 14 at noon.
Bassoonist, Lorelei Dowling obtained
her ASCM from the Sydney Conservat-
orium High School where she completed
her schooling in 1981. She spent the
Sounds nice
Why are the brass players of the SSO
smiling? For the same reason a lot of
us smile... someone loves them!
President of the SSO Subscribers
Committee, Lady Galleghan is very
active in the music world. She has
recently donated four Hermann Ganter
trumpets worth a total of $7,000 to the
SSO.
Patrons can look forward to a heavier,
less penetrating European sound within
the German repertoire, thanks to the
thoughtfulness of Lady Galleghan.
ei
2MBS-FM
mary choate * a.a.S.a. C.p.a.
public accountant
following year in the ABC Training
Orchestra before entering the DSCM
course at the Conservatorium. During
1984 she spent time touring Australia
and Djakarta with the Melbourne Sym-
phony Orchestra.
In 1985 Lorelei toured the USA with
the Conservatorium Symphony Orches-
tra. On returning, she toured Australia
with the Bolshoi Ballet, then worked
with the Elizabethan Orchestra. Some
subscribers would remember her face as
soloist and as a performer in the
orchestra for the 2MBS-FM Children’s
Choir recital. Lorelei obtained her DSCM
in 1987 and is currently a member of
the Hunter Ensemble and the Amadeus
Wind Players of Sydney.
Her 2MBS-FM recital is on Tuesday
July 28 at noon.
2MBS-FM Special
Service to the blind
or print-
handicapped.
We realise that the Monthly Radio
Guide can be of only very limited
use to those who are Blind or Print-
handicapped.
We therefore provide a special
Tape/Cassette edition each month
through the Royal Blind Society
Sachet mailing system; three hours
of detailed information with
readings from editorial and
articles. Please enquire about this
service if a colleague has need of it.
Telephone 439 4777.
43 anderson road, (p.o. box 184)
mortdale, 2223, australia
telephone (02) 570 6161
fax (02) 575128
Consultations in normal office hours or after hours
— please ring to arrange an appointment.
2MBS-FM PROGRAMME GUIDE JULY 1987
MIKE NOCK:
SINFULLY MUSICAL
Bruce Johnson
The first time I heard Mike Nock perform
was in the late 70s during one of his
visits to Australia. It was a period in
our jazz history when many musicians
were trying to outdo each other in
esoteric innovation, often using gnomic
musical utterances as a desperate and
too strident assertion of their cleverness:
the subtextural point of many of these
experiments was mystification and
exclusion. Nock’s reputation for exper-
imentation was international, and I
confess to preparing myself for an
evening of cryptic cerebration with titles
like Cosmos ITI or Trajectories.
Mike Nock walked onto the stage and
simply announced that he would play
blues. Which he did. And immediately
the irritation that I had been incubating
dispersed. His performance carried all
the intellectual and technical authority
which his reputation entitled us to
expect, but the music was instantly
accessible and genial. It invited you into
itself. It had that authentic intellectual
confidence which never needs to display
itself for its own sake. For all its
commanding literacy, his music is
finally visceral, emotionally engaging,
and unashamed of its folk history. His
rhythms, overt and implied, appeal
physically; his use of folk motifs (his
latest record includes a tender treatment
of Danny Boy) anchor his work in
traditions which are spontaneous rather
than intellectually engineered.
For all his accessibility, however, Nock
is regarded internationally as one of the
jazz heavyweights:
Nock has a remarkable sensitivity for
intense compositions, outstanding for
their clear thoughtfulness. Audio Mag-
azine, Germany, 1983.
Haunting sonic imagery ... should place
Nock where he belongs, among the very
first rank of his generation of jazz
pianists. Buffalo Evening News, USA,
1983.
One of the great improvisors in contem-
porary jazz. Der Tagesspiegel, Germany,
1980.
Mike Nock is one of the unsung keyboard
giants of the day. Down Beat, USA, 1978.
Born in Christchurch, New Zealand
on 27 September 1940, Nock first became
known outside his own country through
his work at the most significant jazz
venue in Australia’s jazz history, the El
Rocco on the edge of Sydney’s Kings
Cross. He had arrived in Australia at
the age of 18 and worked at The Embers
in Melbourne with the highly influential
Frank Smith. He started at El Rocco in
1960 and shortly led his own trio.
This group became the 3 Out Trio, the
personnel stabilising with Chris Karan
on drums and Freddy Logan on bass,
and was soon playing four nights a week
to packed houses. Their success led to
forays into more commercial venues at
the invitation of promoter Lee Gordon,
but the group’s uncompromising jazz
commitment was less appropriate to
clubs like the Primitif in Bayswater
Road, so that El Rocco remained their
main, if not sole, base. 3 Out played Lee
Gordon’s International Jazz Festival in
1960, toured New Zealand in 1961, then
in May left for Europe from whence the
members dispersed to establish separate
careers.
Nock took up a scholarship at Berklee
School of Music. He very soon found
himself much in demand as a sideman
with some of the most respected names
in American jazz, including Coleman
Hawkins, Benny Carter, Pee Wee Rus-
sell, and in 1963 he toured with Yusef
Lateef. In 1966 in New York Nock
worked with Art Blakey, and put
together his own group that included
such luminaries as Benny Maupin and
Cecil McBee. He returned to the West
Coast in 1967, where he worked with
John Handy before forming his group
The Fourth Way in the early 70s.
It was his work with this band that
established his reputation internation-
ally, not only as a performer, but also
as a composer and a major voice in the
eclectic and experimental climate in San
Francisco at that time. The group made
three albums and toured internationally
to great acclaim. In 1972, 1975 and 1978
Nock was awarded National Endow-
ment Fellowships for Jazz Composition
(he has recorded 17 albums of his own
compositions), and following his moves
into electronic music he was commissi-
oned to produce documentaries for
Canadian television. His concerts on
synthesiser were among the first heard
€ COURRIC
ones AUSTRALIEN
THE FRENCH MONTHLY NEWSPAPER
396 Kent St, Sydney 2000. Tel (02) 267 6930
6 2MBS-FM PROGRAMME GUIDE JULY 1987
on the West Coast. In addition to his
jazz-based work Nock has accompanied
pop-oriented singers such as Dionne
Warwick and Morgana King, and has
also performed in symphonic contexts
with the Oakland and the San Francisco
Symphony Orchestras.
These credentials underline two prom-
inent themes in his career. One is his
generous response to all forms of music,
his comparative freedom from the
constraints of categories:
“I enjoy a lot of the New Wave music,
punk, rock ’n’ roll. It’s not my style. But
some of it I really do enjoy because it
has that quality I look for in all music.”
The other is the importance of mas-
tering the conventions, the ‘rules’, but
in order to be able to see beyond them,
to gain knowledge and technique so that
they become an instinct which serves
rather than a discipline which
tyrannizes:
“To me, not a high percentage of
classical musicians end up playing
musically well, because they’ve become
too self-conscious. Technique is just a
means to an end. Knowledge is just a
means of getting to that point.”
“The rules are just what you want to
do. The best musicians are the ones who
know the rules, then disregard them.”
Mike Nock returned to Australia to
settle in January 1985, spending Febru-
ary to November teaching at the Queens-
land Conservatorium. He is now lectur-
ing in the Department of Jazz Studies
at the NSW Conservatorium, and is
active in performance. His eclectic
interests will be on significant display
at a concert to be presented on July 25
at the Sydney Town Hall, with Nock and
the Australian Chamber Orchestra. The
performance will bring together a
programme that explores the relation-
ship between jazz and classical idioms,
and will include compositions by John
Adams and Stravinsky, Eddie Sauter’s
Focus, and a work by Mark Isaacs which
the ACO plans to feature on its forth-
coming tour of America.
There will also be a performance of
Don Banks’s Take Eight, for string and
jazz quartets, and a composition by Nock
himself, written especially for the con-
cert. Bookings are through the ABC, and
2MBS plans to record the recital. The
return to Sydney of a musician of such
standing is an important event, and
2MBS-FM is pleased to have recorded
Mike Nock’s recent solo concert at the
Conservatorium, excerpts from which
will be broadcast on July 18, 3pm, in
Bruce Johnson’s Home Cooking
programme.
The phrase ‘sinfully musical’ which
heads this article was used in a review
of Nock’s work in the Stereo Review,
1980. Perhaps instinctively, the reviewer
picked u; 2 quality in Nock’s perfor-
mance which itself reflects one of his
articulated attitudes to music. That is,
that music is earthbound, in the sense
that it is a sensuous rather than an
exclusively cerebral experience — ‘Music
merely as an intellectual exercise is
meaningless’. While his career embraces
some of the most conceptually sophis-
ticated developments in contemporary
music, nonetheless he has never used
that sophistication to establish a fasti-
dious and intellectual distance from the
rest of the world. Indeed, one of the
things which keeps bringing him back
to jazz is that it displays rather than
.conceals its human origins — ‘Saying
you don’t like jazz is really as silly as
saying you don’t like people’.
Joya Jenson writes about a new Mike
Nock/Frank Gibson record release in
Jazz Records.
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IOHN CAI ANDRA/CIAG PARIS SYDNEY
2MBS-FM PROGRAMME GUIDE JULY 1987 7
JAZZ RECORDS
Joya Jenson
An album that has recently been
released in China, as well as Australia
and New Zealand, is MIKE NOCK/
FRANK GIBSON Open Door (ODE
SODE 260 — Avan-Guard). When I
heard Mike Nock in a solo piano setting
at the Conservatorium earlier this year
he included in his repertoire the piece
on the opening track of this album, his
own composition Harriet Street. The
more one hears this cut the more one
wants to return for a replay. It’s such
a happy, catchy tune, performed with
tremendous verve, swing and soul. On
this most satisfying recording, the
outstanding New Zealand keyboardist/
composer shares a musical conversation
and rapport with fellow-countryman
Frank Gibson Jr., a drummer well-
known on both sides of the Tasman.
The two also share compositional
credits on four of the eight selections,
including the title cut, which approp-
riately explores the outer reaches,
allowing the spirit to fly freely. Nock’s
contemporary expression captures the
mood at hand, and he wears many hats.
He can be lyrical and delicate with a
gossamer touch, or he can be propulsive,
driving with solid, swinging beat. I
enjoyed most of Gibson’s work, but
would have preferred Nock to have gone
it alone on the haunting traditional song
Danny Boy, the only non-original piece
on the LP. The delightful swinging
Mossaflo is one of the most attractive
pieces in this selection from Nock’s large
body of compositional works.
Now digitally re-mastered in stereo
come 15 tracks from the 30s and 40s,
appropriately titled The Popular Jazz
Classic (RCA VPLI1 0576). Lovers of
Swing and the Big Bands might wel-
come the improved sound quality of their
old favourites afforded by this release.
Suffice it to say that the following
rundown of the titles will be all that
many will need by way of information
about the LP: LOUIS ARMSTRONG
When The Saints Go Marching In;
TOMMY DORSEY Song of India,
Boogie Woogie; ARTIE SHAW Begin
The Beguine, Frenesi; GLENN MILLER
In The Mood, Tuxedo Junction; GENE
KRUPA Boogie Blues; BUNNY BERI-
GAN I Can’t Get Started; BOB
CROSBY South Rampart Street Parade,
The March Of The Bobcats; DUKE
ELLINGTON Mood Indigo; WOODY
HERMAN The Golden Wedding; STAN
KENTON The Peanut Vendor; and
BENNY GOODMAN Sing Sing Sing
(but not the 1938 Carnegie Hall version).
The erudite Swing authority, Ron
Wills, produced this excellent compila-
tion as well as the later release BENNY
GOODMAN 1909-1986: A Memorial
(RCA VJL2 0622). This splendid com-
memorative two-record set will make a
fine addition to the library of any Swing
aficionado worthy of his salt. The
repertoire ranges from Goodman’s days
with the Ben Pollack Orchestra (starting
with a 1926 session), through cuts from
his great 1935 to 1938 period, to the
band’s closing theme, Goodbye, recorded
during its Russian tour in 1962. Fine
memories of the late King of Swing.
Jon Hassell
JON HASSELL Power Spot (ECM
1327 — Carinia Records) is one of an
increasing number of albums difficult to
classify in terms of musical idiom.
American Hassell studied electronic
music in Europe with Karlheinz Stock-
hausen, and indeed his latest in a list
of albums on which he has played is
very heavily into advanced electronic
techniques. Critics overseas have com-
pared this artist with Miles Davis, on
the ground that both are visionary
composers; both have managed to weave
the music of America into forms drawn
from other parts of the world.
Not surprising is it then that the
listener to Power Play will be tempted
to categorise the music as ‘Eastern’,
‘African’ and ‘Indian’ by turns. Cer-
tainly, what Hassell gives us is a
pleasing variety of exotic soundscapes,
capturing shifting, repetitive themes,
with layer upon layer of the electronic
wizardry of his long-term collaborator,
Brian Eno, and of five other members
of his group. Hassell himself plays
trumpet, while two flutes and percussion
are the other acoustic instruments
contributing to the performance
(although even these have probably been
given some electronic treatment). The
leader has referred to his musical concept
as Fourth World Music’. Jazz fans will
need to listen, and make up their own
minds as to what he means by that, and
whether any of the generally agreeable
music on this album is for them.
You may have seen the movie when
it was screened last year: now relive it
through the music The Cotton Club
Original Motion Picture Soundtrack
(Geffen Records 24062-1 WEA) contains
musical re-creations and arrangements
by jazz reedman Bob Wilber, who also
plays some fine clarinet, soprano and
alto saxophone on the LP. The trans-
cribed classic Ellington arrangements
are superb, and, apart from Wilber’s
soloing, there is the hot, exciting trumpet
work of Lew Soloff, another of the top
musicians involved.
Duke’s first theme (from 1927), East
St Louis Toodle-Oo is there, as are the
haunting Creole Love Call (1928) and
Mood Indigo (1931), the toetapping
Cotton Club Stomp (#1 from 1928 and
#2 from 19380), and one of the most
endearing of Ducal works, Drop Me Off
In Harlem (1933). Cab Calloway’s
famous novelty tune Minnie The
Moocher is performed with abandoned
authenticity by Larry Marshall, and the
Harold Arlen/Ted Koehler torch song HI
Wind is plaintively sung by Lorette
McKee, who was also featured in the jazz
film, Round Midnight. Bitter-sweetness
and hot, sensual offerings.
Joya Jenson is the Herald’s Jazz critic.
8 2MBS-FM PROGRAMME GUIDE JULY 1987
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2MBS-FM PROGRAMME GUIDE JULY 1987
In her March letter Angela Denning
(opera singer) writes that she and
husband David are staying in Berlin
‘more or less permanently now till the
summer, as I have a premiere here of
Les Huguenots which will be rehearsing
for the next six weeks or so, and the
performances through May and June.
Pll be singing the Queen Margerite,
which has some lovely music’. Since
Christmas Angela had been to East
Berlin to sing Constanza in Seraglio...
‘at very short notice. The conductor was
fantastic... and the whole experience
really very interesting. They send a car
to pick you up with a driver who handles
everything. It was a very fulfilling
experience.
After that we went to Vienna where
I did some performances of Die tote
Stadt, an opera by Korngold... from
there we continued down to Italy where
I had some more lessons. That was
marvellous. Then I had an engagement
in Spain for the Magic Flute. Pamina.
This was in Bilbao... and the perfor-
mances went very well... The cast was
excellent, mainly German. I was the only
English, with three Spanish singers in
the smaller roles... On returning to
Berlin I received a call to sing Fiordiligi
in Cosi fan tutte in Duesseldorf. Rushed
on to the first plane possible, got in a
taxi, had about one hour to go through
the production, half an hour to set the
tempi with the conductor... put the
costume on... and found myself on
stage... somehow all just flooded
back... and then met the tenor, a
colleague, Keith Lewis... the same tenor
with whom I’ve sung nearly all the
performances here in Berlin. I saw
Crocodile Dundee the other night, which
seems to delight the Germans”.
Barbara Beran (violin) wrote her
March letter ‘in flight between Zurich
and London, during a mid-season break
at Covent Garden’ where she is enjoying
working with Bernard Haitink as Mus-
‘ical Director... ‘and managed to con-
vince (the powers that be) that I was
the one for the no 9 position. I sat in
that position for the first ever stage
concert given by the orchestra at Covent
Garden... the Gloriana Suite, Mozart
arias (Kathleen Battle) and Shostako-
vich no 5. It was a wonderful change
to be out of the pit, and with such a
conductor... I have actually managed
to play some chamber music lately. I
really need the variety. I bought a re-
conditioned piano [which] will give me
great pleasure. I had a mute lever
especially fitted (for the neighbours). In
Switzerland I went to a contemporary
opera based on a Strindberg play, given
by Opera Factory, and there sang
Lyndon Terracini. The Factory operates
in Zurich and England, I think. A small
group with good ideas.’
Kirsten Williams (violin) writes that
she will be leaving Bern at the end of
June [when she] will come back- to
Sydney and further [her] studies later.
Kirsten has been chosen to play the first
movement of Tchaikovsky’s Violin
concerto on June 25 with the Bern
Symphony Orchestra.
Kathy Selby (piano) writes that since
she was in London, which ‘was terrif-
ic... I’ve been to Ohio and Delaware for
recitals and concertos; won a comp. in
New York, which will net me concerts
in the 1988-90 seasons; taken my audi-
tions for the DMA (Doctoral) programme
at Juilliard. Concerts are coming up (in
March, April) in Illinois, Indiana and
Philadelphia. And then I leave for
Sydney on May 1 (where she is as this
goes to print) after which it’s back here
to play with the Boston Pops in June.
I played with the Spoleto people in New
York last month in chamber music. I
spoke to Corey McVicar the other day,
and he seems very happy... will prob-
ably see him soon.’
Lyn Brown-Parsons (harpsichord)
writes on the ‘Friday evening train to
Paris (from Amsterdam) for the week-
end’. She reports that ‘last week I sent
in my exam repertoire list with six hours
of pieces. It was a lot of work timing
them all and deciding which pieces to
choose for my exam recital. I’ve finished,
and in mid-April I will hear when my
exam date is, and a month before I play
the school will tell me which 30 minutes
of playing they wish to hear. I have
chosen the other 30 minutes so now I
can settle down to really perfecting them.
Some time between mid-May and the
first week of June it will all be over. Then,
probably via the USA with Steve and
Judy Reeves in New York, TU be
returning finally, after these four years
away.’
Miss Betsy Brown was formerly Headmistress of the NSW
Conservatorium High School and more recently Student
Adviser.
The Volunteer
Scene
Jim Cullén
Naturally, at the Prom Concert on
August 23 we will be exploiting the
occasion to introduce ourselves, in the
flesh, to those who know us only via the
air waves. So you can expect to find (if
you ask an identified MBS volunteer) a
stand with a banner saying ‘Want to
be a volunteer?’ or ‘How to be a
volunteer’, or ‘Twenty good reasons for
becoming a volunteer’, or some such.
There you will meet someone to
answer all those questions about 2MBS-
FM you always wanted to ask, but could
never find anyone around to answer
except Aunt Hester, who thought 2MBS-
FM was two of Mother’s Baked Scones,
or Granpa Percival (a WWI veteran)
who'd be thinking of Massed Bayonet
Skirmishes.
If youre wanting more than just
someone to talk to, were likely to give
you a brief, written statement of what
2MBS-FM is and does, together with
Confessions of a Volunteer. a reprint of
a recent Guide article revealing the
intimate secrets of someone who, having
savoured many adventures in the world
of 2MBS-FM, is now a committed
advocate.
So come and find out what our 15
committees do in case you could usefully
contribute to any of them, or find out
what’s involved in being a receptionist,
announcer, programmer, SOD (no, not
the Biblical variety), slotter, Guide
deliverer, sub-editor, librarian, proof-
reader, technician, typist or sundry
others.
No obligation, just a lot of sweet talk
and an appeal to your social conscience,
your sense of musical responsibility and
your need for variety, a high-status non-
work involvement, or your wish to meet
people of similar musical tastes...
See you there.
(ii
IW
2MBS-FM
THE MUSIC LOVERS’ STATION
10 2MBS-FM PROGRAMME GUIDE JULY 1987
Europe is at your fingertips!
fancy a trip for two flying business class to Frankfurt PLUS
3,000 km of travel within Europe on the Lufthansa network?
Wy It could be yours for $2! V
UI d
IMBS-FM Send for your Prom Raffle tickets NOW! IMBS-FM
The raffle will be drawn on Sunday August 23 at the Prom concert in the Sydney Town Hall.
Fill in the form below and post to 2MBS-FM, 76 Chandos Street, St. Leonards NSW 2065
ET EE
Gate Postcode esere
Phone: (Kiemel. eebe Seege inai aiii POLK] onsena anann EE E E E E
Number required F Cost
Prom Raffle tickets $10 (book of five) $
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2MBS-FM PROGRAMME GUIDE JULY 1987
3 SiG Sa,
“Fantasies and Variations’ — from the |
Vatican to Versailles.
Bass viol, harpsichord, vihuela, theorbo &
baroque guitar. $18/510 conc.
PRESBYTERIAN CHURCH,
11 CAMPBELL ST, BALMAIN.
AUGUST 7
“Airs de Cour — 17th Century Courtly
Pastimes.
Tenor, bass viol, harpsichord, baroque
guitar & theorbo. $18/S10 conc.
UNITING CHURCH, PITT ST.
_ SEPTEMBER 25
“Concerts Royaux — Music from the
" Court of Louis XIV.
R d Baroque flute, bass viol & theorbo.
A CHRISTCHURCH S. LAURENCE,
@ GEORGE ST. '$18/$10 conc.
OCTOBER 16 |
“Siglo de Oro” — Spanish music from the
A time of Cervantes.
ka Tenor, recorder, viol consort, vihuela &
A guitar
k THE BROADWALK STUDIO,
8 SYDNEY OPERA HOUSE. $20/$10 conc.
NOVEMBER 6
g "Elizabethan Ayres” — for broken
=4 consort.
— Tenor, lute & viols
k PRESBYTERIAN CHURCH,
CAMPBELL ST, BALMAIN § $18/S10 conc.
___ NOVEMBER 20 l
Musica Nova — from 17th Century
= = Germany.
Le Recorders, viol consort, harpsichord & lute.
CHRISTCHURCH S. LAURENCE,
= GEORGE ST. $18/$10 conc
ae MUSICA
Ge and enquiries to: N VIVA 29 8165
Catherine Finnis
12 2MBS-FM PROGRAMME GUIDE JULY 1987
HOT OFF THE PRESS
Bax: Spring Fire, Symphonic Scherzo,
Northern Ballad no 2. Royal Philhar-
monic Orchestra; Vernon Handley,
conductor. Chandos ABRD 1180 (LP),
CHAN 8464 (CD), ABTD 1180 (MC). (55
minutes)
Bax: Symphony no 1 in E flat, Christ-
mas Eve. London Philharmonic Orches-
tra; Bryden Thomson, conductor. Chan-
dos LP ABRD 1192, MC ABTD 1192,
CD CHAN 8480 (55 minutes).
One of the recording industry’s happiest
achievements is the comprehensive
picture it can give us, in the right
circumstances, of composers whose
images are glimpsed only fleetingly in
concert.
The missionary work being done by
Chandos on behalf of Arnold Bax’s
music is one such achievement. At last,
something like a picture of this composer
from youth to maturity is emerging, with
often surprising and thrilling results,
and these two discs add immeasurably
to our knowledge of Bax’s development
and growth.
Spring Fire, described as ‘a kind of
freely-worked symphony’ by the com-
poser, is contemporaneous with The
Garden of Fand and, like it, is orches-
trated with dazzling flair. The rather fey
programme — evoking a ‘perilous pagan
enchantment haunting the midsummer
forest? — is indebted to the paganist/
Swinburnian spirit of the day, but the
piece needs no such prop: the first four
(of five) movements are splendid, two
beautiful introductory sections leading
into an exhilarating, orgiastic allegro
vivace, followed by a hazy, languorous
intermezzo called Woodland Love. The
final movement is perhaps unceasingly
rumbustious, but Bax’s description of it
reveals his state of mind at the time:
“The dryads, maenads and bassarids fly
dancing and screaming through the
woods, pursued relentlessly by Bacchus
and Pan and their hordes of goat-footed
and ivy-crowned revellers. Gradually,
elements from earlier parts of the
composition become mingled into the
thematic weft of this musical daphne-
phoria. It is as though the whole of
nature participated in the careless and
restless riot of youth and sunlight.”
