Document text
VOLUME 12, NUMBER 12 DECEMBER 1986
2M BS-FM
STEREO FM RADIO 102.5MHz PROGRAMME GUIDE
REGISTERED BY AUSTRALIA POST. PUBLICATION No. NBP 1078
One of the best things CD
brought with it was the realisation
that good amplifiers and speakers
were much better than most people
had realised. For the listener who
had used records and tapes, and
hadn't ever wondered why they
didn't sound better than so-so, CD
was a revelation. It had the instant
effect of alerting people to the po-
tential of a good home hi-fi system.
And it made them think about two
niggling problems - what to do
with all those old LP's and how to
replace lost treasure - the material
that will never come up on CD be-
cause of its minority interest, age,
or unsuitable recording quality.
The solutions are to keep the
LP's and replace that ageing turn-
table - or, if it lends itself to im-
provement, improve it. Our turn-
table sales have, in fact, barely al-
tered since the introduction of CD
but there has been a definite shift to
models where the emphasis is on
sound rather than automation and
cosmetics. These turntables are ca-
pable of truly excellent perform-
ance when correctly set up and fine
tuned, and can equal - under some
circumstances surpass - CD play-
ers of equivalent price.
Turntables are the best they
have ever been because for well
over ten years, following claims
(unbelievably, they were chal-
lenged) that turntables sounded dif-
ferent, model to model, and in gen-
eral