This youthful brio has virtually
vanished from the Northern Ballad no
2, a work of dark colours and cold,
fleeting shafts of light. Written in the
1930s, it displays Bax’s customary
mastery of orchestration, but is alto-
gether tougher than much of his earlier
work and less discursive.
Vernon Handley’s direction of these
works — and the short, vibrant Sym-
phonic Scherzo which completes the disc
— is sensitive and beautifully controlled.
He secures tremendous playing from the
RPO (some tentative moments in Spring
Fire apart) and he is treated to the now
unsurprising excellence of Chandos
recording at its best.
Bryden Thomson’s disc is also super-
bly recorded, and, like Handley’s, con-
tains music written at different periods
of Bax’s life.
The First Symphony is absorbing
music, with many layers of meaning. I
suspect it demands more hearings than
I have been able to give it, but it is
undoubtedly one of his finest works: in
a threemovement structure, he solves
formal problems in a personal yet
communicative manner, and is able to
make his orchestra work as a dramatic
instrument. The sincerity and force of
the symphony’s inspiration — WWI and
the 1916 Easter Rising in Ireland — is
never in doubt. The elegiac second
movement, a kind of mystic funeral
march, is particularly impressive.
Christmas Eve is a somewhat ram-
bling piece. While it has good things in
it, it is longer than its material can bear.
Neither work can be in the LPO’s regular
repertoire, but it plays with passion,
precision and lustre under Thomson’s
committed direction. PS
Strauss, J. jr: Die Fledermaus. Placido
Domingo, Eva Lind, Lucia Popp, Peter
Seiffert, Agnes Baltsa, et al. Chorus of
the Bavarian Radio; Munich Radio O;
Placido Domingo, director.
It is some 35 years since the first full-
length recording of Die Fledermaus
appeared on LP and astonished the
world. This was a Decca release, with
Clemens Krauss conducting the Vienna
PO and a brilliant star cast. Some of
the singers, unknown at the time, have
since become famous.
During the many years that have
passed since then there have been many
versions recorded, including one in
English on RCA.
The last important recording arrived
in 1972 on EMI. This is the one I wish
to use in comparison with the new digital
EMI recording.
The bright realism of the new record-
ing is a winner. Closing your eyes you
can easily imagine the performance to
be in your own living room. The luscious
sound of the Munich Radio Orchestra
is strengthened by the modern recording
techniques, and it is most rewarding to
listen to.
Placido Domingo conducted Die Fle-
dermaus, a diamond among the rest of
its genre, in Vienna, Munich and
Hamburg before making this recording
at Covent Garden, so he is well
acquainted with the score. His singing
of Alfred provides one of the highlights.
The performance, however, is a some-
what domestic affair. The roles of
Introducing
THE BALMORAL
DLAYERS
MUSIC FOR THOSE SPECIAL OCCASIONS.
CLASSICAL AND PALM COURT STYLES.
PROFESSIONAL MUSICIANS AVAILABLE.
STRING QUARTET, TRIO AND OTHER
COMBINATIONS OF INSTRUMENTS.
FOR ENQUIRIES, PLEASE PHONE
(02) 9495309
2MBS-FM PROGRAMME GUIDE JULY 1987 13
Hot Off The Press cont.)
Rosalinde and Herr von Eisenstein are
sung by Lucia Popp and her husband,
tenor Peter Seiffert. Lucia Popp presents
a grand, dignified Viennese lady, who
does not lack charm during her coquet-
tish scenes. As always she is in best
voice, and delivers an enchanting
rendition of the Csardas in the second
act. Alas, I cannot praise in the same
way Peter Seiffert as Eisenstein. His
voice sounds very pale and ordinary
when compared to Nicolai Gedda. His
acting also leaves a lot to be desired.
Eva Lind as the chambermaid Adele
does not tackle the difficult high notes
with the same ease as did Renate Holm
in the previous EMI recording. She also
lacks the cheeky Viennese dialect which
characterizes the uneducated, simple
maid trying so hard to appear to be a
lady in the second act.
The winner amongst the cast, how-
ever, is the mezzo Agnes Baltsa as the
bored-with-life Prince Orlofsky, the
Russian aristocrat, desperately search-
ing for something exciting. She even
sounds convincing as a male. For those
who understand German, Act III
includes a very amusing performance by
as The Con.
of ourselves.
future.”
Die Fledermaus
the actor Helmut Lohner as the jailer
Frosch.
Another achievement of this recording
is getting the complete first act onto one
side — which takes no less than 42
minutes and 20 seconds — instead of
interrupting it, as on all previous
recordings, before the amorous scene
between Alfred and Rosalinde.
This version of Die Fledermaus also
differs from the rest with its entertain-
SYDNEY
OF MUSIC
FOUNDATION
CONSERVATORIUM PA
A call to past students and staff
of the NSW Conservatorium of Music
... from Dame Joan Sutherland
“All of us who've been associated with the picturesque Greenway building still know it affectionately
Since 1915 indeed The Con’s world class teaching and musical training has nurtured many young,
talented musicians and helped to bring their performance to the world’s stage.
In my twenties, in 1951, | made my operatic stage debut at The Con in the title role of the Opera,
“Judith”, by the then director Sir Eugene Goossens.
The Conservatorium has been vital in the artistic life of the Australian community—developing an
image for Australian musicians, and a core to the very cultural life of our country; part of our sense
With the Bicentennial year approaching it is important that we Australians recognise these
institutions which have been the foundation stones of our cultural identity.
It’s time to put some effort back into The Con and ensure we keep musical excellence in Australia’s
IF YOU ARE ONE OF OUR VALUED ALUMNI, WRITE AT ONCE TO: THE EXECUTIVE OFFICER, SCMF,
CONSERVATORIUM OF MUSIC,
MACQUARIE STREET, SYDNEY NSW 2000.
ment during the second act as a bonus.
In most recordings this is represented
as a ballet, using one of the Strauss
waltzes (most often Voices of Spring),
which is a useless exercise since the disc
is not a visual affair, and the ballet has
no meaning. This time the main singers
represent themselves and provide a first
class show. Eva Lind sings, admirably,
the coloratura show-piece I] Baccio by
Arditi. That is followed by the duet from
The Gypsy Baron, sung by Lucia Popp
and Peter Seiffert, then Safi’s aria, from
the same operetta and sung by Agnes
‘Baltsa. To conclude, Placido Domingo
sings a song from A night in Venice
splendidly. Whoever conducts the orches-
tra while Placido sings remains a
mystery.
The end of the second act also contains
the briskly-played Thunder and Light-
ning polka.
To sum up, this recording of Johann
Strauss’s masterpiece has a magnificent
Rosalinde, Prince Orlofsky, Alfred (with
a bel-canto voice) and a fantastic
orchestral sound. I sincerely recommend
it as a most entertaining performance,
which will provide lasting pleasure. JN
Reviewers for this month are: Phillip Sametz and Joe
Neustatl.
ne
14 2MBS-FM PROGRAMME GUIDE JULY 1987
2MBS-FM
combine to present
TURANDOT
(G. Puccini)
on WEDNESDAY, July 8 at 8pm
SINCE its inception in 1978, Opera Australia has devoted its centre spread each month to an
in-depth study of an opera being staged somewhere in Australia — more often than not in Sydney.
NOW, this Opera of the Month is broadcast on 2MBS-FM on the second Wednesday of the
relevant month at 8pm, a particular time slot around which you can plan your listening.
MAXIMBSE the benefit of this arrangement to you by:
1 Subscribing to Opera Australia (if you aren’t already a reader of this internationally
respected monthly newspaper which reports and comments in detail on the fascinating
Australasian opera scene).
Buying the libretti of the operas to be broadcast in advance of the event, so you can have full
bi-lingual text as well as the detailed stage directions before you as you listen. More than 100
titles are now available, including most of the Operas of the Month. We also stock opera
scores, and the odd record and book as well. Full details are advertised each month in Opera
Australia.
SEND THE COUPON with $2 for a sample copy of Opera Australia, or the coupon plus $22 to
become a subscriber to Opera Australia for the next 12 months.
TO: OPERA AUSTRALIA, P.O. Box R-361, Royal Exchange, N.S.W. 2000
O t enclose $2. Please send me a copy of Opera Australia.
O 1I enclose $22. Please enrol me as a subscriber to Opera Australia for the next 12 months.
Postcode ` Phone
OVERSEAS subscriptions by surface mail, $422 or $US18.35 or £stg16.75, by air, $440 to New Zealand, or Papua New
Guinea, $A44 for the Pacific Islands, Hong Kong, Malaysia and Japan. $A49 or $US39.20 to the United States and $A54 or
Stg39.00 to Europe. LONG-TERM subscriptions pro rata to maximum five years. Libretti may also be purchased over the
counter at Level 2, 44 Bridge Street, Sydney. Phone (02) 27 2264 or (02) 27 2269.
2MBS-FM PROGRAMME GUIDE JULY 1987 15
Your Discount
Retailers
The following retailers have
generously offered discounts to
2MBS Subscribers
These establishments offer concessions to 2MBS-
FM subscribers only on presentation of the current
year’s discount card. Concessions are available only
for cash sales — credit card sales are not eligible
for concessions under this scheme. Concessions are
not available on goods which are already
discounted, e.g. during Sales. Where applicable,
normal delivery charges will apply.
APPLIANCE REPAIRS & SERVICES
Francis Services
5/3-5 Schaftesbury St
Carlton 2218
Phone 588 3978
All makes w/machines, dryers, elec. stoves,
dishwashers & waste food disposals. No
warranty calls.
ART SUPPLIERS & PICTURE FRAMERS
Artists Supply Co.
21 Atchison Street
St Leonards Phone 439 4944
83-85 George St
Sydney Phone 27 4505
ANTIQUES
Bortignons
612 Royal Arcade, Sydney
Under the Hilton Hotel
Phone 267 6818
Fine Antiques, objects d’art
and estate jewellery
BOOKS AND MAGAZINES
Aquarian Book Distributors
27 Power Ave, Alexandria
Phone 319 3555
Constant Reader Bookshop
18 Willoughby Rd, Crows Nest
Phone 438 1763
All Arts Bookshop
at Woollahra Galleries (Shop 25)
160 Oxford St Woollahra
Phone 32 9947, a.h. 98 6172
Art & collectors reference books
BOOKS, STATIONERY, ART
MATERIALS
Turramurra Books and Stationery
1299 Pacific Highway,
opp. Kissing Point Road
Turramurra Phone 449 7684
CLASSICAL AND EDUCATION SHEET
MUSIC AND SCORES
FLORISTS & GIFTWARE
Tarantella Music
783 Pacific Highway, Gordon
Phone 498 3711
Zephyr Music
The Printed Music Centre Pty Ltd
51 Hume Street,
Crows Nest 2065 Phone 439 8900
Jens Bagoien
Shop 4, 261 Old Northern Rd,
Castle Hill 2154
Phone 634 3952
CATERING
Au Petit Vatel
85 Edinburgh Road
Castlecrag 2068
Phone 95 1871
CHILDREN’S WEAR
Annabelle Fidgets
15 St. John’s Ave,
Gordon 2072
Phone 498 4022
COMPUTERS & COMPUTER SOFTWARE
Optsoft Pty Ltd
optimum software solutions
38 Seven Hills Road,
Baulkham Hills 2153
Phone 624 8622
Agents for Televideo, Sanyo, Olivetti, Canon,
Epson and Enable software
FILM DEVELOPING & PRINTING
Rabbit Express Photo
19 Anderson Street, Chatswood
Phone 419 7990
AAAA Gordon Floral Centre
12 St Johns Ave, Gordon 2072
Phone 498 2778, 499 2182
24 hrs a day to anywhere in the world
GIFTS & DINNERWARE
Wards of Westleigh
"A dinnerware shop within a gift shop’
Shop 23/24 Westleigh Shopping Centre
Eucalyptus Drive,
Westleigh 2120
Phone 848 9394
GOURMET FOOD
La Maison de France
85 Edinburgh Road
Castlecrag 2028
Phone 95 1871
HEALTH FOODS
Gordon Health & Specialty Foods
6 St Johns Ave, Gordon 2072
Vitamin supplements, nuts, dried fruits,
macrobiotic and Asian foods, Tofu ice cream.
10% discount except discount lines, bread &
eggs.
HI-FI EQUIPMENT AND ACCESSORIES
Audio One
71 Military Road
Neutral Bay 2089 (opposite the Oaks Hotel)
Phone 90 6001
Hi Fi Junction Audio Consultants
324 Oxford St, Bondi Junction
Phone 389 4000
Pee er eee eee SS See eee
of NSW Co-operative Ltd.
| hereby apply for
l enclose Sg
Name (block letters)
Address
Become a Shareholder
I wish to become a shareholder in the Music Broadcasting Society
shares at $1 a share.
for the shares plus $5 annual management fee.
I agree to be bound by the rules of the society and by any alterations to
them in accordance with the Co-operation Act, 1923.
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Signature
Make cheques payable
Co-operative Ltd.
to Music Broadcasting Society of NSW
Post this form to 76 Chandos Street, St Leonards, NSW 2065.
Please do not send cash by unregistered mail.
16 2MBS-FM PROGRAMME GUIDE JULY 1987
EE
INFLATABLE BOATS & WATER SPORTS
ACCESSORIES
Waves Overseas (Metzler Inflatable Boats)
142a Victoria Road
Gladesville
Phone 89 1309 or 89 1333
JAPANESE CLOTHING, GIFTS ETC `
The KaBuki Shop
131 William Street
East Sydney
Phone 331 2926
JEWELLERS `
Madame la Marquise
Shop 2, Cnr. 141 Military Road
Neutral Bay 2089
Phone 908 3130
Jacqui Cornelius
Estate jewellery — antiques & modern
2nd Floor Cornelius Court
147a King Street
Sydney
Hrs: Mon: 10am to 3pm
Thurs:12.30pm to 5.30pm
& by appointment
Phone 231 2964
LADIES BOUTIQUES AND
ACCESSORIES
French Accent
401 New South Head Road
Double Bay 2028
Phone 327 1322
LEATHER HANDBAGS AND `
ACCESSORIES
Louis Cardini
Shop 58, Ist Floor
Strand Arcade Sydney
Phone 231 5525
536 Military Road
Mosman Phone 960 2865
MODEL TRAINS
Anton’s Trains
Cnr Mary/Prince Streets
North Parramatta
Phone 683 3858
MOTEL =
Golden Sand Motel
6 Head Street
Forster NSW 2428
Phone (065) 54 6222
OFFICE FURNITURE `
Finley Office Supply Co Pty Ltd
21 Monteith St, Turramurra
Ring first, please, 449 4812
All types furniture and cabinets
PERFUMERY
Dans un Jardin
420-422 George Street
Sydney 2000
Phone 221 3541
PHARMACEUTICAL č
Wall’s Pharmacy
345 Darling Street
Balmain 2041
Phone 810 1290
(No discount on RNS prescriptions)
PIANOS AND MUSICAL
INSTRUMENTS
Associated Electrics
S0 York Street
Sydney, NSW 20223
Jens Bagoien
Shop 4, 261 Old Northern Road,
Castle Hill NSW 2154
Phone 634 3952
Dicksons Music Complex
486 Victoria Road, Chatswood
Phone 419 2144 or 412 1815
(5 doors from Pacific Highway)
Musical instrument specialists and repairers
R.H. Elvy Pty Ltd
205 Clarence St, Sydney
Phone 29 7222 or 29 4760
Fiddle Factory
151 Sailor’s Bay Road
Northbridge 2063
Phone 958 1423 or 95 3640
Hugh Jones
Harpsichord maker
112 Crystal Street, Petersham
Phone b.h. 568 2750 or a.h.516 2401
Landis Geary Music
Suite 6, 212 New South Head Road,
Edgecliff 2027
Phone 328 1400
Graham McDonald
Fretted stringed instruments built, repaired and
restored
280 Victoria Road,
Gladesville
Phone 817 2173
Charles Moller
Lute & Hurdy-Gurdy Maker
11 Fernbank Street
Marrickville 2204
Phone 558 6348
The Violin Centre
84 Glover St., Mosman 2088
Phone 909 8729 (phone for appt.)
String specialist, accessories and repairs.
Woodwind & Brass Musical Instruments
330a Oxford St., Woollahra 2025
Phone 389 0166
PHOTOGRAPHIC EQUIPMENT
Goodman Bros Photographics Pty Ltd
13a Ernest Street, Crows Nest
Phone 439 3666
PRINTS
New Era Books and Records
Sole distributors of Melodiya Records
425 Pitt Street, Sydney 2000
Phone 211 1607
Oscars Classical Record Lounge
Shop 1, 405 Victoria Avenue
Chatswood, NSW 2067
Phone 411 3858
Rowe Street Records
Mid City Centre, Gallery Level
197 Pitt Street, Sydney.
Phone 231 2099
Tarantella Music
783 Pacific Highway, Gordon
Phone 498 3711
The Compact Disc Centre
25 Anderson Street, Chatswood
Phone 411 6637
Also at:
Cnr Darcy & Church Sts
Phone 891 2221
The Record Collector
Shop 97
Bondi Junction Plaza
ndi
Phone 387 2284
The Record Collector
84 Pitt Street
City
Phone 221 4288
RESTAURANTS
The Little Snail
Manuel Damian, proprietor
6 Head Street
Forster NSW 2428
Phone (065) 54 6222
KaBuki Too
Licensed Japanese Seafood Restaurant
98 Bourke Street
Woolloomooloo
Phone 358 2245
KaBuki San
Licensed Japanese Restaurant
373 Pitt Street
City
Phone 264 6668
SOCKS AND UNDIES
Mr Sox
Stall 17B, Village Bazaar,
Paddington. Saturdays only.
4 saving.
Antique Engravings
Mosman Portobello Antique Arcade
742 Military Road
Mosman Phone 960 3427
Open 7 days 10-6pm
Many music prints
RECORDS, CASSETTES, CD’S AND
ACCESSORIES
Associated Electrics
50 York Street
Sydney, NSW 20223
Folkways Music
282 Oxford Street, Paddington
Phone 33 3980
(open 7 days a week)
Miranda Fair Records
Shop 62, Gallery Level
Westfield — Miranda Fair
Phone 525 6747
Mall Classics
Shop 52 Warringah Mall, Brookvale 2100
Phone 938 6086
T-SHIRTS, SPORTSWEAR, SCREEN
PRINTING
Screen Machine
36 Parramatta Road
Stanmore 2048
Phone 513227
TRUCK RENTAL
Ranger Truck Rental & Leasing
30 Parramatta Rd. (Cnr. Ostend St)
Lidcombe 2141
Phone 647 2233
WINE AND SPIRITS
Camperdown Wine Cellars
21 Kingston Road
Camperdown Phone 516 4466
WORD PROCESSING
Precision Word Processing
125 Livingstone Ave
West Pymble Phone 498 8539
Computer labelling, mailing lists, individual
computerised letters
2MBS-FM PROGRAMME GUIDE JULY 1987
Why does 2MBS-FM
need anew
transmitter?
The beast itself — our transmitter
Because:
@ our volunteer-designed-and-built
current transmitter has now run for some
73,000 hours (eight and a half years
continuously)
@ while it is still giving quite good
service, recent faults and signs of
deterioration are causing an increasing
maintenance burden, particularly as there is
only one person who is familiar with its
idiosyncrasies
@ should a major component (such as the
main power transformer) fail, we face the
prospect of being off air for a matter of
weeks while a replacement is found
@ it uses an imported European
transmitting valve which is now classed as
‘obsolescent’. It is still being made (though
not for new designs) but the replacement
cost is ten times what it was nine years ago.
@ inthe absence of our own volunteers
who are familiar with the transmitter, we
will probably be forced to seek service
from professional technicians. Their job
will be almost impossible owing to their
lack of familiarity with our “home brew”
design.
è anew commercial transmitter will
allow technicians to provide a fast and
economical service. Spare parts will also be
readily available
@ most commercial transmitters use
valves which are easily obtained and
renovated at a fraction of our current
liability
@ the acquisition of anew commercial
transmitter would allow us to retain our
present unit as a full-power standby which
would gradually eke out its remaining
service life
Tax
Deductible
Donations
2MBS-FM as a properly constituted organisation
satisfies the requirements of the Australian
Elizabethan Theatre Trust and unconditional
donations made to the Trust are allowable
deductions for the purposes of Income Tax. A copy
of the Trust’s usual form for your use is shown
below. The form may be used for donations of any
amount, but only those donating $150 or more will
be regarded as Patrons, and those donating $1,000 or
more as Benefactors of the Society.
To: Secretary
The Australian Elizabethan Theatre Trust
PO Box 137
Kings Cross NSW 2011
Dear Sir,
Please find enclosed cheque for $
representing my donation to The Australian
Elizabethan Theatre Trust. This donation is given
unconditionally.
However, it would be appreciated if, when considering
your appropriations to the performing companies,
preference in the allocation of this donation could be
given to Music Broadcasting Society of New South
Wales Co-operative Limited (2MBS-FM).
(BLOCK LETTERS) (MRIMRS/MS/MISSI (SURNAME) (INITIALS)
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Postcode ——— >
Signature
Po nn rekt
bm em em eee ee ee ee ee mm mm
18
2MBS-FM PROGRAMME GUIDE JULY 1987
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2MBS-FM PROGRAMME GUIDE JULY 1987 19
COMPOSER LISTING
This listing was compiled by Michael Wyatt &
Martin Waterworth.
Numbers represent dates on which composers may
be heard.
Adam, A. 1, 3, 27
Adams, J. Adler, 28
Agricola 3
Albert, E. 29
Albinoni 2, 4, 12
Andree 10
Antill 5, 25
Arensky 22
Arnold 6
Attaignant 6
‘Atterberg 24
Bach, C.P.E. 13, 14, 15, 27, 30
Bach, J.C. 3
Bach, J.S. 1, 2, 5, 6, 9, 10, 11, 12, 13, 17, 19,
20, 23, 24, 25, 26, 27, 30
Bach, WE 12
Balakirev, 15
Ballard 27
Banks, D. 16
Barber 1, 3, 6, 24
Bartok 7, 10, 14, 16, 18
Bastia 9
Bath 29
Bax 3, 22
Beach, A. 22
Beethoven 1, 2, 3, 4, 9, 10, 14, 16, 17, 20, 21,
22, 23, 24, 27, 28, 29, 31
Bellini 25
Benjamin 3
Benjamin, A. 17
Berg, A. 14, 21
Bergman 22
Berlioz 10, 14, 19
Bernart 26
Bernstein, L. 15
Bigaglia 2
Binchois 3
Bizet 1, 23, 29
Blavet 30
Bliss, A. 31
Bloch 24
Boccherini 6, 12, 13, 17, 23
Bodino 27
Boito 16
Bolling 28
Borodin 1, 8, 20
Boyd, A. 25
Bozza 6
Bracanin 31
Brahe 8
Brahms 2, 5, 7, 8, 11, 12, 13, 20, 21, 24, 25, 30
Britten 1, 5, 6, 9, 13, 15, 20
Brott 3
Bruch 9, 12, 29
Bruckner 6, 12
Brumby 3, 31
Butterly 16
Byrd 5
Caballero 15
Cadman 4
Calace 26
Carmichael, J. 31
Carr, E. 19
20
Carter, E. 16, 27
Carulli 17
Chabrier 14, 26
Chaminade 29 .
Chopin 15, 20, 23, 29, 30, 31
Cilea 27
Clarke, J. 30
Conyngham 5
Copland 3, 4, 7, 8, 21, 28, 30
Coprario 10
Corelli 2, 16, 23
Couperin 11, 21, 28
Coward 9
Cox, D. 31
Croce 3
Crusell 28
Cui 29
Danzi 16
Davidson, H. 27
De 12, 26, 30
Debussy 3, 6, 9, 20, 21, 24, 25, 26
Delibes 17
Delius 4, 13
Dello 3
Dohnanyi 7, 10, 28
Donato 3
Donizetti 6, 8, 27
Doppler 20
Dowland 13
Dufay 3
Dukas 17
Dvorak 6, 13, 14, 21, 23, 26, 27, 28, 30, 31
Eisler 21
Elgar 1, 6, 7, 9, 13, 15, 18, 20, 24, 26, 31
Ellard 25
Enesco 29
Erkin 10
Euchenne 26
Fall 29
Falla 27
Fanshawe 5
Farwell 4
Fasch 23, 28
Faure 4, 5, 7, 10, 26
Ferguson, H. 15
Finck 19
Fischer 24
Flotow 15
Francaix 10, 16
Franck 11, 24, 26, 31
Gabrieli, A. 29
Gabrieli, G. 6, 10, 30
Gagnebin 12
Galilei 17
Gallienne 17
Galuppi 9
Geibel 13
Gershwin 1, 4
Gershwin, G. 28
Ghiselin 30
Gibbons, E. 19
Gibbons, O. 19, 24
Gigout 11
Gillis, D. 24
Giuliani 5
Glazunov 1, 8, 16
Gliere 8, 22
Goldmark 15, 17, 29
Goodman 1
Gotoh 31
Gotovac 26
Granados 20
Grandi 10
Grillo 3
Gross 18
Guerre 12
Gussago 3
Hadjidakis 4, 25
Hair, G. 27
Handel 4, 5, 6, 7, 8, 9, 10, 12, 14, 15, 17, 23,
26, 28, 30, 31
Hanson, H. 3
Hanson, R. 15
Harris 12
Harris, R. 28
Harty 8, 23
Hassler 17
Haug 12
Hayden, J. 12, 13, 19, 20, 25, 27
Hayden, M. 18
Haydn, J. 1, 4, 5, 7
Heinrich 4
Henderson, M. 11
Herbert 2, 9
Hertel 26
Hetu 3
Heuberger 15
Hill, A. 6, 17, 30
Hill, M. 3
Hofhaimer 19
Hollier 3
Holst 8, 17
Honeggar 26
Howells 5, 12
Hughes, R. 15
Hummel 9, 12
Humperdinck 10
Ibert 10, 16, 26
Indy 12
Int-Saens 16
Ireland 4
Irvine 10
Isaac, H. 19
Isaacs, M. 19
Jacquet 12
Janacek 3, 14
Joachim 25
Joio 3
Jolivet 8
Josquin des Pre 3
Jr 16, 22, 23, 29, 30
Kabalevsky 6
Kalman 6
Kazhlayev 20
Kelly, B. 19
Kenins 3
Ketelbey 1
Khachaturian 6, 15, 17, 19, 22
Kodaly 10, 24, 26
Kohaut 3
Kohler 27
Koshkin 7
2MBS-FM PROGRAMME GUIDE JULY 1987
Kramar 6
Krommer-Kramer 6
Kuhlau 28
Kuneke 6
La 10, 12
Langlais 18
Lanner 2, 9, 15
Larsson 22
Lawes, H. 31
Lawes, W. 31
Lehar 16, 29
Leifs 10
Leoncavallo 8, 16, 27
Liadov 24
Liapunov 15
Lisle 14
Liszt 1, 2, 20, 23, 30
Lovelock, W. 31
Lowenstein 24
Lutoslawski 15, 16, 26, 31
Machaut 30
Mahler 3, 7, 16
Manfredini 2
Marais 12
Marcello, A. 2
Marcello, B. 30
Martin, F. 12
Martinu 13, 15
Mascagni 8, 22
Masek 13
Massenet 14, 22, 25, 27, 30
Mendelssohn 5, 7, 13, 16, 18, 23, 28
Menotti 3
Merikanto 9
Merulo 3
Messaien 12, 30
Milhaud 20
Mills 6
Mills, R. 17
Minkus 22
Miyagi 31
Moeran 20
Monteverdi 13, 24
Morton 3
Mozart, W. 1, 2, 3, 5, 6, 7, 9, 10, 11, 12, 13, 14,
16, 17, 18, 19, 20, 21, 22, 23, 24, 26, 27, 28,
29, 30
Mussorgsky 6, 8
Myslivecek 22
Nancarrow 1, 8, 15, 29
Navarre 30
Nazareth 4
Nedbal 13, 15
Neruda 22
Nielsen 3, 10, 13, 14, 21, 24
Nordavist 1
Novello 2, 16
Offenbach 1, 13, 14, 21, 30
Orff 1
Ovelock 3
Pachelbel 26
Paganini 12
Parish-Alvars 25
Parry 12, 19
Peirol 30
Penberthy 3, 5, 17
Perotin 30
Petersen-Berger 1
Petterson 8
Picchi 3
Playel 3
Plush 5
Ponchielli 8, 13
Poulenc 9, 18
Prokofiev 14, 15, 30
Puccini 1, 8, 13, 15, 21, 22, 29
Purcell 4, 9, 24, 26
Quantz 22
Querfurth 24
Rachmaninov 1, 9, 15, 16, 20, 22, 29, 31
Rangstroem 1
Ravel 5, 7, 9, 10, 21, 24, 29
Rawsthorne 11
Reger 8, 9
Regis 3
Reicha 22
Respighi 3, 8, 13, 14, 20, 23, 31
Rheinberger 31
Ricciotti 11
Rimsky-Korsakov 1, 15, 22, 26
Rivier 6
Rodrigo 10, 17
Rosas 1
Rosenberg 8
Rossini 1, 3, 20, 23
Saint-Saens 1, 2, 12, 18, 20, 21, 26, 31
Salieri 12
Satie 13, 20, 21
Sawai 31
Scarlatti 4
Scarlatti, A. 2
Scarlatti, D. 17, 29
Scelsi 1, 15, 29
Schmidt 8
Schoek 12
Schoenberg 2, 15, 21, 28
Schubert 1, 2, 5, 8, 10, 11, 12, 13, 14, 15, 17,
23, 24, 27, 28
Schuetz 26, 30, 31
Schumann, R. 2, 5, 11, 14, 21, 24, 27, 29, 31
Scriabin 16
Sculthorpe 8, 18
Scumann, R. 19
Selma y Salaverde 3
Senfl 19
Shaw 6
Shostakovich 3, 6, 9, 14, 18, 22, 24, 30
Sibelius 1, 9, 15, 27, 29
Sjoegren 1
Smalley, P. O. R. 27
Smatana 6
Smetana 6, 8, 9, 25, 29
Sousa 4
Spagnoletti 25
Spinacino 17
Spohr 5, 22, 28
Stamitz, A. 13
Stamitz, J. 15
Stamitz, K. 3, 27
Stanford 5, 19
Stenhammar 8
Sternefeld 24
Stolz 2, 30
Strauss, J. 16, 22, 23, 29, 30
Strauss, J. Jr. 2, 4, 8
Strauss, Josef 9, 30
Strauss, O. 9
2MBS-FM PROGRAMME GUIDE JULY 1987
Strauss, R. 1, 7, 10, 14, 15, 20, 22, 31
Stravinsky 8, 11, 14, 16, 21, 23
Strozzi 12
Suk 1, 23
Sullivan 4
Suppe 15, 17
Susato 6
Sutherland, M. 17
Svetlanov 16
Tailleferre 29
Tallis 5
Taneyev 1, 20
Tarrega 25
Tartini 15
Taverner 24
Tchaikovsky 1, 8, 9, 13, 15, 17, 19, 22, 23, 24,
25, 29, 31
Telemann 15, 23, 26, 27, 30
Terzi 17
Thibaud 30
Thomas 2
Thomas, A. 23
Tibbits 5
Tippett 9, 15, 23
Torelli 16
Tournier 26
Trombocino 17
Tubin 16
Uccellini 2
Vaqueiras 30
Vaughan 22
Vecchi 17
Vejvanosky 23
Vellere 29
Vellones 6
Ventadorn 26
Verdi 6, 8, 9, 10, 13, 19, 20, 23, 27
Vierne 11
Villa-Lobos 17
Vine 5
Vine, C. 27
Viotti 13
Vivaldi 2, 6, 9, 11, 12, 17, 22, 30
Vivladi 1
Wagner 4, 9, 10, 13, 17, 22, 26, 27
Wailly 2
Walford 5
Walther 19
Walton, W. 23
Weber 1, 19
Webern 28
Weill 21
Werder 3
Werner 9
Wesley-Smith 27
Whitehead 19
Wiliamson, M. 24
Willaert 6, 17
Williams 22
Williamson, M. 25
Wiren 8, 9
Ysaye 16
Zelenka 10, 12
Ziehrer 29
Zwilich 11
21
PROGRAMMES FOR
Symphony Orchestra so
Philharmonic Orchestra PO
Radio Orchestra RO
Festival Orchestra FO
Chamber Orchesira co
National Orchestra NO
Theatre Orchestra TO
Promenade Orchestra Prom O
Music duration is shown after the record identification.
a a ON
Wednesday 1
MIDNIGHT
12.00 JAZZ: ANOMIE
Prepared by Alessio Cavallaro
Film jazz cool jazz free jazz punk jazz fake jazz
be-bop!!
1.00 BALLISTIC AFFAIR
Music of the Caribbean, focusing on
Jamaican reggae. Other featured styles
include calypso, soca and Martiloupe.
3.00 NEW RELEASES
A repeat of last night's survey of the latest LPs
and compact discs from the overseas and
local record catalogues
5.00 MUSIC WEEKLY
programme of interviews with people who
write, play, conduct, produce, teach, review
and enjoy music, to keep you up-to-date
about people, places, performances, previews
and postscripts.
6.00 EARLY MORNING MUSIC
Shorter works from the classical repertoire
with time calls in between
9.00 AUSTRALIAN ORCHESTRAS PLAY
BARBER
Prepared by Bob Goodnow
Barber, S. (1910-1981). Music for a scene from
Shelley (1933); Knoxville 1915 (1947). Molly
McGurk, soprano; West Australian SO; David
Measham, conductor
Unicorn UNS 258 28
Adagio for strings (1936). Melbourne SO;
Leonard Dommett, conductor.
ABC VRL1 0115 8
Violin concerto, op 14 (1940). Ronald Thomas,
violin; West Australian SO; David Measham,
conductor.
Unicorn UNS 258 22
JULY
10.00 JUSSI BJOERLING IN CONCERT
Prepared by Grahame Scott
Rangstroem, T. (1884-1947). Tristan’s death. 4
Nordqvist, J. (1840-1920). To sea. 2
Stockholm PO; Stig Westerberg, conductor.
Schubert, F. (1797-1828). To the lyre, op 56 no
2 (1826); Who is Sylvia? op 106 no 4 (1828). 8
Sjoegren, E. (1853-1918). | droemmen du ar
mig Naera (1890).
Peterson-Berger, W. (1867-1942). Jungfrun
under Lind. * 8
Rachmaninov, S. (1873-1943). In the silence of
the night, op 4 no 3 (1889). 3
Strauss, R. (1864-1949). Devotion, op 10 no 1
(1882-83). 2
Frederick Schauweeker, piano. (6 above)
Jussi Bjoerling, tenor. (all above)
RCA LM2784
10.30 CONCERT HALL
Glazunov, A. (1865-1936). Finnish fantasy, op
88. Moscow Radio SO; Yevgeny Svetlanov,
conductor.
Melodiya/WRC S 5155 12
Saint-Saens, C. (1835-1921). Piano concerto
no 4 in C minor, op 44 (1875). Francois-Rene
Duchable, piano; Strasbourg PO; Alain
Lombard, conductor.
Erato/WRC R 10418 24
Sibelius, J. (1865-1957). Four legends of the
Kalevala (1893-98). Hungarian State SO; Jussi
Jalas, conductor.
Decca/WRC R 03445 44
12.00 THE SOUND OF JAZZ
Prepared and presented by Kevin Jones
One of the best of the many albums recorded
in 1959 to coincide with the release of the
movie of Gershwin’s folk opera Porgy and
Bess was this big band album (Porgy and
Bess Revisited, Swing SW 8414) featuring
solos by former Ellingtonians, Rex Stewart
(cornet), Cootie Williams (trumpet) and
Lawrence Brown (trombone).
Final week of Duke Ellington’s 1947 concert at
New York’s Carnegie Hall (Prestige P 24075)
includes a medley of themes from the Duke's
‘jungle band’ days, Clothed woman — a
remarkable piano feature by Ellington — and
Mary Lou Williams’ arrangement of Blue skies
for the trumpet section, Trumpet no end.
Gershwin, G. & I. It ain't necessarily so; Bess,
you is my woman; | got plenty o’ nuttin’; My
man’s gone now; There’s a boat dats leavin’
soon for New York (1959). Rex Stewart;
Cootie Williams.
Swing SW 8414 (mono)
Ellington, D. East St Louis toodle-oo; Echoes
of Harlem.
Miley-Ellington. Black and tan fantasy.
Ellington, M.-Persons. Things ain’t what they
used to be.
Ellington, D. Basso profundo; New York city
blues; Clothed woman.
Bertin, L Trumpets no end: Blue skies.
Duke Ellington and his O. (8 above)
Prestige P 24075 (mono)
1.00 WEDNESDAY MATINEE
From the Steppes
Prepared and presented by Audrey Manning
Borodin, A. (1833-1887). Polovtsian dances.
London Opera Ch; Philharmonia O; Viadimir
Ashkenazy, conductor.
Decca 410 121-1 12
Rimsky-Korsakov, N. (1844-1908). Quintet in
B flat (1876). Philippa Davies, flute; Anthony
Lamb, clarinet; Jonathon Williams, horn; Felix
Warnock, bassoon; Julian Jacobson, piano.
Hyperion A66163 29
Taneyev, S. (1856-1915). John of Damascus,
cantata (1884). A. Yurlov Academic Russian
Choir; USSR TV & R Large SO; Vladimir
Fedosyeyev, conductor.
Melodiya C10 09223-4 23
Tchaikovsky, P. (1840-1893). Symphony no 3
in D, op 29 (1875). London PO; Mstislav
Rostropovich, conductor.
EMI 41 2063 46
3.00 THE WORLD OF CHILDREN
Prepared and presented by Marie-Louise
Stenstroem
Mozart, W. (1756-1791). Symphony no 5 in B
flat, K22 (1764). London PO; Erich Leinsdorf,
conductor.
WRC S 4637 7
Beethoven, L. (1770-1827). Electoral sonatas:
no 1 in E flat, WoO47; no 2 in F minor,
Wo0047. Emil Gilels, piano.
CD DG 419 173-2 26
Rossini, G. (1792-1868). String sonata no 1 in
G (1804). Academy of St Martin in the Fields;
Neville Marriner, conductor.
Argo AUS 1001/02 12
Elgar, E. (1857-1934). The wand of youth,
suite no 2, op 1b (1907). London PO; Adrian
Boult, conductor.
HMV ASD 2356 15
Britten, B. (1913-1976). Holiday diary (1934).
Eric Parkin, piano.
Chandos DBRD 4001 18
Suk, J. (1874-1935). A fairy tale, suite, op 16
(1897-1900). Prague SO; Jiri Belohlavek,
conductor.
Supraphon 1410 2699 31
5.00 EARLY EVENING CONCERT
Prepared and presented by Brendan Walsh
Puccini, G. (1858-1924). Preludes to Acts |
and II of Edgar (1889). Berlin Radio SO;
Riccardo Chailly, conductor.
CD Decca 410 007-2 8
Liszt, F. (1811-1886). Hungarian rhapsody no
19, G244. Vladimir Horowitz, piano.
Time-Life STL P06 10
Vivaldi, A. (1678-1741). Flute concerto no 5 in
F, op 10. New Irish CO; James Galway, flute
and director.
RCA VRL1 7493 8
Ketelbey, A. (1875-1959). The clock and the
Dresden figures. London Prom O; Alexander
Faris, conductor.
Philips 6514 152 4
22 2MBS-FM PROGRAMME GUIDE JULY 1987
Bach, J. S. (1685-1750). Jesu, joy of man’s
desiring. An Garda Siochana Choir; Maureen
Reilly, conductor.
Polydor 2908 029 4
Rosas, J. (1868-1894). Over the waves. Vienna
Volksoper O; Franz Bauer-Theussl, conductor.
CD Philips 412 883-2 7
Herbert, V. (1859-1924). Thine alone. Beverley
Sills, soprano; London SO; Andre Kostelanetz,
conductor.
HMV OASD 3140 3
Bizet, G. (1838-1875). L’orage s'est calme from
The pearl fishers (1863). Guillermo Sarabia,
baritone; N Opera TO, Paris; Georges Pretre,
conductor.
EMI 2CO 69 43477 5
Offenbach, J. (1819-1880). Overture: La belle
Helene (1864). Philharmonia O; Neville
Marriner, conductor.
CD Philips 411 476-2 7
Trad. The Cork medley. Phil Coulter, piano.
Harmac HM1 4
Diabelli, A. (1781-1858). Viennese dance. Bella
Musica Ensemble, Vienna; Michael Dittrich,
conductor.
Harmonia Mundi HM 1013 2
Weber, C-M. (1770-1827). Chorus of
Huntsmen: Viktoria from Der Freischuetz
(1821). German Opera Ch & O Berlin;
Giusseppe Sinopoli, conductor.
DG 415 283-1 4
Orff, C. (1895-1982). O fortuna from Carmina
Burana (1936). London Ch & SO; Andre
Previn, conductor.
HMV SOELP 10486/7 3
Adam, A. (1803-1856). Excerpts from Giselle
(1841). London SO; Richard Bonynge,
conductor.
Decca AUS 1036 16
Lehar, F. (1870-1948). Gypsy love. Johann
Strauss O, Vienna; Willi Boskovsky,
conductor.
CD EMI 7 47020-2 9
Goodman, I. (1909-1982). New Guinea
fantasy. Isador Goodman, piano; Melbourne
SO; Patrick Thomas, conductor.
Philips 411 143-1 9
7.00 THE JOY-A-JAZZ
Prepared and presented by Joya Jenson
Today is Canada Day, and, in celebration,
Joya salutes the beautiful land of the Maple
Leaf and its jazz artists. Among those to be
heard are pianist Oliver Jones, the big band of
Rob McConnell and the Boss Brass, and,
most famous of all, pianist Oscar Peterson.
8.00 MAGIC, MARRIAGE AND MONEY
Haydn, J. (1732-1809). II mondo della luna.
Opera in three acts (1777). Libretto after Carlo
Goldoni. First performed in 1777 at Esterhaza.
BUONAFEDE: Domenico Trimarchi, baritone
ECCLITICO: Luigi Alva, tenor
LISETTA: Frederica von Stade,
mezzo-soprano
FLAMINIA: Arleen Auger, soprano
CLARICE: Edith Mathis, soprano
ERNESTO: Lucia Valentini Terrani, contralto
CECCO: Anthony Rolfe Johnson, tenor
Swiss Romande R Ch; Lausanne CO; Antal
Dorati, conductor.
Philips 6769 003 165
Synopsis:
Act I. A terrace at Ecclitico’s house at night.
Ecclitico, a bogus astrologer and four of his
students are singing a hymn to the moon: he
boasts of how he can dupe the naive.
Buonafede, an old man, enters. Ecclitico tells
him of the wonders of the moon, and he asks
to look through the telescope. Buonafede
eagerly grasps the telescope, and describes
with great delight what he can see: a young
girl caressing an old man; a husband beating
his wife. He offers his purse to Ecclitico as he
departs. Ecclitico, alone, sings how he is not
interested in the old man’s money, but in
Clarice, his daughter. Ernesto, in love with
Flaminia, Buonafede’s other daughter, and
Cecco, Ernesto’s valet, in love with Lisetta,
Buonafede’s servant, enter. Ecclitico tells them
of his infallible plan, by which they will all
attain their ends. It is agreed upon.
The scene shifts to a room in Buonafede’s
house. Clarice and Flaminia discuss how
marriage appears to be the only way to
escape from their father’s tyranny. Flaminia
expresses fears that marriage may be only
another form of slavery. Clarice claims
Ecclitico will be so preoccupied with his study
of the moon that she will have complete
freedom. Buonafede enters and reprimands
Clarice, to which she retorts sharply. Lisette
enters, and Buonafede promises her all the
wonders of the telescope, however, the
serving girl is not taken in by this. When
Buonafede is alone, Ecclitico enters, bringing
great news. The emperor of the moon has just
invited him to his court, and he will travel
there by a magic potion. Buonafede wants to
try the potion too, and Ecclitico agrees to this.
Buonafede falls asleep, while imagining
travelling to the moon. His daughters enter,
and are at first perturbed because they think
he is dead. They soon console themselves
with the thought of all the money he has left
them.
Act Il. Ecclitico’s garden made up to represent
a moonscape. Ecclitico and Ernesto discuss
the situation. Buonafede awakes, and dances
are performed before him. Four knights,
attended by pages, bring him sumptuous
garments. Buonafede is concerned about his
daughters and his serving maid. Ecclitico
assures him they will arrive soon, and informs
him they will be humble and obedient, as is
the custom on the moon. A march heralds the
entry of the emperor, who is none other than
Cecco in disguise. He agrees to have Clarice
and Flaminia brought, but insists on having
Lisetta for himself. Buonafede, alone,
soliloquises about the many wonders he has
experienced. Ecclitico brings Lisetta,
blindfolded, and leaves her with Buonafede,
who tries to woo her. Both are summoned
before Cecco, who proclaims Lisetta empress
of the moon, an honour she accepts. Cecco
gives Flaminia to Ernesto and Clarice to
Ecclitico. The wedding ceremony begins. By a
trick Buonafede is made to give his daughters
to Ecclitico and Ernesto. He realises, too late,
what has happened.
Act Ill. A room in Ecclitico’s house.
Buonafede, Ecclitico, Ernesto and Cecco are
present, dressed as in the first act. Ecclitico
and Ernesto demand their wives’ dowry as the
price for Buonafede’s freedom. Finally he
accedes. There is general reconciliation in the
finale.
11.00 FAST AND STILL
Prepared and presented by Martin Davidson
Nancarrow, C. (b1912). Sonatina (1941).
Conlon Nancarrow, player piano.
1750 Arch 1786 4
String quartet (1942). Kronos Quartet.
Nonesuch 979111-2 11
Scelsi, G. (b1905). Pranam II (1973). Ensemble
2e2m. Luca Pfaff, conductor.
FY 103 6
Quartet no 1 (1944). Arditti String Quartet.
Fore 80/Thirteen-fourteen 31
Thursday 2
MIDNIGHT
12.00 STOPS/GAPS/MEASURES
Prepared and presented by Rik Rue
A programme which spans a wide range of
music and sounds, from regional
environmental works, text-sound and sound
experimentation to local and international new
music
1.00 THE GARDEN OF ALLAH
A handful of bongos and a slice of bread? In
search of the lost treasures of the Garden of
Allah
3.00 TILL DAWN
Classical music to dispel the darkness
6.00 EARLY MORNING MUSIC
Shorter works from the classical repertoire
with time calls in between
9.00 ITALIAN BAROQUE
Prepared by Pamela Linnett
Manfredini, F. (c1680-1748). Concerto for two
trumpets. Helmut Hunger, trumpet; | Solisti
Veneti; Claudio Scimone, conductor.
CBS MP 39058 7
Vivaldi, A. (1678-1741). Concerto in D for lute,
violins and continuo, RV93. Camerata Bern.
CD DG 415 487-2 11
Uccellini, M. (c1603-1680). Sonata in B flat.
Amsterdam Baroque Ensemble; Ton
Koopman, director.
Telefunken 6.42229 5
Bigaglia, D. (c1676-c1745). Sonata in A minor.
Michala Petri, recorder; George Malcolm,
harpsichord.
CD Philips 412 632-2 8
Scarlatti, A. (1660-1725). Cantata pastorale per
la Nativita di NS Gesu Cristo. Patricia Lawrey,
mezzo-soprano; Schola Musica; Ashley
Heenan, director.
Kiwi SLD 52 16
Corelli, A. (1653-1713). Sonata in A minor, op
5 no 8. Frans Brueggen, recorder, Anner
Bijlsma, cello; Gustav Leonhardt, harpsichord.
RCA RL 30393 9
Albinoni, T. (1671-1750). Sonata a 5 in G
minor, op 2 no 6. Zurich CO; Edmond de
Stoutz, conductor.
Amadeo AVRS 19020 9
Marcello, A. (1684-1750). Oboe concerto no 1
in D. I Solisti Veneti; Claudio Scimone,
conductor.
Record Society S 6512 8
2MBS-FM PROGRAMME GUIDE JULY 1987
8
10.30 CONCERT HALL
Prepared by Ruth Warren
Liszt, F. (1811-1886). The battle of Huns,
symphonic poem (1856). Los Angeles PO;
Zubin Mehta, conductor.
London L 18C 5141 11
Mozart, W. (1756-1791). Rondo in A minor,
K511.
Decca SLX 6439 10
Schumann, R. (1810-1856). Concerto allegro
with introduction in D minor, op 134 (1849).
London SO; Uri Segal, conductor. 15
Decca SXL 6861
Vladimir Ashkenazy, piano. (2 above)
Schubert, F. (1797-1828). Symphony no 8 in B
minor, D759 (completed Newbould 1865).
Academy of St Martin in the Fields; Neville
Marriner, conductor.
Philips 411 439-1 40
12.00 CONCERTO MISCELLANY
Prepared and presented by Earle King
Beethoven, L. (1770-1827). Leonora overture
no 3, op 72a (1806). Cleveland O; George
Szell, conductor.
FMRS 50 14
Corelli, A. (1653-1713). Concerto grosso, op 6
no 8 Christmas (c1680). Academy of Ancient
Music; Christopher Hogwood, director.
CD L’Oiseau-Lyre 410 179-2 13
Vivaldi, A. (1678-1741). Concerto in C for
oboe and bassoon, RV545 (c1725). Heinz
Holliger, oboe; Klaus Thunemann, bassoon; |
Musici.
CD Philips 411 480-2 10
Beethoven, L. Violin concerto in D minor, op
61 (1806). Itzhak Perlman, violin; Philharmonia
O; Carlo Maria Giulini, conductor.
CD EMI CDC 7 47002-2 44
1.30 WIND QUINTETS
Prepared by Bob Goodnow
Beethoven, L. (1770-1827). Quintet in E flat.
Roger Boutry, piano; Paris Wind Ensemble.
Nonesuch H 71054 25
Wailly, P. (1854-1933). Aubade. Westwood
Wind Quintet.
Crystal S 101 3
2.00 THE THREE Bs
By courtesy of PolyGram Records
/ PolyGram À
Bach, J. S. (1685-1750). Cantata BWV212,
Peasant. Emma Kirkby, soprano; David
Thomas, bass; Academy of Ancient Music;
Christopher Hogwood, harpsichord and
director.
L’Oiseau-Lyre 417 621-1 27
Beethoven, L. (1770-1827). The creatures of
Prometheus, op 43 (1810). Orpheus CO.
CD DG 419 608-2 66
Brahms, J. (1833-1897). Song of destiny, op
54 (1868-71). Prague P Ch; Czech PO;
Giuseppe Sinopoli, conductor.
CD DG 419 737-2 17
4.00 HOGWOOD AND THE ACADEMY OF
ANCIENT MUSIC ON COMPACT DISC
Prepared by Leigh James
Mozart, W. (1756-1791). Serenade in D, K185
(1773). Jaap Schroeder, violin.
CD L’Oiseau-Lyre 411 963-2 47
Bach, J. S. (1685-1750). Sinfonia from
Christmas oratorio.
CD L’Oiseau-Lyre 410 179-2 5
Academy of Ancient Music; Christopher
Hogwood, director. (both above)
5.00 SOUNDS DELIGHTFUL
Mozart
Prepared and presented by Ann Ramsay
Mozart, W. (1756-1791). Horn concerto in E
flat, K417 (1781-87). Milos Petr, horn; Musici
of Prague; Libor Hlavacek, conductor.
Supraphon 1110 2628 14
Piano concerto in A, K488 (1786). Alfred
Brendel, piano; Academy of St Martin in the
Fields; Neville Marriner, director.
Philips 6500 283 26
Sinfonia concertante in E flat, K364 (1779).
Rudolf Barschai, clarinet; Bath Festival O;
Yehudi Menuhin, violin and director.
EMI 1C 014-36 261 30
Adagio and fugue in C minor, K546. Scottish
Baroque Ensemble; Leonard Friedman,
conductor.
Abbey ABY 809 9
Symphony no 39 in E flat, K543. Academy of
Ancient Music; Christopher Hogwood,
director.
L’Oiseau-Lyre 410 233-1 31
7.00 TWO MOLES AND AN ANTEATER
Prepared and presented by Martin Davidson
Ellington, D. (1899-1974). | let a song go out
of my heart (1986). Stan Tracey, piano; Roy
Babbington, double bass.
Mole 10
6
Rollins, S. (01930). Pent-up house (1962). 8
van Heusen-Burke. It could happen to you
7
(1962).
Jasper, B. (1926-c1963). Be like Bud
(1962). 13
Bobby Jasper, tenor saxophone, flute; Rene
Thomas, electric guitar, Benoit Quersin,
double bass; Daniel Humair, drums. (3 above)
Mole 11
Strayhom, B. (1915-1967). Day dream (1986).
Stan Tracey, piano.
Mole 10 7
Holiday, B. (1915-1959). God bless the child
(1983). Bernie McGann, alto saxophone; Bob
Sedergreen, piano; Barry Buckley, double
bass; Ted Vining, drums.
Anteater 018 13
8.00 SCHOENBERG’S GURRELIEDER
Prepared by Sofia Boniecki
Schoenberg, A. (1874-1951). Gurrelieder
(1901). Jessye Norman, soprano; Tatiana
Troyanos, mezzo-soprano; James
McCracken, Kim Scown, tenors; David
Arnold, baritone; Werner Klemperer, speaker;
Tanglewood F Ch; Boston SO; Seiji Ozawa,
conductor.
DG 6769 038 104
Five piano pieces, op 23 (1923). Maurizio
Pollini, piano.
DG 2562 190 10
10.00 THANKS FOR THE MEMORY
Prepared and presented by Joe Neustatl
Herbert, V. (1859-1924). I’m falling in love with
someone from Naughty Marietta. Richard
Tucker, tenor.
Legendary LR 142 5 (mono) 4
Mozart, W. (1756-1791). Eine kleine
Nachtmusik cha-cha-cha (arr. Swann).
Michael Flanders, Donald Swann.
EMI NTS 116 4
Lanner, J. (1801-1843). Die Humoristiker
waltz. Vienna CO; Paul Angerer, conductor.
Intercord INT 180 818 11
Novello, I. (1893-1951). Easy to live with from
Arc de Triomphe. Mary Ellis, soprano; Peter
Graves, tenor; Phoenix Theatre O; Tom Lewis,
conductor.
WRC SH 216 (mono) 4
Thomas, A. (1811-1896). Ah! non credevitu
from Mignon. Gianni Raimondi, tenor; Italian
R&TVO; Alfredo Simonetto, conductor.
Fonit Cetra LMR 5007 (mono) 5
Saint-Saens, C. (1835-1921). The swan from
The carnival of the animals. Pablo Casals,
cello.
RCA LM 2699 (mono) 4
Trad. Lost; The leaf bud on the linden tree.
Richard Tauber, tenor.
Parlophone PMEO 9432 (mono) 3
Das Wirthhaus an der Lahn. Comedy
Harmonists.
Odeon 1C 148-31 469M (mono) 3
Stolz, R. (1880-1975). My love song must be a
waltz. Die Hoch und Deutschmeister Band;
Horst Winter, conductor.
Marcato 30 450 1 3
Padilla, J. Valencia. Tito Schipa, tenor.
Preiser LV 277 (mono) 4
Strauss, J. (1825-1899). Brother dear, sister
dear from Die Fledermaus. Covent Garden
Opera Company; London SO; John Barbirolli,
conductor.
WRC R 03668 (mono) 5
11.00 3.9.1 CANNIBALE
20th-century classical/electronic musics, tape
c[ut]ollage, musique concrete, environmental/
industrial/other soundscapes, improvisation,
voice, text-sound poetry, experimental radio
plays/soundtracks, the interface of recent
sound/visual/performance art histories, and
occasional mal/practices in radio...
incl.
Mixed Band Philanthropist: The Impossible
Humane (1986). A ‘hyper-rash’ sound collage
constructed with ‘raw sound material’
submitted by Nurse With Wound, P16.D4, The
Haters, Smegma, Vittore Baroni, Etant
Donnes, Mixed Band Philanthropist, and
others...
RN
Friday 3
MIDNIGHT
ro A STRICTLY CHEMICAL POINT OF
VIE
Selections of music and dialogue from various
outsiders — society's misunderstood
members — recorded live and in constructed
chaotic environments to absorb human nature
from domestic receiving points
2.00 STALKING THE NIGHTMARE
Prepared by Terry Brown
Musique fantastique! Don't be lost in space...
Come with us through a filmic time-tunnel
from the paranoid 50s to the 50th century;
from the fourth dimension to the final frontier;
from the inner mind to the outer limits.
24 2MBS-FM PROGRAMME GUIDE JULY 1987
2MBS-FM PROGRAMME GUIDE JULY 1987 25
3.00 TILL DAWN
Classical music to dispel the darkness
6.00 EARLY MORNING MUSIC
Shorter works from the classical repertoire
with time calls in between
9.00 FROM THE CLASSICAL ERA
Prepared by Ruth Warren
Pleyel, I. (1757-1831). Serenade no 1 in F.
Philharmonic Octet, Strasbourg.
Erato STU 71278 18
Stamitz, K. (1745-1801). Flute concerto in G.
Mikael Helasvuo, flute; Helsinki CO; Jukka-
Pekka Saraste, conductor.
Bis LP 268 18
Beethoven, L. (1770-1827). Eroica variations in
E flat, op 35 (1802). Alfred Brendel, piano.
Turnabout TV S 34400
Mozart, W. (1756-1791). Serenade in G, K525
Eine kleine Nachtmusik (1787). Vienna PO;
Karl Boehm, conductor.
DG 2530 731 19
10.30 AUSTRALIAN CONCERT HALL
The Adelaide Singers
Prepared and presented by Elaine Hamilton
Lovelock, W. (1899-1986). The counterparts;
The island heart; Old Peter Groom.
ABC AC 1014 10
Brumby, C. (b1933). Carol of the holy
innocents; Richard de Castre’s prayer to
Jesus; The Virgin and the Child; A virgin most
pure. Neville Hicks, tenor.
ABC RRCS 1470 13
Ballade for St Cecilia (1971). Cathy Weber,
soprano; Patricia Price, mezzo-soprano; David
Galliver, tenor, Alan McKie, baritone; Adelaide
P Ch; South Australian SO.
ABC RRCS 1467 23
Trad. Three French songs (arr. Hurst).
ABC AC 1014 5
Benjamin, A. (1893-1960). He is the lonely
greatness.
Williamson, M. (b1931). Dignus est agnus.
Genty Stevens, soprano; David Merchant,
organ. (2 above)
ABC RRCS 1470 3
Hill, M. (1892-1986). Psalm 3.
ABC AC 1019 7
Penberthy, J. (b1917). Cantata on Hiroshima
panels (1959). June Carter, mezzo-soprano;
Malcolm Potter, tenor; Robert Dawe, baritone;
South Australian SO.
Festival SFC 80018 17
Adelaide Singers; Patrick Thomas, conductor.
(all above)
12.00 THE GLORY OF VENICE
Seven Venetian Composers
Prepared and presented by Elaine Hamilton
Croce, G. (1557-1609). Dialogo de chori
d’angeli (1586). Toelz Youth Choir; Linde
Consort; Hans-Martin Linde, director.
EMIl-Electrola 1C 063-30 112 3
Merulo, C. (1533-1604). La zambeccara;
Canzona for two lutes. London Early Music
Group; James Tyler, director.
Nonesuch D 79029 6
Donato, B. (c1530-1603). Chi la gagliarda,
donne, vo’imparare. Collegium Vocale,
Cologne; Wolfgang Fromme, director.
CBS 79333 1
Gussago, C. (c1550-1625). Sonata La Leona
(1608). Linde Consort; Hans-Martin Linde,
director.
EMI-Electrola 1C 063-30 112 3
de Selma y Salaverde, B. (c1580-c 1638).
Canzona. Clas Pehrsson, recorder; Jakob
Lindberg, chittarone.
Bis LP 266 6
Passeggiato a due, Vestiva i colli. Schola
Cantorum Basiliensis.
Harmonia Mundi 1C 065-99 917 3
Grillo, G. (dc1622). Canzone. Toelz Youth
Choir; Linde Consort; Hans-Martin Linde,
director.
EMI-Electrola 1C 063-30 112 5
Canzona II a otto (1618). Capella Antiqua
Munich; Konrad Ruhland, director.
Telefunken SAWT 9456 ' 6
Picchi, G. (16th-17th C). Canzon duodecima a
quattro (1625). Schola Cantorum Basiliensis.
Harmonia Mundi 1C 065-99 917
Canzona nona a tre (1625). Musicalische
Compagney.
Telefunken 6.43112 4
Toccata; Canzon terza a due (1625). Schola
Cantorum Basiliensis.
Harmonia Mundi 1C 065-99 917 7
1.00 AUSTRALIAN COMPOSERS
Prepared by John Staats
Werder, F. (b1922). Violin concerto (1956).
Leonard Dommett, violin; Melbourne SO; Fritz
Rieger, conductor.
Festival SFC 80020 31
Hollier, D. (b1934). Musick’s empire. Raymond
Myers, baritone; Sydney SO; Dobbs Franks,
conductor.
Festival L 42017 25
2.00 ROMANTIC AND MODERN BALLET
The music
Prepared and presented by Ray Byron
Adam, A. (1803-1856). Giselle, ballet (1841).
London SO; Anatole Fistoulari, conductor.
Philips 6786 602 82
Rossini, G. (1792-1868). Ballet music from
William Tell (1829). New Philharmonia O;
Charles Mackerras, conductor.
HMV FC 113 9
Debussy, C. (1862-1918). Jeux, ballet (1912).
Concertgebouw O; Bernard Haitink,
conductor.
Philips 9500 674 19
4.00 THE HAPPY HOUR
Prepared by Ross Norton
Bax, A. (1883-1953). The happy forest (1917).
Ulster O; Bryden Thomson, conductor.
CD Chandos CHAN 8307 10
Beethoven, L. (1770-1827). Rondo in B flat
(1795). Menahem Pressler, piano; Vienna
Opera O; Moshe Atzmon, conductor.
Concert Hall SMSBE 2553 10
Bach, J.C. (1735-1782). Sonata in G, op 15 no
5. Rolf Junghanns, Bradford Tracey,
harpsichords.
Nonesuch H 71357 13
Copland, A. (b1900). Rodeo: Four dance
episodes (1942). Detroit SO; Antal Dorati,
conductor.
CD Decca 414 273-2 20
Shostakovich, D. (1906-1975). Polka (1931).
Fitzwilliam String Quartet.
CD Decca 411 940-2 2
5.00 BIRTHDAY TRIBUTES
Prepared by Pat Bell
Nielsen, C. (1865-1931). Flute concerto (1926).
Aurele Nicolet, flute; Gewandhaus O; Kurt
Masur, conductor.
CD Philips 412 728-2 19
Mahler, G. (1860-1911). Serenade; Spring
morning; | walked with joy through a verdant
wood; Vivid imagination (1880-92). Janet
Baker, mezzo-soprano; Geoffrey Parsons,
piano.
Hyperion A 66100 9
Janacek, L. (1854-1928). Suite for string
orchestra (1877). Los Angeles CO; Neville
Marriner, conductor.
Argo ZRG 792 19
Kohaut, C. (1726-1784). Lute concerto in F
(c1760). Julian Bream, lute; Monteverdi O;
John Eliot Gardiner, conductor.
RCA ARL1 1180 14
Respighi, O. (1879-1936). Brazilian
impressions (1928). Philharmonia O; Geoffrey
Simon, conductor.
CD Chandos CHAN 8317 19
Menotti, G. (b1911). Violin concerto in A
minor (1952). Ruggiero Ricci, violin; Pacific
SO; Keith Clark, conductor.
CD Varese Sarabande VCD 47239 28
7.00 SPOTLIGHT
Prepared and presented by Ric Prestidge
In which we turn the spotlight on a particular
aspect of jazz, whether it be soloist or band,
composition or arrangement.
. Among the artists to be heard tonight will be
the Dave Dallwitz Jazz Band; guitarist Michael
Howell; Sonny Criss; and the Gerry Mulligan-
Scott Hamilton Quintet.
Bequests and
Endowments
Many people would like to contribute to
the support of fine music, but find
themselves unable to do so because of
other financial commitments. For those
music lovers a bequest is a way of
making that contribution.
The Music Broadcasting Society of
New South Wales is a young concern.
There are, therefore, no large bequests
from the past from which to derive
additional income. MBS is not supported
by taxes or State contributions, except
for comparatively small sums for special
projects, otherwise relying on volunteers
to function. Membership subscriptions
are inadequate to support the full extent
of MBS activities. 2MBS-FM is far more
than a broadcasting station — it is a
civic force in the community and recog-
nised as the original agency responsible
for FM broadcasts of fine music in New
South Wales.
MBS requires continual supplementa-
tion of its income from endowments and
bequests. Please remember the Music
Broadcasting Society of New South
Wales in your will.
26 2MBS-FM PROGRAMME GUIDE JULY 1987
8.00 NORTH AMERICAN CELEBRATIONS
Prepared and presented by Max Keogh
Tomorrow is America’s Independence Day
and Wednesday was Canada Day. This
programme of American and Canadian works
celebrates both days so special to North
Americans.
A. (b1900). El salon Mexico (1936).
Detroit SO; Antal Dorati, conductor.
CD Decca 414 273-2 11
Brott, A. (61914). Songs of contemplation
(1945). Gaelyne Gabora, soprano; McGill CO;
Alexander Brott, conductor.
Radio Canada transcription 12
Barber, S. (1910-1986). Serenade for strings,
op 1 (1928). Los Angeles CO; Gerard
Schwarz, conductor.
CD Nonesuch 252 801 9
Kenins, T. (b1919). Beatae voces tenebrae
(1977). Bonn Beethovenhalle O; Boris Brott,
conductor. 12
Hetu, J. (b1938). Piano concerto, op 15 (1969).
Robert Silverman, piano; BBC SO; Mario
Bernari, conductor. 18
Radio Canada International RCI 477 (2 above)
Dello Joio, N. (b1913). Homage to Haydn
(1968). Philadelphia O; Eugene Ormandy,
conductor.
Voice of America transcription 18
Hanson, H. (b1896). Symphony no 6 (1968).
Westphalian SO; Siegfried Landau, conductor.
Nonesuch TV S 34534 21
10.00 MUSICKE OF SUNDRIE KINDES
A Song for the Duke of Burgundy
Regis, J. (dc1485). Puisque ma damme.
Gothic Voices; Christopher Page, director.
Hyperion A 66194 3
Dufay, G. (1400-1474). Ce jour de l'an
voudray. Medieval Ensemble of London; Peter
Davies, Timothy Davies, co-directors.
L’Oiseau-Lyre D 237D6 3
Qui latuit. 1
Anon. Kere dame. 2
Syntagma Musicum; Kees Otten, director. (2
above)
Telefunken 6.35257 2
de Binchois, G. (c1400-1460). Dueil
angoisseux. Gothic Voices; Christopher Page,
director.
Hyperion A 66194 8
Dufay, G. Se la face ay pale. Early Music
Consort of London; David Munrow, director.
HMV CSD 3751
Suppliers of fine and commercial
Charles the Bold. (d1477). Ma dame, trop
vous mesprenes. Gothic Voices; Christopher
Page, director.
Hyperion A 66194 2
ae H. (1445-1472). De tous biens
plaine.
des Pres, J. (C1440-1521). De tous biens
plaine.
Agricola, A. (1446-1506). De tous biens plaine.
Early Music Consort of London; David
Munrow, director. (3 above)
HMV SLS 5049 11
Anon. Comme femme desconfortee. Consort
of Musicke; Anthony Rooley, director.
L’Oiseau-Lyre D 186 D 4 T
Morton, R. (c1430-1475). Le souvenir de vous
me tue. Gothic Voices; Christopher Page,
director.
Hyperion A 66194 3
11.00 MUSIC AMONGST FRIENDS
Beethoven, L. (1770-1827). Piano sonata no 14
in C sharp minor, op 27 no 2 Moonlight
(1801). Paul Badura-Skoda, fortepiano.
BASF/Harmonia Mundi 29 20326-3 15
String quartet in E minor, op 59 no 2 (1807).
Italian Quartet.
Philips 6747 139 ; 32
Ps a
Saturday 4
MIDNIGHT
12.00 ALL THROUGH THE NIGHT
A programme of classical music to bring you
pleasure from midnight to the first of
Saturday's programmes
6.00 SATURDAY MORNING MUSIC
Prepared and presented by Jean Reisner
A varied programme of classical music for
relaxed weekend listening
9.00 WHAT'S ON IN MUSIC
Prepared and presented by Janelle Cummins
and Bob Tamock
A weekly programme which mixes music with
a comprehensive round-up of live musical
events happening in Sydney in the
forthcoming week. These include opera,
operetta, musical comedy, ballet and solo,
chamber and orchestral concerts. The
ART MATERIALS
to the Australian Market
since 1954 and for
PROFESSIONAL
CUSTOM FRAMING
2MBS-FM PROGRAMME GUIDE JULY 1987
programme also covers prizes, scholarships,
auditions and educational events in the field of
music.
10.00 IN YOUR GARDEN
Prepared by Ross Norton
Hadjidakis, M. (contemp.) A carnation behind
your ear (1925). Agnes Baitsa, mezzo-
soprano; Athens Experimental O; Stavros
Xarhakos, conductor.
CD DG 419 236-2 3
Strauss, J. (1825-1899). Where the lemon trees
blossom, op 364. Vienna PO; Lorin Maazel,
conductor.
CD DG 410 516-2 9
Nazareth, E. (1863-1934). Flora. Sharon Isbin,
Larry Coryell, Laurindo Almeida, guitars.
CD Pro Arte CDD 235 3
Faure, G. (1845-1924). The butterfly and the
flower (c1865). Felicity Lott, soprano; Graham
Johnson, piano.
CD Harmonia Mundi HMC 901138 2
Sullivan, A. (1842-1900). Imperial march from
Utopia limited. Royal PO; Royston Nash,
conductor.
Decca SKL 5225 6
10.30 SCENES PASTORALES
Prepared by Ruth Warren
Wagner, R. (1813-1883). Forest murmurs, from
Siegfried (1876). Cleveland O; George Szell,
conductor.
CBS GPS 3
Delius, F. (1862-1934). Walk in a paradise
garden, from A village Romeo and Juliet
(1907). Academy of St Martin in the Fields
Neville Marriner, conductor.
Argo ZRG 875 9
Ireland, J. (1879-1962). Concerto pastorale for
strings (1939). Bournemouth Sinfonietta;
George Hurst, conductor
RCA RL 25071 19
Beethoven, L. (1770-1827). Symphony no 6 in
F, op 68, Pastoral (1809). Vienna PO; Karl
Boehm, conductor.
DG 2721 154 46
N
12.00 NEW RELEASES
Our weekend survey of the latest releases and
re-releases from the overseas and local
catalogues features both compact discs and
LPs.
Il
H
2MBS-FM
Artists Supply Co
21 Atchison Street, St Leonards 2065
Telephone 439 4944
83-85 George Street, Sydney 2000
Telephone 27 4505
316 Church Street, Parramatta 2150
Telephone 891 1277
2.00 JAZZ, FROM TRADITIONAL TO
MODERN
Prepared and presented by Bruce Johnson
A programme that ranges over the whole
history of jazz, venturing into blues and
gospel, experimental and avant-garde, and
beyond the confines of America.
Today’s programme includes the music of
Earl Warren, Nick Polites, Louis Armstrong,
Fats Navarro, Tiny Grimes, Ed Cuffee and
Bob Sedergreen.
3.00
N fisica
VIVA
2MBS-FM PRODUCTION
Graeme Skinner presents music by artists
currently visiting or touring in Australia for
Musica Viva in 1987.
4.00 LISTENERS’ CHOICE
Prepared and presented by Barbara Hallett
Listeners to 2MBS-FM may make a request by
phoning 439 4777. Barbara will arrange for its
inclusion in the programme as soon as
possible. You will be advised of this by phone
or by letter, in advance.
6.00 RYDER ROUND FOLK
A weekly magazine of folk music and events
prepared and presented by Dermott Ryder
Every week at this time, Ryder Round Folk
looks at different aspects of traditional and
contemporary folk music at home and abroad,
examines influences and attitudes and
presents ‘live’ music, interviews, news, and up-
to-the-minute details of folk action — Sydney,
state and nationwide.
8.00 ‘A COMPACT DISC’
MAINLY BAROQUE
Prepared and presented by Richard Gaze
Handel, G. (1685-1759). Concerto grosso in D
minor, op 3 no 5. English Concert; Trevor
Pinnock, harpsichord and director.
CD Archiv 413 727-2 10
Purcell, H. (1659-1695). Hail! bright Cecilia
(1692). Jennifer Smith, soprano; Ashley
Stafford, Brian Gordon, counter-tenors; Paul
Elliott, tenor, Stephen Varcoe, baritone; David
Thomas, bass; Monteverdi Choir, English
Baroque Soloists; John Eliot Gardiner,
conductor.
CD Erato ECD 88046 53
Albinoni, T. (1671-1751). Concerto in D.
Ludwig Guettler, trumpet; Friedrich Kircheis,
organ.
CD Capriccio 10 015 8
Scarlatti, D. (1685-1757). Fandango in D
minor; Sonata in G. Genoveva Galvez,
harpsichord.
CD Ensayo ENY CD 3422 11
Haydn, J. (1732-1809). Symphony no 100 in
G, Military. Academy of Ancient Music;
Christopher Hogwood, fortepiano and
director.
CD L’Oiseau-Lyre 411 833-2 24
10.00 THE FOURTH OF JULY
Some Real American Music
Prepared and presented by Bob Goodnow
‘Real’ American music was selected to
represent all Americans, black and red as well
as white, on the National Day of the United
States of America.
Heinrich, A. (1781-1861). Hail to Kentucky.
William Stone, baritone.
Vanguard SRV 349 SD 6
Trad. Moses; Kneebone. Georgia Sea Island
Singers.
New World NW 278 6
Trad. | couldn't hear nobody pray. Leontyne
Price, soprano.
Philips 9500 580 3
Trad. Carrie belle; Laz’rus. Georgia Sea Island
Singers.
New World NW 278 5
Farwell, A. (1872-1952). Navajo war dance, op
102 no 1. New World Singers.
New World NW 213 4
Anon. Alknomook. John Broome, tenor.
New World NW 299 2
Cadman, C. (1881-1946). From the land of the
sky blue waters. William Parker, baritone.
New World NW 213 4
arr. Dodworth, A. (1817-1896). Star spangled
banner, Sontag polka; Sweet home.
Smithsonian Social O; Quadrille Band. 6
Joplin, S. (1868-1917). Maple leaf rag; New
rag. Joshua Rifkin, piano.
Nonesuch H7 14 (2 above)
Fillmore, H. (1881-1956). Trombone family:
Shoutin’ Liza trombone, Mose trombone’s Ah-
finity; Teddy Trombone, a brother to Miss
Trombone; Lassus Trombone, de cullud valet
to Teddy Trombone. Ronald Barron,
trombone.
Nonesuch H 71341 8
Sousa, J. (1854-1932). Stars and stripes
forever. Philadelphia O; Eugene Ormandy,
conductor.
CBS GM 526 3
11.00 SATURDAY NIGHT AT THE
FIREHOUSE
Prepared and presented by Bob Goodnow
Cowell, H. (1897-1955). Saturday night at the
firehouse (1948). Milwaukee SO; Lucas Foss,
conductor.
Pro Arte PAD 102 5
Trad. Back road. Jack Tottle, mandolin.
Rounder 0067 3
Trad. Going down to Cairo. Geula Gill.
Elektra EKS 7206 2
Fillmore, H. (1881-1956). One step (c1920).
Ronald Baron, trombone; Kenneth Cooper,
piano.
Nonesuch H 714 3
Copland, A. (b1900). Saturday night waltz
hoedown. New York PO; Leonard Bernstein,
conductor.
CBS GPS 7 7
11.30 GERSHWIN
Prepared and presented by Bob Goodnow
Gershwin, G. (1898-1937). Jasbo Brown
Blues; Promenade (1936). William Bolcom,
piano.
Nonesuch H 7 14 6
Madrigals (1937). Gregg Smith Singers.
Vox SVBX 5353 4
Lullaby for string quartet. Kohon Quartet.
Vox SVBX 5305
Someone to watch over me (1926). Joan
Morris, mezzo-soprano; William Bolcom,
piano.
Nonesuch H 71358 4
Sunday 5
MIDNIGHT
12.00 ALL THROUGH THE NIGHT
A programme of classical music to bring you
pleasure from midnight to the first of Sunday’s
programmes
6.00 SUNDAY MORNING MUSIC
Prepared and presented by Mike Phillips
A varied programme of classical music for
relaxed listening
9.00 HANDEL AND HAYDN
Handel, G. (1685-1759). Concerto grosso in A,
op 6 no 4 (1739). English Concert; Trevor
Pinnock, harpsichord and director.
Archiv 410 897-1 11
Concerto no 27 in B flat for two wind choirs
and string orchestra (1743). Jean-Francois
Paillard CO; Jean-Francois Paillard,
conductor.
Erato/WRC S 2412 16
Haydn, J. (1732-1809). Cello concerto no 2 in
D, op 101 (1783). Yo Yo Ma, cello; English
CO; Jose-Luis Garcia, conductor.
CBS SBR 236036 25
Symphony no 81 in G (c1784). Australian CO;
Charles Mackerras, conductor.
CBS DBR 00530 30
10.30 SUNDAY MORNING BACH
Prepared by Nicole Aristidis
Bach, J. S. (1685-1750). Musikalisches Opfer,
BWV1079 (1747). Peter-Lukas Graf, flute; Ilse
Mathieu, Hansheinz Schneeberger, violins;
Walter Kaegi, viola; Rolf Looser, cello; Joerg
Ewald Daehler, Christine Daxelhofer, Ernst
Gerber, harpsichords.
Claves LP 30 198 53
11.30 OPERA BUFFET
2MBS-FM PRODUCTION
A weekly operatic smorgasbord, featuring
stars of Australian Opera, as well as news,
views, ‘what's on’ and reviews. A painless way
of keeping up to date with all things operatic.
12.00 THE CLASSIC JAZZ ERA
Dave Dallwitz: South Australian Jazzman
Prepared and presented by Bill Haesler
Dave Dallwitz (along with Graeme Bell, Ade
Monsbourgh and Tom Pickering) has made
important contributions to Australian jazz
music, particularly in the field of composition
and arrangement.
In those mouldy fygge days of the 1950s
many jazz enthusiasts decried the musical
efforts of Dave Dallwitz as being too arranged,
yet they accepted the same thing from Jelly
Roll Morton, Duke Ellington, Louis Armstrong
and Luis Russell.
Today we recognise what Dave Dallwitz,
through perseverance over many years, was
attempting to do; and there is little doubt
about his contribution to the Australian jazz
sound. His compositions are appreciated
world-wide, and it is a sad fact that his
recordings sell better overseas than they do
here.
RS
2MBS-FM PROGRAMME GUIDE JULY 1987
Dave Dallwitz was born in Adelaide in
October 1914. He was an accomplished
musician and artist before he discovered jazz
in 1945. As a result the idea of the first
Australian Jazz Convention was born: a joint
venture with the Bell Brothers aided by
enthusiastic Melbourne musicians, Victorian
and Interstate followers.
The Southem Jazz Group was organised in
1945 with Dave Dallwitz as trombone-playing
leader, and was one of Australia’s top jazz
bands until its demise in June 1952.
At this time Dallwitz retired from jazz, but not
from music. He continued to play with the
Burnside Symphony Orchestra, provided
music for revues, and studied music
composition at the Elder Conservatorium in
Adelaide. In 1972 he returned to jazz, and
since that time has added to his early jazz
compositions, particularly with ragtime tunes
and jazz with an Australian theme.
Today's programme will cover Dave Dallwitz’s
contribution to Australian jazz from the first
records made in 1946 until the present day. It
includes items from The Southern Jazz
Group, Dusty Rhodes, Lazy Ade’s Late Hour
Boys and the Dave Dallwitz Jazzmen.
1.00 THE FLUTE SOCIETY PROGRAMME
Profile: Geoffrey Collins
Prepared and presented by Belinda Webster
Geoffrey Collins will be talking about his
career, his approach to the flute and the
music in this programme.
Haydn, J. (1732-1809). Trio in G, Hob.IV:9
(1784). Australia Ensemble.
2MBS-FM recording 8
Plush, V. (61950). Chu no mai (1974).
MBS 6
Ravel, M. (1875-1937). Introduction and
allegro (1905). Australia Ensemble.
2MBS-FM recording 10
Vine, C. (b1954). Miniature III (1983).
Flederman.
Larrikin LRF 156 10
Geoffrey Collins, flute. (all above)
2.00 PHILHARMONIA IN CONCERT
A series of programmes in which we hear
performances from the Subscription Concerts
of the Sydney Philharmonia Society
Bach, J. S. (1685-1750). Singet dem Herrn,
motet, BWV225. Sydney Philharmonia Motet
Choir and Instrumental Ensemble; David
Willcocks, conductor. 14
Tallis, T. (c1505-1585). Motets: Salvator
mundi; If ye love me.
Byrd, W. (1543-1623). Motets: Haec dies; Ave
verum corpus; Sing joyfully unto God.
Sydney Philharmonia Motet Choir, David
Willcocks, conductor.
Handel, G. (1685-1759). Dixit Dominus.
Romola Tyrrell, Judy Board, sopranos; Narelle
Tapping, contralto; John Stewart, tenor,
Robert Rowling, bass; Sydney Philharmonia
Motet Choir; Australian CO; David Willcocks,
conductor.
Haydn, J. (1732-1809). Mass no 9 in D minor,
Nelson (1798). Eileen Hannan, soprano;
Margreta Elkins, mezzo-soprano; Richard
Barnard, tenor; Raymond Myers, baritone;
Sydney Philharmonia Choir & O; David
Willcocks, conductor. 36
SPS recordings. (5 above)
4.00 BENJAMIN BRITTEN’S CONCERT
Prepared by Ida Ferson
Britten, B. (1913-1976). String quartet no 2 in
C, op 36 (1945). Amadeus Quartet.
Decca SXL 6893 28
Diversions, 11 variations on a theme for left
hand, op 21 (1940). Julius Katchen, piano;
London SO; Benjamin Britten, conductor.
Decca ECS 799 24
5.00 EVENSONG
Prepared and presented by Ann Ramsay
Fanshawe, D. (b1943). The Lord’s prayer from
African sanctus (1972). Barbara Gibson,
soprano. 3
Walford, Davies H. (1869-1941). God be in my
head; Lord, it belongs not to my care. Brenda
Grisdale, soprano; Elizabeth Lama, contralto;
Anthony Peacock, tenor; James Johnson,
bass.
4
Copland, A. (b1900). Simple gifts. 2
Faure, G. (1845-1924). Cantique de Jean
Racine (1873).
Abbey Singers; Andrew Seivewright, director.
(5 above)
Alpha ACA 528
Bach, J. S. (1685-1750). Organ chorale
prelude: Liebster Jesu wir sind hier.
Various. Hymns: Ye servants of God your
master proclaim; Angel voices, ever singing;
Christ is our cornerstone; Praise to the holiest
in the height.
St Botolph’s Church Choir, Boston,
Lincolnshire. (5 above)
BBC REC 338 12
Hadley, P. (1899-1973). My beloved spake. 3
Stanford, C. (1852-1924). Evening service in
G: Magnificat; Nunc dimittis. 9
Howells, H. (1892-1982). Like as the hart. 6
Christchurch Cathedral Choir, Oxford; Francis
Grier, director. (3 above)
ASV ALH 935
Mozart, W. (1756-1791). Vesperae solennes de
confessore, K339. Kiri Te Kanawa, soprano;
Elizabeth Bainbridge, contralto; Ryland
Davies, tenor, Gwynne Howell, bass; London
Ch &SO; John Constable, organ; Colin Davis,
conductor.
Philips 6500 271 29
Various. Hymns: Blest are the pure in heart;
The royal banners forward go. St Botolph’s
Church Choir, Boston, Lincolnshire.
BBC REC 338 5
6.30 SUNDAY INTERLUDE
Prepared and presented by Ann Ramsay
Schumann, R. (1810-1856). Symphonic
studies in the form of variations, op 13 (1852).
Ivo Pogorelich, piano.
DG 2532 036 27
7.00 MUSIC WEEKLY
2MBS-FM PRODUCTION
A magazine programme bringing you
interviews with people who write, play,
conduct, produce, teach, review and enjoy
music; notable excerpts from our disc and
tape recordings; notice of events, passings,
forthcomings and retrospects, to help in
keeping you up-to-date about people, places,
performances, previews and postscripts.
8.00 AUSTRALIAN COMPOSERS
Prepared by John Staats
Conyngham, B. (b1944). Water footsteps time
(1971). Melbourne SO; John Hopkins,
conductor.
Festival L 42020 20
Penberthy, J. (b1917). Saxophone concerto
(1970). Pete Clinch, saxophone; West
Australian SO; Verdon Williams, conductor.
Festival L 42019 8
Tibbits, G. (b1933). String quartet 1 (1972).
Austral Quartet.
ABC AC 1001 20
9.00 VERSIONS AND VARIATIONS
Prepared by John O’Connor
Handel, G. (1685-1759). Concerto no 3 in D.
London SO; Charles Mackerras, conductor.
HMC/WRC QR 05297 9
Harpsichord suite no 5 in E. Kenneth Gilbert,
harpsichord.
Harmonia Mundi HM 447 12
Giuliani, M. (1780-1840). Variations on a
theme of Handel, op 107 (1827). Pepe
Romero, guitar.
Philips 9500 513 8
Spohr, L. (1754-1859). Octet in E, op 32
(1820). Nash Ensemble.
CRD 1054 27
10.00 CHAMBER MUSIC
Prepared by Gerda Hoffmann
Mendelssohn, F. (1809-1847). String quartet in
F minor, op 80 (1847). Bartholdy Quartet.
Acanta 670 22 913
Schubert, F. (1797-1828). Piano trio in E flat,
D929 (1827). Yehudi Menuhin, violin; Maurice
Gendron, cello; Hephzibah Menuhin, piano.
WRC S 5286
Brahms, J. (1833-1897). Clarinet sonata, op
120 no 2 (1894). Donald Westlake, clarinet;
Geoffrey Parsons, piano.
RCA VRL 0341 21
11.30 PAVANE FOR AN ANCIENT PEOPLE
Prepared by Elaine Hamilton
Faure, G. (1845-1924). Pavane, op 50 (1887).
Romola Costantino, piano.
HMV OASD 7545
Antili, J. (1904-1986). Five Australian lyrics
(1953). Stewart Harvey, baritone; Henri Penn,
iano.
WRC A 601 10
Ravel, M. (1875-1937). Pavane for a dead
princess (1899). Romola Costantino, piano.
HMV OASD 7545 7
[e>]
2MBS-FM PROGRAMME GUIDE JULY 1987 29
"P SE
Monday 6
MIDNIGHT
12.00 ALL THROUGH THE NIGHT
A programme of classical music to bring you
pleasure from midnight to the first of
Monday's programmes
6.00 EARLY MORNING MUSIC
Shorter works from the classical repertoire
with time calls in between
9.00 FOUR OF A KIND
Prepared by Bob Goodnow
Bozza, E. (b1905). Three pieces. Westphalian
Trombone Quartet.
DG L 3094 12
Rivier, J. (01896). Grave; Presto. Netherlands
Saxophone Quartet.
Nonesuch H 71402 7
Shaw, L. (b1930) Fripperies. Buffalo Horn
Club.
Mark MES 29088 7
9.30 AUSTRALIAN OPERA CURTAIN TIME
Verdi, G. (1813-1901). Dall’infame
banchetto ... tu del mio Carlo from |
Masnadieri. Joan Sutherland, soprano; John
Dobson, tenor; London SO; Richard Bonynge,
conductor.
Decca SXLA 6190 9
Donizetti, G. (1797-1848). Una furtiva lagrima
from The elixir of love. Thomas Edmonds,
tenor, South Australian SO; James
Christiansen, conductor. 3
B. (1824-1884). Marenka’s aria from
The bartered bride. Glenys Fowles, soprano;
Tasmanian SO; Thomas Mayer, conductor.
EMI YPRX 2364 6
Kuneke, E. (1885-1953). I'm only a strolling
vagabond from The cousin from nowhere.
Jon Weaving, tenor; Queensland SO; Vanco
Cavdarksi, conductor.
ABC ABCL 8112 3
Verdi, G. E strano... Ah fors’e lui... sempre
libera from La Traviata. Joan Sutherland,
soprano; Carlo Bergonzi, tenor, Maggio
Musicale O Florence; John Pritchard,
conductor.
Decca SXLA 6190 9
Mussorgsky, M. (1839-1881). Farewell and
death of Boris from Boris Godounov. Neil
Warren-Smith, bass; Queensland SO; Wilfred
Lehmann, conductor. 8
Verdi, G. lago’s credo from Otello. John
Shaw, baritone; Melbourne SO; Leonard
Dommett, conductor.
EMI YPRX 2364 5
Kaiman, E (1882-1953). Sag ja mein Lieb from
Countess Maritza. Monique Brynnel, soprano;
Jon Weaving, tenor; Queensland SO.
ABC ABCL 8112 5
Verdi, G. Ritorna vincitor from Aida. Marilyn
Richardson, soprano; Tasmanian SO.
EMI YPRX 2369 7
Vanco Cavdarski, conductor. (2 above)
10.30 CZECH CONCERT HALL
Prepared by Ruth Warren
Dvorak, A. (1841-1904). Overture, My home,
op 62a (1882). Czech PO; Vaclav Neumann,
conductor.
Pro Arte PAL 1054 10
Ryba, J. (1765-1815). Mass Pastorale.
Hamburg Boys’ Choir; Juergen Henschen,
organ; St Nickolai CO; Ekkehard Richter,
conductor.
Musica Viva MV 30 1099 37
Smetana, B. (1824-1884). Czech dances: no 1
in F; no 2 in B flat (1887). Jan Novotny, piano.
Supraphon 1 11 1901/2 7
Krommer-Kramar, F. (1759-1884). Symphony
no 2 in D, op 40 (1802-03). Prague CO;
Frantiscek Vajnar, conductor.
Supraphon 1110 2809 G
12.00 A JAZZ SANDWICH
Prepared and presented by Derrick Davey
Among the dozen or so musicians we shall
hear today will be such diverse characters as
pianist, Milt Buckner, bass player, Major
Holley and trumpeter, Lee Morgan.
2MBS-FM
28
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2MBS-FM PROGRAMME GUIDE JULY 1987
1.00 RENAISSANCE DELIGHTS
Prepared and presented by Elaine Hamilton
Susato, T. (d c1561). Pavane, Mille regretz;
Ronde; Pavane, Si pas souffrire; Ronde and
saltarelle; Hoboeken dans; Ronde, II estoit une
filette (1551). Collegium Aureum.
Harmonia Mundi 1C 065-99 742 12
Willaert, A. (c1490-1562). O dolce vita mia
(1545). Glenda Simpson, mezzo-soprano;
London Early Music Group; James Tyler,
director.
Nonesuch D 79029 6
Gabrieli, G. (1557-1612). Canzona duodecima;
Canzona per sonare no 28; Sonata pian e
forte. Cleveland, Philadelphia and Chicago
Brass Ensembles.
CBS 60265 8
Attaignant, P. (c1500-1553). Tordion; Pavane;
Galliarde (1529). Collegium Aureum.
Harmonia Mundi 1C 065-99 742 5
rot T. (1557-1603). It was a lover and his
ass.
Wilson, J. (1597-1674). Take, O take those lips
away.
Morley, T. O mistress mine.
Weelkes, T. (1575-1623). Strike it up, Tabor.
Anon. (16th C). Willow song.
Johnson, R. (c1583-1633). Where the bee
sucks.
Anon. (16th C). How should | your true love
know?
Cutting, F. (16th-17th C). Walsingham
variations.
Anon. (16th C). We be soldiers three.
Deller Consort; Alfred Deller, counter-tenor
and director.
Harmonia Mundi HM 260 (9 above) 20
2.00 AUSTRALIA WIDE
The Huntington Chamber Orchestra
Recorded at the Huntington Winery, Mudgee,
December 1985 and 1986, produced by
Charles Barton.
Handel, G. (1685-1759). Concerto, op 6 no
11.
Shostakovich, D. (1906-1975). String quartet
no 8 in C minor, op 110 (1960).
Elgar, E. (1857-1934). Serenade for strings in
17
E minor, op 20 (1892). 10
Bach, J.S. (1685-1750). Brandenburg concerto
no 3inG. 12
Britten, B. (1913-1976). Simple symphony, op
4. (1933-34). 16
Huntington CO. (All above)
From the National Programme Service of the
PBAA
3.30 MELODIC MODERNS
Prepared and presented by Elaine Hamilton
Kabalevsky, D. (1904-1987). Spring,
symphonic poem, op 65. Moscow PO; Dmitri
Kabalevsky, conductor.
WRC R 03157 9
Arold, M. (b1921). Guitar concerto, op 67
(1961). John Williams, guitar; London
Sinfonietta; Elgar Howarth, conductor.
CBS SBR 235952 3
Barber, S. (1910-1981). Music for a scene from
Shelley (1933). West Australian SO; David
Measham, conductor.
Unicorn UNS 256 10
Khachaturian, A. (1903-1978). Masquerade,
orchestral suite. Jiri Travnicek, violin; Brno
State PO; Jiri Belohlavek, conductor.
Supraphon 1 10 1226 19
Britten, B. (1913-1976). Gloriana suite, op 53a.
John Williams, oboe; Bournemouth SO; Uri
jal, conductor.
HMV ASD 4073 25
5.00 WORKS DONE FOR TODAY
Prepared by Michael Sheehan
Bach, J.S. (1685-1750). Magnificat in D,
BWV243 (c1731). Lucia Popp, Anne Pashley,
sopranos; Janet Baker, contralto; Robert Tear,
tenor, Thomas Hemsley, bass; New
Philharmonia Ch & O; Daniel Barenboim,
conductor.
EMI 1C 037-01 991 30
Bruckner, A. (1824-1896). Symphony no 7 in
E (1883). Vienna PO; Karl Boehm, conductor.
DG 413 978-1 66
Vivaldi, A. (1678-1741). Let the terrors of evil
be far off. Teresa Berganza, soprano; English
CO; Antoni Ros-Marba, conductor.
HNH 4012 16
7.00 YOUR MONDAY DATE
Prepared and presented by Geoff Gilbert
Jazz from Bunk to The Bird
8.00 MUSIC THAT'S BAND
Prepared and presented by Owen Fisher
Badings, H. Reflections. 14
Penders, J. The miller. 8
Goldsmith, J. The wind and the lion. 10
Ponchielli, A. (1834-1886). The dance of the
hours from La gioconda (arr. Hanniken).
Royal Symphonic Band, Sophia's
Vereeniging; Loon op Zand, conductor. (all
above) 9
Radio Nederland 85112
9.00 STORMY MONDAY
Two hours of the best in blues, R’n’B, soul,
gospel, cajun and zydeco, with regular
specials on artists, bands and musical styles.
There's a weekly guide to the local blues and
R’n’B scene, and features on new releases, as
well as occasional live broadcasts from our
Studio C.
11.00 CROSSING THE DIVIDE
Mills, R. (b1949). Sonata for flute, cello and
harpsichord. Brisbane Baroque Trio.
Grevillea GRV 1082 15
Debussy, C. (1862-1918). Proses lyriques: De
reve; De greve (1892-93). Lauris Elms,
contralto; Geoffrey Parsons, piano.
ABC WRC R 02420 10
Hill, A. (1870-1960). String quartet no 17 in C
(1938). Austral Quartet.
ABC RCS 1468 16
Debussy, C. Proses lyriques: De fleurs; De
soir (1892-93).
ABC WRC R02420 10
Vellones, P. (1889-1939). Rhapsodie, op 92.
Peter Clinch, alto saxophone; John Seal, harp;
Huw Jones, celesta; Margaret Schofield,
percussion.
Move MS 3041 6
Boccherini, L. (1743-1805). String quartet no
52 in A, op 48 no 6. Boccherini Ensemble.
Nonesuch D 79025 24
Kramar, F. (1759-1831). Quartet in E flat, op
46. Jiri Seidal, bassoon; Suk Quartet
members.
Supraphon 111 2824 G 17
Mozart, W. (1756-1791). String quartet in G,
K156 (1772-73). Sequoia Quartet.
Nonesuch D 79026 12
VERDI
LA FORZA DEL DESTINO
Plowr ight Baltsa
Carreras * Bruson + Pons
Burchuladze + Tomlinson
Philharmonia Orchestra
Giuseppe Sinopoli
3 ŒD 419 203-2 DDD
3 © 419 203-1 ° 2 -4 419 203-4
RICHARD STRAUSS
ARIADNE AUF NAXOS `
Tomowa-Sintow « Battle
Baltsa + Lakes: Prey
Vienna Philharmonic
James Levine
2 CD 419 225-2 DDD
20) 419 225-1 + 21:3
HANDEL
2ITALIANCANTATAS |
Smith * Elwes
English Concert
Trevor Pinnock
419 T 36- 2 DDD
VERDI
IL CORSARO
1419 225-
Caballe + Norman
Carreras * Mastromei
Philharmonia Orchestra
Lamberto Gardelli
2 (D416 398-1 2 ADD_
WAGNER
TANNHAUSER
Windg: Von: Silj: 1
Waechter : Bumbry « Greind]
Bayreuth Festival 1962
Wolfg: ing Sawalhi
3 CD 420 122- 2ADD_
MOZART
THE ABDUCTION FROM THE
SERAGLIO
Gruberova « Battle
Winbergh : Zednik * Talvela
Vienna Philharmonic
Georg Solti
20D 417 402-2 DDD
20417 402-1 `
WAG NER
THE MASTERSINGERS
OF NURNBERG
Bailey « e Kollo* Bode
Hamari e Weikl + Moll
Vienna Philharmonie
Georg Solti
4 CD 417 497- 2 ADD Bea
TCHAIKOVSKY
EUGENE ONEGIN
Kubiak + Weikl* Burrows
Hamari* Ghiaurov * Senechal
Covent Garden Opera Orchestra
Georg Solti S
2 CD 417 413-2 ADD `
STRAVINSKY
SYMPHONY INC
SYMPONY IN 3 MOVEMENTS
Bavarian RSO
Colin Davis
416 985-2 DDD _
Marketed in Australia by PolyGram Records
2MBS-FM PROGRAMME GUIDE JULY 1987
31
EE
Tuesday 7
1.00 BUSH BAROQUE
A broad mix of contemporary and traditional
folk-based music from Australia and overseas,
with emphasis on Australian content.
Interviews and artist profiles of local and
visiting performers/writers.
Specials on other well-known and/or
interesting performers/writers — musical
documentaries.
Contemporary pop music, reflecting folk
roots.
Australian poetry from Anonymous to
Contemporary poets.
Interviews/readings of Australian poets.
3.00 TILL DAWN
Classical music to dispel the darkness
6.00 EARLY MORNING MUSIC
Shorter works from the classical repertoire
with time calls in between
9.00 THE WORLD OF CHILDREN (1)
Prepared and presented by Marie-Louise
Stenstroem
Elgar, E (1857-1934). Dream children, op 43:
no 1; no 2. Bournemouth Sinfonietta; Norman
del Mar, conductor.
RCA LRL1 5133 8
Mozart, W. (1756-1791). Symphony no 1 in E
flat, K16 (1764). London PO; Erich Leinsdorf,
conductor.
WRC S 4673 9
Koshkin, N. (b1956). The Prince's toys, suite
(1980). Viadimir Mikulka, guitar.
BIS LP 240 27
Faure, G. (1845-1924). Dolly suite. Robert
Casadesus, Gaby Casadesus, piano.
CBS 13AC 1071 B 14
Dohnanyi, E. (1877-1960). Variations on a
nursery song, op 25. Philippe Entremont,
piano; National PO; Okko Kamu, conductor.
CBS 76910 25
10.30 THE DETROIT SYMPHONY
Prepared by Bob Goodnow
Copland, A. (b1900). Fanfare for the common
man (1944). Antal Dorati, conductor.
CD Decca 414 273-2 3
Mendelssohn, F. (1809-1847). Symphony no 5
in D minor op 107, Reformation (1832). Paul
Paray, conductor.
Concert Hall SMS 2478 29
Strauss, R. (1864-1949). Death and
transfiguration (1889).
CD Decca 400 085-2 22
Bartok, B. (1881-1945). The miraculous
mandarin suite (1919). 31
Decca 411 894-1
Antal Dorati, conductor. (2 above)
Detroit SO. (all above)
12.00 JAZZ FROM HUNGARY
of the Hungarian Consul, Sydney
Prepared by Andrew Molnar
Various. Yes sir, that’s my baby; When I’m
sixty-four; Chewing gum; Black eyes; Just a
gigolo; Back home again in Indiana (1982).
Banko Dixieland Band.
Krem SLPX 17727 23
Csik, G. (b1945). Rhythmic changes (1977).
Gusztav Csik Quartet.
Pepita SLPX 17506 8
Various. Flying on sledge; Black and blue;
Clown; Down by the riverside; Carry me back;
Chinatown my Chinatown. Banko Dixieland
Band.
Krem SLPX 17727 22
1.00 RAVEL
Prepared and presented by Margaret Reid,
Ravel, M. (1875-1937). A ship on the ocean
(1905).
DG 2563 421 8
Couperin’s tomb (1917).
DG 2563 419 17
Boston SO; Seiji Ozawa, conductor. (2 above)
Gaspard de la nuit (1908). Ivo Pogorelich,
piano.
DG 2532 093 24
Alborada del gracioso (1905). Boston SO; Seiji
Ozawa, conductor.
DG 2563 421 8
2.00 MUSIC WEEKLY
2MBS-FM PRODUCTION
A repeat of last Sunday’s programme of
interviews with people in and behind the
music
3.00 MASTERWORKS
By courtesy of CBS Records
CEs
©
Mahler, G. (1860-1911). Symphony no 3 in D
minor (1895-96). Agnes Baltsa, mezzo-
soprano; Vienna Boys’ Choir; Ladies of Vienna
State Opera Ch; Josef Pomberger, posthorn;
Vienna PO; Lorin Maazel, conductor.
CBS 12M 42178 111
, 5.00 TUESDAY CONCERT
Prepared and presented by David Worobin
Handel, G. (1685-1759). Concerto grosso in F,
op 3 no 4 (1716). Academy of St Martin in the
Fields; Neville Marriner, conductor.
Philips 6514 114 11
Haydn, J. (1732-1809). Cello concerto in C,
Hob.VIIb:1 (1765-69). Miklos Perenyi, cello;
Franz Liszt CO; Janos Rolla, director.
Hungaroton SLPX 12121 24
Mendelssohn, F. (1809-1847). Violin concerto
in E minor, op 64 (1845). Kyung Wha Chung,
violin; Montreal SO; Charles Dutoit,
conductor.
Decca SXDL 7558 26
Mozart, W. (1756-1791). Serenade in D, K320
Posthorn (1779). Collegium Aureum;
Franzjosef Maier, director.
Harmonia Mundi 1C 065-99 697 45
7.00 ROBIN’S NEST OF JAZZ
Prepared and presented by Robin Forsaith
This is an hour of mainstream-to-modern jazz.
Featured tonight will be The Heath Brothers
live at the Public Theatre, and Expressions of
life, the latter recorded for CBS in 1981. One
of the tracks being played is entitled Use it
don't abuse it.
8.00 NEW RELEASES
Our weekly survey of the latest releases and
re-releases from the overseas and local
catalogues features both compact discs and
LPs.
10.00 CHAMBER MUSIC
Mozart to Bartok
Prepared and presented by Ray Byron
Haydn, J. (1732-1809). String quartet in G, op
77 no 1 (1799). Aeolian Quartet.
Argo HDNP 60 23
Mendelssohn, F. (1809-1847). Piano trio no 1
in D minor, op 49 (1839). Isaac Stern, violin;
Leonard Rose, cello; Eugene Istomin, piano.
CBS/MFP CFP 4067 2
Brahms, J. (1833-1897). Trio in E flat, op 40
(1865). Barry Tuckwell, horn; Itzhak Perlman,
violin; Viadimir Ashkenazy, piano.
Decca SXL 6408 28
Bartok, B. (1881-1945). String quartet no 2 in
A minor, op 17 (1917). Tokyo Quartet.
DG 2740 235 29
BEER
Wednesday 8
MIDNIGHT
12.00 EARDRUM
An African music allsorts from bush ballads to
electric dance in a thousand styles (including
certain hybrids: salsa, merengue, Afro-
Arab...)
In resisting the rock-funk crossover, Eardum
uses the Ghanaian principle of Sankofa (go
back and retrieve).
Each programme presents a sampling of the
music of a particular country, instrument,
performer, and so on. Forgotten classics are a
specialty ...
1.00 THE POUNDING SYSTEM
Prepared by Ossie Borthwick, Clay Caplice
and Richard Fielding
The island of Jamaica is the birthplace of
what is perhaps the most influential
contemporary Afro-Caribbean music, reggae.
Owing much to American rhythm and blues,
jazz, and soul, reggae’s antecedents ska and
rocksteady developed unique form through
the musicians’ increased African
consciousness and the influence of the
Rastafarian religion.
Since the late 50s the lifeblood of the music
has been the mobile discotheques, known as
sound systems, that travel the playing dance
halls and yards and introduce various sub-
genres such as dub (re-mixed instrumentals
powered by hard bass and drum rhythms).
32
2MBS-FM PROGRAMME GUIDE JULY 1987
The associated DJ style (talking over dub
tracks) and lovers rock (softer, romantic
moods) appeal to enthusiastic young
audiences. The programme attempts to cover
the main innovations in reggae from the early
days of ska to the latest lethal sounds. Killer...
3.00 NEW RELEASES
A repeat of last night’s survey of the latest LPs
and compact discs from the overseas and
local record catalogues
5.00 MUSIC WEEKLY
2MBS-FM PRODUCTION
A repeat of last Sunday’s magazine
programme of interviews with people who
write, play, conduct, produce, teach, review
and enjoy music, to keep you up-to-date
about people, places, performances, previews
and postscripts.
6.00 EARLY MORNING MUSIC
Shorter works from the classical repertoire
with time calls in between
9.00 MUSIC FROM SWEDEN
Prepared by Ruth Warren
Rosenberg, H. (b1892). Orpheus in town,
ballet suite: The rhythm of the time; Tango;
Finale. Swedish Radio SO; Stig Westerberg,
conductor.
Caprice CAP 1121 6
Wiren, D. (61905). Serenade in C, op 11
(1937). RIAS Sinfonietta; Jiri Starek,
conductor.
Schwann VMS 2081 14
Stenhammar, W. (1871-1927). Two
sentimental romances in A, op 28 no 1 (1910).
Arve Tellefsen, violin; Swedish Radio SO; Stig
Westerberg, conductor.
Caprice CAP 1121 7
Petterson, A. (1911-1980). Symphony no 8
(1969). Baltimore SO; Sergiu Comissiona,
conductor.
DG 2531 176 52
10.30 CONCERT HALL
Prepared by Ruth Warren
Sculthorpe, P. (b1929). Sun music IV (1967).
Melbourne SO; John Hopkins, conductor.
HMV OASD 7604 16
Gliere, R. (1875-1956). Harp concerto, op 74
(1938). Osian Ellis, harp; London SO; Richard
Bonynge, conductor.
WRC 05898 26
Respighi, O. (1879-1936). Three preludes
(1919). Sonya Hanke, piano.
Hong Kong 6.220176 16
Reger, M. (1873-1916). Variations and fugue
on a theme by J. A. Hiller, op 100 (1907).
Bavarian Radio SO; Colin Davis, conductor.
Orfeo S 090 814A 32
12.00 THE SOUND OF JAZZ
Prepared and presented by Kevin Jones
Trombonist Lawrence Brown’s warm and
tender treatment of Summertime highlights
this 1959 big band date of the music of
Gershwin’s folk opera Porgy and Bess (Swing
SW 8414).
Trumpeter Erskine Hawkins, billed as ‘the 20th
century Gabriel’, led a big band from 1936
until the mid-fifties, enjoying considerable
popularity in the US, particularly with
coloured audiences. In the first of a four-week
series we look at his 1938 output for RCA
German Wine
and
Good Music
GERMAN WINE
INFORMATION SERVICE
represented by
GERMAN-AUSTRALIAN CHAMBER
OF INDUSTRY & COMMERCE
Sydney
GPO Box 4247
Melbourne
5th Floor
Tel: (02) 29 3998, 293999 606 St. Kilda Road
Tx: AA25987
Tel: (03) 51 5826
Telefax: (02) 290 1323 Telefax: (03) 51 1835
——AT YOUR SERVICE ———
Victor (The Complete Erskine Hawkins. RCA
PM 43257).
Gershwin, G. & I. Summertime; A red-headed
woman; Oh Bess, where's my Bess; A woman
is a sometime thing; Oh Lawd, I’m on my way
(1959). Rex Stewart; Cootie Williams.
Swing SW 8414 (mono)
Davis, J. Rockin’ rollers jubilee (1938).
Davis-Coots. lm madly in love with you.
Davis-Handman. Let this be a warning to you.
Davis-Coots. Miss Hallelujah Brown.
Matthews, A. Weary blues.
Morton, F. King Porter stomp.
Hawkins-Range-Parish. Strictly swing.
Donohue-Hensen-Bryanth-Selsman. Do you
wanna jump, children?
Erskine Hawkins and his O. (8 above)
RCA PM 43257 (mono)
2MBS-FM
2MBS-FM PROGRAMME GUIDE JULY 1987
E
1.00 WEDNESDAY MATINEE
From the Si
Prepared and presented by Audrey Manning
Glazunov, A. (1865-1881). Overture no 1 on
three Greek themes, op 3 (1887). Hong Kong
PO; Kenneth Schermerhom, conductor.
Hong Kong 6.220309 13
Mussorgsky, M. (1839-1881). Scherzo in C
sharp minor, Memories of childhood (1857-
65). Radoslav Kvapil, piano.
Aurora AUR 5066 11
Tchaikovsky, P. (1840-1893). Suite no 4, op 61
Mozartiana, (1887). USSR TV &R Large SO;
Vladimir Fedosyeyev, conductor.
Melodiya C10 09223 4 22
Borodin, A. (1833-1887). Piano quintet in C
minor (1862). Borodin Quartet; Mikhail
Voskresensky, piano.
Melodiya C10 19463 009 21
Tchaikovsky, P. Symphony no 4 in F minor,
op 36 (1877). Chicago SO; Georg Solti,
conductor.
CD Decca 414 192-2 42
3.00 A SUMMER THAT NEVER CAME
Prepared by Bruce Roberts
Stravinsky, |. (1882-1971). Capriccio (1949).
Klara Havnkova, piano; Bratislava Radio SO;
` Otarkar Trhlik, conductor.
Aurora 5052 18
The rite of spring (1913). Sydney SO; Willem
van Otterloo, conductor.
ABC AO 7041 33
Circus polka (1942). CBC SO; Igor Stravinsky,
conductor.
CBS SBRG 72299 3
4.00 A MUSICAL x] KIT
By courtesy of Avan Guard Music Pty Ltd
Prepared and presented by Marie-Louise
Stenstroem
Jolivet, A. (1905-1974). Serenade (1945).
Bergen Wind Quintet.
BIS LP 291 17
Handel, G. (1685-1759). Dixit Dominus (1707).
Hillevi Martinpelto, soprano; Anne Sofie von
Otter, contralto; Stockholm Bach Choir,
Drottningholm Baroque Ensemble; Anders
Oehrwall, conductor.
BIS LP 322 32
Stravinsky, L (1882-1971). Berceuse; Finale,
from The firebird suite (1919). Gothenburg
SO; Issay Dobrowen, conductor.
BIS LP 301/03 7
5.00 EARLY EVENING CONCERT
Prepared and presented by Brendan Walsh
Schmidt, F. (1874-1939). Intermezzo from
Notre Dame (1914). Dresden State O; Silvio
Varviso, conductor.
CD Philips 412 236-2 5
Holst, G. (1874-1934). Venus from The planets
suite, op 32 (1916). Los Angeles PO; Zubin
Mehta, conductor.
Decca VIV 21 8
Schubert, F. (1797-1828). Marche militaire.
Vienna PO; Hans Knappertsbusch, conductor.
Decca VIV 69 5
Harty, H. (1879-1941). In Ireland fantasy. Colin
Fleming, flute; Denise Kelly, harp; Ulster O;
Bryden Thomson, conductor.
Chandos ABRD 1004 9
Puccini, G. (1858-1924). Crisantemi. Berlin
Radio SO; Riccardo Chailly, conductor.
CD Decca 410 007-2 7
Berlioz, H. (1803-1869). Overture: Beatrice and
Benedict (1862). Boston SO; Charles Munch,
conductor.
Time-Life STL 545 7
Brahms, J. (1833-1897). Geistliches Lied, op
30. Christ Church Cathedral Choir, Oxford;
Colin Walsh, organ; Simon Preston,
conductor.
Decca VIV 45 6
B. (1824-1884). The Moldau from
Ma Vlast (1879). London SO; Stanley Black,
conductor.
Decca VIV 20 12
Donizetti, G. (1797-1848). Quoi! Vous
m'aimez? from The daughter of the regiment
(1840). Joan Sutherland, soprano; Luciano
Pavarotti, tenor; Royal Opera House O;
Richard Bonynge, conductor.
Decca SXLA 6858 7
Mascagni, P. (1863-1945). Regina coeli from
Cavalleria rusticana (1890). Joan Hammond,
soprano; Philharmonia Ch A O; Walter
Susskind, conductor.
WRC R 00162 7
Ponchielli, A. (1834-1886). Dance of the hours
from La gioconda (1876). Dresden State O;
Silvio Varviso, conductor.
CD Philips 412 236-2 10
Copland, A. (b1900). An outdoor overture.
Boston Pops O; Arthur Fiedler, conductor.
DG 2584 027
Strauss, J. (1825-1899). Accelerations waltz,
op 234. Vienna PO; Willi Boskovsky,
conductor.
CD Decca 411 932 8
Brahe, M. (1885-1956). Bless this house. Frank
Patterson, tenor; Irish Prom O; Peter Knight,
conductor.
Philips 637 3015 3
7.00 THE JOY-A-JAZZ
Prepared and presented by Joya Jenson
Today marks the anniversary of the birth of
many well-known and popular musicians and
singers. Tonight Joya plays some of the
music recorded by four of them: three
Americans, Billy Eckstine, Johnny Mince and
Louis Jordan, and Australia’s own Dick
Hughes.
8.00 OPERA OF THE MONTH
Prepared and presented by Alison Gyger
Puccini, G. (1858-1924). Turandot (1924).
Opera in two acts. Libretto by Adami and
Simoni after the play by Gozzi. First
performed at La Scala, Milan, April 25, 1926.
Joan Sutherland,
PRINCESS TURANDOT:
soprano
THE EMPEROR ALTOUM: Peter Pears, tenor
TIMUR, dethroned Tartar King:
Nicolai Ghiaurov, bass
CALAF, his son: Luciano Pavarotti, tenor
LIU, a slave girl: Montserrat Caballe, soprano
PING, Grand Chancellor: Tom Krause,
baritone
PANG, General Purveyor: Pier Francesco Poli,
tenor
PONG, Head Cook: Piero de Palma, tenor
A MANDARIN: Sabin Markov, tenor
THE PRINCE OF PERSIA: Pier Francesco
Poli, tenor
John Alldis Choir; Wandsworth School Boys’
Choir; London PO; Zubin Mehta, conductor.
Decca SET 561-3 120
Synopsis:
The action of the opera is set in Peking, in
legendary times.
Act I. A Mandarin reads publicly the royal
proclamation that whoever may answer the
three riddles posed by Turandot may wed her;
but any suitor (and a suitor must be a prince)
who accepts the challenge of Turandot’s three
riddles and fails must lose his head. The
crowd launches upon a noisy and bloodthirsty
chorus calling for the executioner to prepare
his sword for the forthcoming execution.
During this crowd scene the Unknown Prince
(Calaf) recognises his father Timur, the de-
throned Tartar king, and rushes to greet him.
Timur is overjoyed to see his son again, each
having thought that the other was dead. Timur
introduces Liu, a slave girl who explains to
Calaf that she, although freed from her
slavery, has voluntarily devoted her life to the
care of the almost blind Timur, the reason for
her devotion, she says, is that once, a few
years previously, Prince Calaf smiled upon
her, and that smile brought her such joy that
her care of Timur was a very small measure
with which to repay it.
The crowd's noisy cries for the executioner
soften to the delicate invocation to the moon
as evening falls upon the city. Immediately
thereafter the condemned Prince of Persia is
led by the palace guards through the square
towards the executioners block. His
youthfulness and innocence evoke a
sympathy in the crowd, and when Princess
Turandot appears on the balcony of the
palace the crowd falls to its knees (with the
exception of Calaf), beseeching Princess
Turandot to reprieve the young Persian
prince. Calaf joins in their plea for mercy but
is just as pre-occupied by the astonishing
beauty of the Princess Turandot — ‘divine
bellezza’. The icy Turandot says nothing but
merely by a gesture of her hand indicates that
there is to be no reprieve for the Prince of
Persia. The crowd leaves and Princess
Turandot retires into the palace; Calaf
declares his intention to attempt to solve the
riddles of Turandot. Timur entreats him not to
do this, pointing to the heads of unsuccessful
suitors which have been impaled on the walls
of the city. The cry of the Prince of Persia as
he is executed and the shriek of the crowd is
heard off stage, emphasising Timur’s pleas to
his son. Calaf will not heed these pleas, but
rushes forward to strike the gong, only to be
stopped by the three Ministers of State, Ping,
Pang and Pong, who try to dissuade him.
Timur requests Liu’s intervention, and she, in
the beautiful aria ‘Signore, ascolta’, begs Calaf
not to bring upon himself a sure fate of death,
leaving her and Timur alone in the world to
die. Calaf replies in the most gentle and
beautiful aria ‘Non piangere, Liu’ that he
cannot resist the beauty of Turandot, and to
the accompanying protests of Timur, Liu and
the three Ministers of State he rushes to the
gong, strikes it three times as the crowd
rushes in to see who is the latest bold
contender for the hand of Princess Turandot.
Act Il. Ping, Pang and Pong express their
wishes individually and jointly that they might
be able to some day return to their quiet life
instead of the continual business of arranging
for executions of Turandot's suitors. Their
thoughts are brought back to reality when the
crowd gathers for Calaf's test. The Emperor,
seated on a throne at the top of a long flight
of stairs, himself entreats Calaf to give up his
attempt, as he wishes no more bloodshed.
Calaf however, begs to be allowed to
34
2MBS-FM PROGRAMME GUIDE JULY 1987
continue, and the Emperor relents, wishing
him success. The proclamation is again read
by a Mandarin, and Turandot appears at the
top of the stairs of the palace. In the beautiful
aria ‘In questa reggia’ she explains that her
cruel behaviour towards men, and in
particular her suitors is in revenge for the
invasion of the city and the ravishing of a
young princess, all of which took place well
back in history. She then puts the three
riddles to Calaf and, as he answers each in
turn, her horror grows, as does the delight of
the crowd. When he answers the three riddles,
the Princess Turandot begs the Emperor not
to hand her over to marry Calaf, but the
Emperor declares that his word is sacred. In
desperation she begs Calaf not to claim her as
his own; and he declares that he will not claim
her unless she is willing. He stipulates that he
will put one question to her, namely, that if
she can discover his name before dawn she
will be freed from the vow to marry him, and
he will submit to the executioner. Turandot
nods her agreement, the Emperor expresses
his wish that when morning comes Calaf will
be able to claim Turandot, and the act ends
with the crowd singing the praise of the
Emperor.
Act Ill. Turandot has decreed that no one is to
sleep until the name of the Unknown Prince
has been discovered and in the palace
gardens in the night every effort is being
made to have Calaf reveal his name, but he
sings of his confidence of ultimate victory in
the aria ‘Nessun Dorma’. Attempts are made
to induce Liu to betray Calaf and after torture
she stabs herself rather than allow herself to
give away the life of Calaf. Calaf and Timur
are appalled at Liu’s death, and even the
crowd is moved by her love and faithfulness
to Calaf, and her body is carried from the
stage as the whole chorus joins in a most
beautiful lament. Turandot and Calaf are now
left alone and Calaf reproaches Turandot for
her cruelty. He woos her and kisses her,
finally melting her resolution, and she admits
that she has both feared and loved him since
first she saw him. As dawn breaks he tells her
who he is and in the final scene she knows
the stranger's name — it is Love, and to the
rejoicing of the crowd the curtain falls.
10.05 CENTENARY OF FRANCESCO MERLI
Verdi, G. (1813-1901). Niun me tema from
Otello (1887).
Lebendige Vergangenheit LV 222 4
Leoncavallo, R. (1857-1919). Via di li! Un tal
gioco, credetemi, from | Pagliacci. Francesco
Carlo Galeffi, Giuseppe Nessi, Rosetta
Pampanini.
Lebendige Vergangenheit LV 162 4
Verdi, G. Nel fiero Anelito from Aida (1871).
Giannina Arangi Lombardi, soprano.
Lebendige Vergangenheit LV 222 4
Terra addio from Aida (1871). Giannina
Arangi Lombardi, soprano. 4
Puccini, G. (1858-1924). Non piangere liu from
Turandot (1924). 3
Nessun dorma from Turandot (1924). 3
Lebendige Vergangenheit LV 162 (3 above)
Francesco Merli, tenor, La Scala O; Lorenzo
Molajoli, conductor. (all above)
10.30 ANNOUNCER’S CHOICE
A selection of fine Australian music prepared
by your presenter
11.00 FAST AND STILL (2)
Prepared and presented by Martin Davidson
Nancarrow, C. (b1912). Studies nos 1 to 12
(1947-c55). Conlon Nancarrow, player piano.
1750 ARCH 1768, 1777, 1786, 1798 52
BE
Monday 9
MIDNIGHT
12.00 PROPAGATION DISTURBANCE
Prepared by Paul Hurst and Mark O’Brien
Explores the many facets of radio
broadcasting with emphasis on experimental
radio compositions from Australia and around
the world...
1.00 POINT BLANK
Live contemporary performances by fresh
young bands are a highlight of this
programme. It also features guest artists
selecting and discussing music ranging
through the 60s and 70s to the innovative and
shaking sounds of now.
3.00 TILL DAWN
Classical music to dispel the darkness
6.00 EARLY MORNING MUSIC
Shorter works from the classical repertoire
with time calls in between
9.00 THE WORLD OF CHILDREN
Prepared and presented by Marie-Louise
Stenstroem
Merikanto, O. (1868-1924). From the world of
children, op 31. Eero Heinonen, piano.
BIS LP 198 21
Wagner, R. (1813-1883). Siegfried idyll (1870).
Lausanne CO; Armin Jordan, conductor.
Erato STU 7133 25
Reger, M. (1873-1916). Maria’s lullaby. Adolf
Fredrik School Choir; Bo Johansson,
conductor.
Bluebell Bell 158 2
Tchaikovsky, P. (1840-1893). Waltz, from
Swan Lake. Boston SO; Seiji Ozawa,
conductor.
CD DG 415 367-2 7
Debussy, C. (1862-1918). The children’s
corner, suite (1908). Victor Yeresko, piano.
Melodyia C 01649-50 17
Ravel, M. (1875-1937). Mother Goose, suite
(1910). Vienna SO; Gerd Albrecht, conductor.
Atlantis 95 202 17
10.30 CONCERT HALL
Sibelius, J. (1865-1957). Finlandia, op 26
(1899). Philharmonia O; Viadimir Ashkenazy,
conductor.
Decca SXDL 7517 8
Shostakovich, D. (1906-1975). Satires, Scenes
of the past (1960) (orch. Tischenko 1980).
Irina Bogacheva, mezzo-soprano; USSR
Ministry of Culture SO; Gennady
Rozhdestvensky, conductor.
Melodiya C10 22267 009 16
Rachmaninov, S. (1873-1943). Symphony no 2
in E minor, op 27 (1901). London SO; Andre
Previn, conductor.
HMV/WRC R 06294 58
12.00 CONCERTO MISCELLANY
Prepared and presented by Earle King
Mozart, W. (1756-1791). Marriage of Figaro,
overture (1778). London PO; Bernard Haitink,
conductor.
Philips 9500 882 EN
Vivaldi, A. (1678-1741). Violin concertos 1 to 4,
op 8 Four seasons, (1725). Pinchas Zukerman,
violin; English CO.
FMRS 36 44
Mozart, W. Piano concerto no 21 in C, K467
(1786). Artur Schnabel, piano; London SO;
Malcolm Sargent, conductor.
FMRS 4 29
Handel, G. (1685-1759). Trumpet concerto in
D (c1720). Maurice Andre, trumpet; Jean-
Francois Paillard CO.
Erato STU 70759 7
1.30 SMETANA AND BRUCH
Prepared by Ruth Warren
Smetana, B. (1824-1884). Two duets, From the
home country (1880). Josef Suk, violin; Jan
Panenka, piano.
Supraphon SUAST 50464 13
Bruch, M. (1838-1920). Three pieces (1909-
10). Harold Wright, clarinet; Boris Kroyt, viola;
Murray Perahia, piano.
Turnabout TV S 34615 12
2.00 THE LAST YEARS OF TRUE
CLASSICISM
By courtesy of The Argus Music Company
E ARGUS}
Hummel, J. (1778-1837). Septet in C, op 114,
Military (1829). Judith Pearce, flute; Anthony
Pay, clarinet; James Watson, trumpet; Marcia
Crawford, violin; Christopher van Kampen,
cello; Rodney Slatford, double bass; lan
Brown, piano.
CRD 1090 30
24 Etudes, op 125: no 21 in B flat; no 22 inB
flat minor; no 23 in F; no 24 in F minor (1833).
Mary Louise Boehm, piano.
Turnabout TV 334 562 9
La sentinelle, op 71 (c1815). Peter Maus,
tenor, Erno Sebestyen, violin; Martin Ostertag,
cello; Ihsvan Turnagoel, guitar; Werner
Genuit, piano.
Schwann VMS 1051 13
Piano concerto in A minor, op 85 (1821). Ivan
Palovic, piano; Slovakian PO; Ladislav Slovak,
conductor.
Schwann VMS 2099 31
24 Etudes, op 125: no 1 in C; no 2 in C minor,
no 3 in G; no 4 in G minor; no 5 in D; no 6 in
D minor (1833). Mary Louise Boehm, piano.
Turnabout TV 334 562 10
Trumpet concerto in D, WoO1 (1803).
Wolfgang Basch, trumpet; Orpheus CO, New
York.
Orfeo S 117841 A 18
2MBS-FM
2MBS-FM PROGRAMME GUIDE JULY 1987
El
4.00 HOGWOOD AND THE ACADEMY OF
ANCIENT MUSIC ON COMPACT DISC
Prepared by Leigh James
Mozart, W. (1756-1791). Symphony no 39 in E
flat, K543.
CD L’Oiseau-Lyre 417 234-2 30
Bach, J.S. (1685-1750). Double violin concerto
in D minor, BWV1043. Jaap Schroeder,
Christopher Hirons, violins.
CD Decca 400 080-2 15
Wemer, G. (1693-1766). Christmas pastorella.
CD L’Oiseau-Lyre 410 179-2 5
Academy of Ancient Music; Christopher
Hogwood, harpsichord and director. (all
above)
5.00 SOUNDS DELIGHTFUL
Prepared and presented by Ann Ramsay
Vivaldi, A. (1678-1741). Violin concerto in F
minor, RV297, Winter (1725). Simon Standage,
violin; English Concert; Trevor Pinnock,
director.
Archiv 2534 003 8
Wiren, D. (b1905). Serenade, op 11 (1937).
Stockholm Sinfonietta; Esa-Pekka Salonen,
conductor.
BIS LP 285 14
Poulenc, F. (1899-1963). Piano concerto
(1950). Cecile Ousset, piano; Bournemouth
SO; Rudolf Barshai, conductor.
HMV ASD 1077 851 20
Elgar, E. (1857-1934). Cello concerto in E
minor, op 85 (1919). Julian Lloyd Webber,
cello; Royal PO; Yehudi Menuhin, conductor.
Philips 416 354-1
Galuppi, B. (1706-1785). Sonata II in A. Joerg
Ewald Daehler, harpsichord.
Claves D 603 7
Elgar, E. Variations on an original theme, op
36, Enigma (1899). Royal PO; Yehudi
Menuhin, conductor.
Philips 416 354-1 32
7.00 JR MONTEROSE - JAZZ SAXOPHONIST
Prepared and presented by Martin Davidson
Monterose, F.A. (b1927). Wee-jay (1956). Ira
Sullivan, trumpet; Horace Silver, piano; Wilbur
Ware, double bass; Philly Joe Jones, drums.
Blue Note 1536 (mono)
Green Street scene (1960). Rene Thomas,
electric guitar; Hod O’Brien, piano; Teddy
Kotck, double bass; Albert Heath, drums.
Jazzland OJC1725 8
Green Street scene; You know that; Short
bridge (1959). Tommy Flanagan, piano;
Jimmy Garrison, double bass; Peta la Roca,
drums.
CD Jaro/Xanadu/DIW 33DIW303CD 19
Jr Monterose, tenor saxophone. (3 above)
Marc V (1956). Jr Monterose Quintet.
Blue Note 1536 (mono) 7
Spontaneous effort (1960). Rene Thomas
Quintet.
Jazzland OJC 1725 5
Straight ahead (1959). Jr Monterose Quartet.
CD Jaro/Xanadu/DIW 33DIW33CD 6
8.00 THE TIPPETT PROJECT
2MBS-FM Workshop
(5) Recognition
Mozart, W. (1756-1791). Symphony no 41 in
C, K551 Jupiter, last movement (1788).
Academy of Ancient Music; Jaap Schroeder,
Christopher Hogwood, directors.
L’Oiseau-Lyre D172D4 12
Handel, G. (1685-1759). Suite no 13 in B flat
(1733). Christopher Wood, harpsichord.
Arion ARN 90609
Tippett, M. (b1905). Fantasia on a theme of
Handel (1941). Margaret Kitchin, piano;
London SO; Michael Tippett, conductor.
RCA SER 5620 12
Purcell, H. (1659-1695). Fly swift, ye hours,
Z369 (1691); Cinthia frown whene’er | woo
her, from The double dealer Z592 (1693). Paul
Esswood, counter-tenor, Charles Medlam,
bass viol; Johann Sonnleitner, harpsichord.
Hyperion A66070
Britten, B. (1913-1976). Canticle |, op 40: My
beloved in mine, and | am his (1947). Michael
Sells, tenor, Evan Soloman, piano.
TR TRC 117 7
Tippett, M. Cantata: Boyhood’s end (1943).
Peter Pears, tenor; Noel Mewton-Wood, piano.
Argo DA 34 (mono) 12
Beethoven, L. (1770-1827). Piano sonata no 29
in B flat, op 106, Hammerklavier, last
movement (1818). Paul Badura-Skoda.
Astree AS909 11
Tippett, M. String quartet no 3 (1946). Lindsay
Quartet.
L’Oiseau-Lyre DSLO 10 31
10.00 THANKS FOR THE MEMORY
Prepared and presented by Joe Neustatl
Herbert, V. (1859-1924). Sweet mystery of life.
Tito Schipa, tenor.
Legendary Recordings LR 142-5 (mono) 4
Strauss, Josef (1827-1870). Ernst und humor.
Vienna CO; Paul Angerer, conductor.
Intercord INT 180 814 (mono) 10
Verdi, G. (1813-1901). Plebe! Patrizi! Popolo!
L’Austero dritto popular from Simon
Boccanegra. Elisabeth Rethberg, soprano;
Lawrence Tibbettt, Giovanni Martinelli,
Leonard Warren, baritones; Ezio Pinza, bass.
Pearl GEMM 257/8 (mono)
Straus, O. (1870-1954). My hero from The
chocolate soldier. Richard Tauber, tenor;
Percy Kahn, piano.
RCA VL 30 362 (mono) 3
Lanner, J. (1801-1843). Pesther waltz.
Boskovsky Ensemble; Willi Boskovsky,
conductor.
Decca SXL 6344 (mono) 6
May-Neubach. A song goes round the world.
Comedy Harmonists.
Electrola 1C 148-32 255/56 (mono) 3
Anon. Ich bin ein lustiger student. Erich Kunz,
baritone; Vienna Opera House O; Anton
Paulik, conductor.
Vanguard VSD 2020 (mono) 3
Berlin, I. (01888). You're laughing at me.
George Barclay, vocal; Mantovani and his O.
WRC SH 386 (mono)
Coward, N. (1899-1973). Sail away. Noel
Coward.
WRC SHB 50 4
Wijnnobel, P. Germany rag. Rene Ninforge,
accordian.
Elite SOLP 486 3
Bastia, P. Je tire ma reverence. Jean Sablon;
O; Mario Bua, conductor.
Pathe-Marconi 2 178-15428/9 4
11.00 3.9.1 CANNIBALE
20th-century classical/electronic musics, tape
c[ut]ollage, musique concrete, environmental/
industrial/other soundscapes, improvisation,
voice, text-sound poetry, experimental radio
plays/soundtracks, the interface of recent
sound/visual/performance art histories, and
occasional mal/practices in radio...
incl.
Lung/Throat/Utterance
Gregory Whitehead: Disorder speech
Inuit Throat Songs: Eskimo women’s music of
Povungnituk
DIETER SCHNEBEL: Atemzuge (1970-71) for
three vocalists...
‘,.. the direct, individualised communication of
the articulators can no longer be separated
from their respective psychic mood. This the
less because the psychological factors of
utterances do not only define the character of
the objective and objectivated result, but also
subjectivate it again, ... let sound out of the
inner organs...’ D.S.
E
Friday 10
MIDNIGHT
12.00 PHRASEOLOGY
Prepared by Simon Hayman
An eclectic vision of aural space which
explores through individual musics and
soundscapes the world’s myths. This
discourse is offered as a point of departure for
the re-creation of an aural tradition and for the
pure enjoyment of the ever-changing acoustic
landscape.
1.00 NO SILENCE
An audio collage
Prepared by Chris Wade
Environmental recordings — here defined as
untreated recordings of locations in real time
— from the sound library of the Environment
Tape Exchange are combined with associated
musics, industrial and otherwise... real
sounds in an artificial context.
3.00 TILL DAWN
Classical music to dispel the darkness
6.00 EARLY MORNING MUSIC
Shorter works from the classical repertoire
with time calls in between
9.00 FOR THE YOUNG
Prepared by Mary Ludlow
Humperdinck, E. (1854-1921). Hansel and
Gretel overture (1893). Berlin PO; Herbert von
Karajan, conductor.
HMV ASD 4072 6
Faure, G. (1845-1924). Dolly suite, op 56
(1890). Magda Tagliaferro, Daniel Varsano,
pianos.
CBS D 37246 16
Wagner, R. (1813-1883). Siegfried idyll (1870).
Lausanne CO; Armin Jordan, conductor.
Erato STU 71333 18
Ibert, J. (1890-1962). Histoires, part | (1922).
Francoise Gobet, piano.
Metropole 2599 016 13
Dohnanyi, E. (1877-1960). Variations on a
nursery song (1913). New Philharmonia O;
Kazuhiro Koizumi, conductor.
HMV ASD 3197 24
36
2MBS-FM PROGRAMME GUIDE JULY 1987
10.30 ANNOUNCER’S CHOICE
A selection of fine Australian music prepared
by your presenter
12.00 THE GLORY OF VENICE
Giovanni Gabrieli
Prepared and presented by Elaine Hamilton
Gabrieli, G. (1557-1612). Intonation for organ
on seventh tone; Motet: Deus qui beatum
Marcum. Texas Boys’ Choir, Gregg Smith
Singers; Edward Tarr Brass Ensemble; E.
Power Biggs, organ; Vittorio Negri, conductor.
CBS ODA 5089 4
Canzon septimi toni no 2; Canzon duodecimi
toni. Cleveland, Philadelphia and Chicago
Brass Ensembles.
CBS 60265 7
O Domini Jesu Christe (1597). Capella
Antiqua Munich; Consort of viols; Konrad
Ruhland, director.
Telefunken SAWT 9456 3
Sonata tre tre violini (1615). John Holloway,
Catherine Mackintosh, Simon Standage,
violins.
L’Oiseau-Lyre DSLO 605 4
Canzon a dodici in eco. Cleveland,
Philadelphia and Chicago Brass Ensembles.
CBS 60265
Buccinate in neomenia. Ambrosian Singers;
Philip Jones Brass Ensemble; String
Ensemble; Barry Rose, organ; Denis Stevens,
conductor.
Angel S 36443
Sonata XV a dodici (1597). Capella Antiqua
Munich; Consort of viols; Konrad Ruhland,
director.
Telefunken SAWT 9456 6
Intonation for organ on ninth tone; Motet: In
ecclesia. Texas Boys’ Choir; Gregg Smith
Singers; Edward Tarr Brass Ensemble; E.
Power Biggs, organ; Vittoria Negri, conductor.
CBS ODA 5089 9
Fuga del nono tono. Christopher Hogwood,
chamber organ.
L’Oiseau-Lyre DSLO 605 2
Canzona per sonare no 27; Canzon quarti
toni. Cleveland, Philadelphia and Chicago
Brass Ensembles.
CBS 60265 7
1.00 THEIR VOICES SWEETLY BLEND
Prepared by Alice Barton
Bach, J. S. (1685-1750). Nun danket alle Gott
from Cantata BWV79; Jesu, joy of man’s
desiring from Cantata BWV147; All glory, laud
and honour from Cantata BWV415.
Newington College Chapel Choir; Robert
Ampt, organ; Elizabeth Swain, conductor.
EMI YPRX 2253 9
Irvine, J. Crimond: The Lord is my shepherd
(arr. Robertson). Philharmonic C Choir; David
Temple, conductor.
Hyperion A 66064 4
Leifs, J. (1899-1968). Requiem. Langholt
Church Choir, Iceland; Jon Stefansson,
conductor.
BIS 239 5
Morgan Nickols, J. Bryn myrddin.
Troyte, A. Troyte’s chant.
Roberts, J. Gwynfa.
Probert, W. Y faenol.
Treorchy United Choral Society; Richard
Elfyn Jones, organ; Terry James, conductor.
(4 above)
Decca SKLA 7706 13
Sigurbjomsson (b1938). David 92; Hosanna.
Langholt Church Choir, Iceland; Jon
Stefansson, conductor.
BIS LP 239 9
Handel, G. (1685-1759). Chandos anthem ro
9: Praise the Lord (1717-20). 6
Schubert, F. (1797-1828). Gioria from Mass in
E flat, D950 (1828). 4
Verdi, G. (1813-1901). Sanctus from Requiem
mass (1874). 3
Mormon Tabernacle Choir; Columbia SO;
Jerold Ottley, conductor. (3 above)
CBS D37297
2.00 CLASSIC PROPORTIONS
Prepared and presented by Tom Bridges
Bach, J. S. (1685-1750). Partita in A minor,
(c1717). Aurele Nicolet, flute.
Archiv 2533 369 12
Mozart, W. (1756-1791). Symphony no 35 in
D, K385 Haffner (1782). Concertgebouw O;
Nikolaus Harnoncourt, conductor.
Telefunken 6.42703 22
Bartok, B. (1881-1945). Violin concerto no 2
(1937-38). Andre Gortler, violin; Czech PO;
Karel Ancerl, conductor.
Supraphon 50696 40
Mozart, W. Quintet in E flat, K452. Viadimir
Ashkenazy, piano; London Wind Soloists.
Decca SXL 6252 25
Schubert, F. (1797-1828). Rondo in A, D438
(1816). Arthur Grumiaux, violin; New
Philharmonia O; Raymond Leppard,
conductor.
Philips SAL 3660 14
4.00 AFTERNOON CONCERT
Into the 20th Century (1)
Prepared and presented by Marie-Louise
Stenstroem
Andree, E. (1841-1929). Organ and brass
symphony no 2. Olle Johansson, organ;
Stockholm Music School Brass Ensemble;
John Eriksson, conductor.
Ariel LP 7 19
Nielsen, C. (1865-1931). Clarinet concerto, op
57 (1928). Olle Schill, clarinet; Gothenburg
SO; Myung Whun Chung, conductor.
CD BIS CD 321 25
Francaix, J. (b1912). Piano concerto (1936).
Claude Francaix, piano. Luxembourg RO;
Jean Francaix, conductor.
Turnabout TV S 34552 17
Rodrigo, J. (01902). Concierto para una fiesta.
Pepe Romero, guitar; Academy of St Martin in
the Fields; Neville Marriner, conductor.
Philips 411 133-1 28
Strauss, R. (1864-1949). Symphonic fantasy
from Die Frau ohne Schatten. Detroit SO;
Antal Dorati, conductor.
CD Decca 411 893-2 20
6.00 MUSIC FOR A SMALL ROOM
Prepared and presented by Marie-Louise
Stenstroem
Handel, G. (1685-1759). Sonata for violin and
basso continuo in A, op 1 no 3. English
Concert.
CD Archiv 415 497-2 8
Beethoven, L. (1770-1827). Sonata no 11 in B,
op 22 (1799-1800). Emil Gilels, piano.
CD DG 419 173-2
Zelenka, J. (1679-1745). Sonata no 5 in F
(1721-22). Burkhard Glaetzner, Ingo Goritzki,
oboes; Knut Soenstevold, bassoon; Siegfried
Pank, bass viol; Achim Beyer, vioione; Waiter
Bernstein, harpsichord.
CD Capriccio 10 075 17
7.00 SPOTLIGHT
Prepared and presented by Ric Prestidge
In which we turn the spotlight on a particular
aspect of jazz.
Among the artists featured tonight will be:
Jimmie Noone’s Alex Club Orchestra; The
Kenny Clarke-Francy Boland Big Band, with
Stan Getz; John Lewis and his Wonderful
World of Jazz; and father and son guitarists,
Bucky and John Pizzarelli.
8.00 DUTCH ROSTRUM
By courtesy of Radio Nederland
Berlioz, H. (1803-1869). Le carnaval romain,
overture, op 9 (1843). Rotterdam PO; Simon
Rattle, conductor. 9
Kodaly, Z. (1882-1967). Dances from Galanta
(1933). Nederlands Radio PO; Hans Vonk,
conductor. 16
Bartok, B. (1881-1945). Viola concerto, op
posth. (1945). Matthias Maurer, viola;
Concertebouw O; Bernard Haitink,
conductor. 24
Ravel, M. (1875-1937). Mother Goose, ballet
(1915). Rotterdam PO; Simon Rattle,
conductor.
Radio Netherlands transcription. (4 above)
9.30 MUSIC FROM ANKARA
By courtesy of the Turkish Consulate-General
Erkin, C. (1906-1972). Five album pieces,
Sensations (1948). Itan Colechack, piano. 8
Sinfonietta for strings (1951). Ankara Radio
CO; Gotthold Lessing, conductor. 18
TRT transcription. (2 above)
10.00 MUSICKE OF SUNDRIE KINDES
Grandi, A. (c1577-1630). Psalm: Dixit Dominus
(1629). Trinity Boys Choir; Accademia
Monteverdiana; Denis Stevens, conductor.
Nonesuch H 71329
Coperario, G. (1575-1626). Suite in 3 parts.
Leonhardt Consort.
Telefunken 6.41131 7
Anon. Music from the Spanish Renaissance
(early 16th C). Montreal Bach Choir; Consort
of Viols; George Little, director.
Coperario, G. Fantasia in five parts. Leonhardt
Consort.
Telefunken 6.41131 (2 above) 3
de la Rue, P. (c1450-1518). Requiem. New
London C Choir, James Wood, conductor.
Amon Ra SAR 24 28
11.00 MUSIC AMONGST FRIENDS
Beethoven, L. (1770-1827). Ten variations on
Mullers song: Ich bin der schneider kakadu,
op 121a (1824). Pinchas Zukerman, violin;
Jacqueline du Pre, cello; Daniel Barenboim,
piano.
HMV/WRC S 5271-5 19
String quartet no 10, op 74 Harp (1809). Italian
Quartet.
Philips 6500 180 33
2MBS-FM PROGRAMME GUIDE JULY 1987 37
eon eee, eee
Saturday 11
MIDNIGHT
12.00 ALL THROUGH THE NIGHT
A programme of classical music to bring you
pleasure from midnight to the first of
Saturday's programmes
6.00 SATURDAY MORNING MUSIC
Prepared and presented by Jean Reisner
A varied programme of classical music for
relaxed weekend listening
9.00 WHAT'S ON IN MUSIC
Prepared and presented by Janelle Cummins
and Bob Tamock
A weekly programme which mixes music with
a comprehensive round-up of live musical
events happening in Sydney in the
forthcoming week. These include opera,
operetta, musical comedy, ballet and solo,
chamber and orchestral concerts. The
programme also covers prizes, scholarships,
auditions and educational events in the field of
music.
10.00 THE COLOURS OF THE KING
The King in the USA
Prepared and presented by Roy Simmonds
and Robert Smith
Gigout, E. (1844-1925). Grand choeur
dialogue from six pieces d’orgue. John
Longhurst, organ of Mormon Tabernacle, Salt
Lake City, Utah.
Philips 412 217-1 6
Franck, C. (1822-1890). Chorale no 1 in E.
Jane Parker-Smith, organ of St Francis de
Sales, Philadelphia.
HMV ASD 3994 14
Vieme, L. (1870-1937). Carillon de
Westminster. John Longhurst, organ of
Mormon Tabernacle, Salt Lake City, Utah.
Philips 412 217-1
Franck, C. Chorale no 2 in B minor. 13
Chorale no 3 in A minor. 13
Marcel Dupre, organ of St Thomas Church,
New York. (2 above)
Philips 6587 500
11.00 FELLOWSHIP OF AUSTRALIAN
COMPOSERS SOCIETIES PROGRAMME
Prepared by Ann Carr-Boyd
Henderson, M. (contemp.) Min Min light
(1982). Australia Ensemble.
Zwilich, E. (contemp.) Symphony no 1, 1st
movement (1983). Indianapolis SO; John
Nelson, conductor. 7
, M. Larrikan’s lot (1982). Chamber
Group, Sydney musicians. 6
Sacred site (1983). David Kinsela, organ. 10
ABC recording
12.00 NEW RELEASES
Our weekend survey of the latest releases and
re-reieases from the overseas and local
catalogues features both compact discs and
LPs.
38
2.00 JAZZ, FROM TRADITIONAL TO
MODERN
Prepared and presented by Bruce Johnson
A programme that ranges over the whole
history of jazz, venturing into blues and
gospei, experimental and avant-garde, and
beyond ihe confines of America.
Today’s programme includes the music of
Louis Jordan, Billy Eckstine, Dick Hughes,
Lee Morgan, Mal Wilkinson, George Lewis
and Billy Kyle.
3.00 DANCE IN AUSTRALIA
2MBS-FM PRODUCTION
A kaleidoscope of music and news from the
dance world prepared and presented by
Suzanne Davidson of the Australian Ballet,
with Paul Maclay.
4.00 LISTENERS’ CHOICE
Prepared and presented by Barbara Hallett
Listeners to 2MBS-FM may make a request by
phoning 439 4777 and Barbara will arrange for
its inclusion in the programme as soon as
possible. Requesters will be advised in
advance by phone or letter.
6.00 RYDER ROUND FOLK
A weekly magazine of folk music and events
prepared and presented by Dermott Ryder
Every week at this time, Ryder Round Folk
looks at different aspects of traditional and
contemporary folk music at home and abroad,
examines influences and attitudes and
presents ‘live’ music, interviews, news, and up-
to-the-minute details of folk action — Sydney,
state and nationwide.
8.00 PIANISTS OF RENOWN
From Great Britain: Moura Lympany, the
Doyenne of English Virtuosi; Peter Donohoe,
the New Breed
Prepared by Ida Ferson
Schubert, F. (1797-1828). Piano quintet in A,
D667 Trout (1819). Moura Lympany, piano;
London SO Principals.
HMV CFP 40085 37
Mozart, W. (1756-1791). Piano concerto no 21
in C, K467 (1785). Moura Lympany; Virtuosi of
England; Arthur Davison, conductor.
HMV FC 105 28
Stravinsky, L (1882-1971). Three movements
from Petrushka (1911-21). Peter Donohoe,
piano.
WRC WI 5281 17
Rawsthome, A. (1905-1971). Piano concerto
no 1 (1939). Moura Lympany; Philharmonia O;
Herbert Menges, conductor.
WRC R 05543/6 18
10.00 ALL CONTEMPORARIES
Prepared by Annie Schweitzer
Couperin, F. (1668-1733). Le parnasse ou
L’Apotheose de Corelli. Ars Rediviva
Ensemble Prague.
Supraphon SUA 50536 15
Ricciotti, C. (1681-1756). Concertino no 1 in G
(1736). Camerata Bern.
Claves 30 234 13
Bach, J.S. (1685-1750). Sonata no 5 in F
minor, BWV1018 (1717-23). Peter Csaba,
violin; Zoltan Kocsis, piano.
Hungaroton SLPX 12422 20
Couperin, F. La Francoise sonata and suite
from Les nations (1726). Musica Antiqua
Cologne.
Archiv 410 901-1 20
Vivaldi, A. (1678-1741). Concerto in B minor
for four violins, op 3 no 10 (1715). Camerata
Bern; Joerg Ewald Daehler, harpsichord.
Claves 30 234 11
11.30... AND SO TO BED
Prepared by Alice Barton
Mozart, W. (1756-1791). Eine kleine
Nachtmusik, K525 (1787). Academy of St
Martin in the Fields; Neville Marriner, director.
Argo ZRGA 679 18
Brahms, J. (1833-1897). So wuensch ich ihr
ein gute Nacht. Dietrich Fischer-Dieskau,
baritone; Gerald Moore, piano.
WRC S 4790 2
Schumann, R. (1810-1856). Der Sandmann,
op 79 no 13. Elly Ameling, soprano; Joerg
Demus, piano.
Harmonia Mundi 20 29369-6 2
Brahms, J. (1833-1897). Sandmaenchen. Erich
Kunz, baritone; Vienna State Opera O; Anton
Paulik, conductor.
WRC S 5394 4
Sunday 12
MIDNIGHT
12.00 ALL THROUGH THE NIGHT
A programme of classical music to bring you
pleasure from midnight to the first of Sunday's
programmes
6.00 SUNDAY MORNING MUSIC
Prepared and presented by Valerie Haynes
A varied programme of classical music for
relaxed weekend listening
9.00 A JOURNEY INTO FRANCE
Prepared by Sofia Boniecki
Messiaen, O. (61908). Hymne (1932). French
R & TV PO; Marius Constant, conductor.
Erato STU 70673 13
Saint-Saens, C. (1835-1921). Violin concerto
no 3, op 61 (1880). Henryk Szeryng, violin;
Monte Carlo Opera O; Eduard van Remoortel,
conductor.
Philips 6580 016 27
d'indy, V. (1851-1931). Sonata in E, op 63
(1907). Catherine Joly, piano.
Cybelia CY 707 37
Roussel, A. (1869-1937). Bacchus et Ariane
ballet (1931). French R & TV NO; Jean
Martinon, conductor.
Erato MUS 19048 36
11.00 VIVALDI AND BACH
Prepared by Ruth Warren
Vivaldi, A. (1678-1741). Bassoon concerto in A
minor, RV497 (c1720). Kiaus Thunemann,
bassoon; | Musici.
Philips 416 355-1 11
Bach, J. S. (1685-1750). Concerto in D minor
(after Vivaldi), BWV596. Fernando Germani,
organ.
WRC S 4329 13
2MBS-FM PROGRAMME GUIDE JULY 1987
11.30 OPERA BUFFET
2MBS-FM PRODUCTION
A weekly operatic smorgasbord, featuring
stars of Australian Opera, as well as news,
views, ‘what's on’ and reviews. A painless way
of keeping up to date with all things operatic.
12.00 AMERICAN BANDS OF THE 1920s
AND EARLY 1930s
The Seven Aces: 1923-1927 )
Prepared and presented by Alexander Craig
The Seven Aces were a small, white orchestra
based in Atlanta, Georgia, their first director
being pianist-arranger Byron Warner, followed
by clarinettist, alto saxophonist and violinist,
Ralph Bennett. With the possible exception of
Atlantan trumpeter, Jack Cathcart, the Aces
feature no familiar jazz names. Nevertheless,
beginning as a mildly interesting ‘hot dance’
band, they developed into a fine jazz-oriented
group comparable with the later New Orleans
Rhythm Kings. During their short five-year
career, The Seven Aces’ reputation widened
from the American South, to become a
national one. Their fame was to outlive their
1927 break-up: in the early 30s, ‘Ralph Bennett
and His Seven Aces (All Eleven of ’Em)’
became a pseudonym for the Brunswick-ARC
house band which included such well-known
musicians as Bunny Berigan, the Dorsey
Brothers and Babe Russin; they made dozens
of records for the company’s Melotone,
Panachord and Perfect labels. Today, we can
enjoy the sixteen best performances of the
original band, which have long become
collectors’ classics.
Various (1923-27). Warner's Seven Aces;
Warners Seven Aces, All Ten of Em The
Seven Aces, All Eleven of "Em.
Harlequin HQ 2030 50
1.00 FATHER AND SON IN CONCERT
Prepared by George Hilgevoord
Mozart, W. (1756-1791). Concertone in C,
K190 (1773). Karl Steins, oboe; Heinrich
Majowski, cello; Berlin PO; David Oistrakh,
violin and director.
EMI 191 02326 29
Bruch, M. (1838-1920). Violin concerto no 1 in
G minor, op 26 (1866). Royal PO; David
Oistrakh, conductor.
DG 2544 032 24
Mozart, W. Sinfonia concertante in E flat, K364
(1779). Berlin PO; David Oistrakh, viola and
director.
EMI 191 02326 31
Igor Oistrakh, violin. (all above)
2.30 AMADEUS
Programme of the Sydney Mozart Society
Prepared by Martin Cooper
Reutter, K. (1708-1782). De profundis in C
minor (Psalm 129). Choir and O of the Vienna
Volksoper; Peter Maag, conductor.
Turnabout Vox TV 34213-14 6
Mozart, W. (1756-1791). Symphony no 25 in G
minor, K183. Pro Musica O; Jonel Perlea,
conductor.
Vox VUX 2201 17
String quintet in G minor, K516. Amadeus
String Quartet; Cecil Aronowitz, viola.
DG 2740 122 35
3.30 A LITTLE SCHUMANN
Prepared by Elaine Hamilton
Schumann, R. (1810-1856). Dedication in A
flat (arr. Liszt-Goodman). Isador Goodman,
piano.
Philips 6508 002 4
Liederkreis, op 24 (1840). Brigitte
Fassbaender, mezzo-soprano; Irwin Gage,
piano.
DG 415 519-1 21
4.00 SAINT-SAENS
Prepared by Grahame Scott
a C. (1835-1921). Trio in F, op 18
1 È
Turnabout TVC 37002 25
Piano concerto no 1 in D, op 17 (1858).
Philippe Entremont, piano; Toulouse Capitol
O; Michel Plasson, conductor.
CBS SBR 235 846 27
5.00 EVENSONG
Prepared and presented by Ann Ramsay
Various. Hymns: All my hope on God is
founded; In Christ there is no east or west;
Mine eyes have seen the glory of the coming
of the Lord; Jesu, the very thought of thee. St
Botolph’s Choir, Boston, Lincolnshire; Eric
Wayman, organ; David Wright, conductor.
BBC REC 338 10
Harris, W. (1883-1973). Strengthen ye the
weak hands; Bring us, O Lord God. Neil
Archer, tenor; Christ Church Cathedral Choir,
Oxford. Harry Bicket, organ; Francis Grier,
conductor.
ASV ALH 935 12
Various. Psalms 126, 65, 66, 67. King’s College
Choir, Cambridge; David Willcocks, organ and
director.
HMV CSD 3717 12
Parry, C. (1848-1918). Sunset and evening
star.
Bruckner, A. (1826-1896). Locus iste a Deo
factus est.
Brahms, J. (1833-1897). How lovely are thy
dwellings fair.
Abbey Singers; Andrew Seivewright, organ
and director. (3 above)
Alpha ACA 528 14
Howells, H. (1892-1982). Te Deum. Christ
Church Cathedral Choir, Oxford; Francis
Grier, conductor.
ASV ALH 935 9
Various. Hymns: Bright the vision that
delighted; O brother man, fold to thy heart thy
brother; Let all the world in every corner sing.
Cantus Choro; Norman Kaye, organ; Peter
Chapman, conductor.
Move MS 3062 7
Mozart, W. (1756-1791). Kyrie in D minor,
K341 (1781); Ave verum corpus, K618 (1791).
Kiri Te Kanawa, soprano; Elizabeth
Bainbridge, contralto; Ryland Davies, tenor;
Gwynne Howell, bass; London Ch & SO;
Colin Davis, conductor.
Philips 6500 271 13
6.30 SUNDAY INTERLUDE
Prepared and presented by Ann Ramsay
Paganini, N. (1782-1840). Violin concerto no 1
in D, op 6 (1829-30). Michael Rabin, violin;
Philadelphia O; Eugene Goossens, conductor.
EMI 1C 037-82 112 29
7.00 MUSIC WEEKLY
2MBS-FM PRODUCTION
A magazine programme bringing you
interviews with people who write, play,
conduct, produce, teach, review and enjoy
music; notable excerpts from our disc and
tape recordings; notice of events, passings,
forthcomings and retrospects, to help in
keeping you up-to-date about people, places,
performances, previews and postscripts.
8.00 RECENT SWISS MUSIC
Sponsored by the Swiss Australian Chamber
of Commerce and Industry
Haug, H. (1900-1967). Elegy (1959). Edward
Meylan, oboe; Lausanne CO; Hans Haug,
conductor.
CTS 49 7
Schoeck, O. (1886-1957). Sommernacht
pastoral intermezzo (1945). Geneva Studio O;
Paul Klecki, conductor.
CTS 35 14
Gagnebin, H. (b1886). Rhapsodie. Brigitte
Buxtorf, flute; Catherine Eisenhoffer, harp.
CTS 41
Martin, F. (61890). Petite symphonie
concertante (1944). Emmy Huerlimann, harp;
Hans Andreae, harpsichord; Rudolf Am Bach,
piano; Collegium Musicum Zurich; Paul
Sacher, conductor.
CTS 42 21
9.00 VERSIONS AND VARIATIONS
Folly’s End
Prepared by John O’Connor
Marais, M. (1656-1728). Variations on Les
folies d’Espagne (1701). Robert Aitken, flute.
BIS LP 178 17
Handel, G. (1685-1759). Harpsichord suite in
D minor (1720). Edgar Krapp, harpsichord.
Eurodisc 300 003 420
Bach, J. S. (1685-1750). Mer hahn ein neue
Oberkeet, BWV212, Peasant caniata. Lisa
Otto, soprano; Dietrich Fischer-Dieskau,
baritone; St Hedwig’s Cathedral Choir
members, Berlin; Berlin PO; Karl Foerster,
conductor.
HMV/WRC T 4087 30
10.00 CONTEMPORARIES
Prepared by Barrie Marchant
Haydn, J. (1732-1809). Andante and minuet.
Juilliard Quartet.
CBS MP 39553 12
Hummel, J. (1778-1837). Sonata in D, op 50.
Ralph Holmes, violin; Richard Burnett,
fortepiano.
Amon Ra SAR 12 17
Piano concerto in C, op 44. Paul Kovac,
piano; Bratislava C Ensemble; Viatsimil Horak,
director.
Schwann VMS 2098 42
Schubert, F. (1797-1828). Three military
marches. Walter Klien, Beatrice Klien, piano.
Vox 334 041 14
11.30 BAROQUE WOMEN COMPOSERS
Prepared by Bob Goodnow
Strozzi, B. (1619-1664). What can one do?
Carol Plantamura, soprano; Beverly
Lauridsens, bass viol; Juergen Huebscher,
guitar.
Leonarda LPI 123 12
Jacquet de la Guerre, E. (1666-1729). The
slumber of Ulysses. John Ostendorf, bass-
baritone; Bronx Arts Ensemble CO.
Leonarda LPI 109 15
2MBS-FM PROGRAMME GUIDE JULY 1987 39
eee,
Monday 13
MIDNIGHT
12.00 ALL THROUGH THE NIGHT
A programme of classical music to bring you
pleasure from midnight to the first of
Monday's programmes
6.00 EARLY MORNING MUSIC
Shorter works from the classical repertoire
with time calls in between
9.00 REFLECTIONS
Prepared by Ross Norton
Schubert, F. (1797-1828). Entr acte from
Rosamunde (1823). Gewandhaus O; Kurt
Masur, conductor.
CD Philips 412 432-2 8
Dowland, J. (1502-1626). Weep you no more,
sad fountains. Elly Ameling, soprano; Rudolf
Jansen, piano.
CD Philips 412 216-2 2
Elgar, E. (1857-1934). Elegy, op 58 (1909).
English String O; William Boughton,
conductor.
CD Nimbus 5008
Bach, J. S. (1685-1750). Sheep may safely
graze. Toronto CO; Boyd Neel, conductor.
CD Vox Cum Laude MCD 10012 6
Dvorak, A. (1841-1904). O could our love but
lead us (1865). Cleveland Quartet.
CD Pro Arte CDD 237 4
9.30 A SERENADE FROM SALZBURG
Prepared by Pat Bell
Mozart, W. (1756-1791). Serenade in D, K203
Colloredo; March, K237 (1774). Collegium
Aureum; Franzjosef Maier, violin and director.
Harmonia Mundi 1C 067-19 99891 51
10.30 CONCERT HALL
Prepared by Pamela Linnett
Stamitz, A. (1754-1809). Concerto in G for two
flutes and orchestra. Wuerttemberg CO; Joerg
Faerber, conductor.
Tudor 73043 17
Bach, C. P. E. (1714-1788). Flute sonata no 2
in E, Wq84. Aurele Nicolet, flute; Christiane
Jaccottet, harpsichord.
Eurodisc 200 164 366 13
Masek, V. (1755-1831). Sinfonia in D sharp
(c1780). Prague CO; Frantisek Vajnar,
conductor.
Supraphon 1110 2809 24
Viotti, G. (1753-1824). Violin concerto no 22 in
A minor (c1792). Loia Bobesco, violin; Rhine
Palatinate State O; Kurt Redel, conductor.
Forlane UM 3508 31
a
12.00 A JAZZ SANDWICH
Prepared and presented by Derrick Davey
Bass player Leroy Vinegar is 59 today so we
shall hear an example of his work.
Also recordings by three ex Duke Ellington
men: Cootie Williams, Johnny Hodges and
Louis Belson, but playing away from the
Duke's influence.
1.00 TCHAIKOVSKY CONCERT
Prepared by Leigh James
Tchaikovsky, P. (1840-1893). Capriccio italien,
op 45. Chicago SO; Daniel Barenboim,
conductor.
CD DG 400 035-2 16
Symphony no 6 in B minor, op 74, Pathetique.
Los Angeles PO; Carlo Maria Giulini,
conductor.
CD DG 400 029-2 36
2.00 AUSTRALIA WIDE
Monteverdi's Vespers of the Blessed Virgin
Produced by Charles Barton
Performed by the Sydney University Chamber
Choir and Baroque Orchestra under the
direction of Nicholas Routley.
Recorded in the Great Hall of Sydney
University, Easter 1986.
Monteverdi, C. (1567-1643). Vespers of the
blessed Virgin. Sydney University Ch & CO;
Nicholas Routley, conductor.
From the National Programme Service of the
PBAA
3.30 FROM THE EARLY 20TH-CENTURY
Prepared by John Staats
Nedbal, O. (1874-1930). Simple Johnny, ballet
suite (1908). Ostravia State PO; Otakar Trhlik,
conductor.
Supraphon 1 10 0835 25
Britten, B. (1913-1976). Violin concerto in D
minor, op 15. Nora Grumlikova, violin; Prague
SO; Peter Maag, conductor.
Supraphon SUAST 50959 32
Respighi, O. (1879-1936). Adagio con
variazioni (1921). Andre Navarra, cello.
Supraphon SUAST 50689 10
Martinu, B. (1890-1959). The frescos of Piero
della Francesca.
Czech PO; Karel Ancerl, conductor. (2 above),
Supraphon SUAST 50109
5.00 WORKS DONE FOR TODAY
Prepared by Michael Sheehan
Boccherini, L. (1743-1805). Quintet no 2 in C
(1799). Alexander Schneider, Felix Galimer,
violins; David Soyer, Lynn Harrell, cellos;
Alirio Diaz, guitar.
Bach Guild HM 43 SD 23
Nielsen, C. (1865-1931). Symphony no 4, op
29 The inextinguishable (1916). Berlin PO;
Herbert von Karajan, conductor.
DG 2532 029 39
Brahms, J. (1833-1897). Violin concerto in D,
op 77 (1878). Isaac Stern, violin; Philadelphia
O; Eugene Ormandy, conductor.
CBS GPS 29 4
Wagner, R. (1813-1883). Conclusion of
Lohengrin (1850). Peter Hofmann, tenor;
Elizabeth Connell, soprano; Bayreuth Festival
Ch & O; Woldemar Nelsson, conductor.
CBS 74 120 8
7.00 YOUR MONDAY DATE
Prepared and presented by Geoff Gilbert
Jazz from Bunk to The Bird
8.00 KNOW YOUR TENORS!
Prepared and presented by Max Krumbeck
Ponchielli, A. (1834-1886). Cielo e mar, from
La Gioconda (1876).
Hungaroton SLPD 12479 4
Offenbach, J. (1819-1880). Ha, wie in meiner
Seel’, from The tales of Hoffmann (1881).
Preiser LV 10
Verdi, G. (1813-1901). Un di felice, from La
Traviata (1853).
Decca SETA 483 5
Nikolayev. No 1 from a set of nine songs.
Melodiya C10 16587-8 1
Geibel. Der Mai ist gekommen (arr. "SS,
In
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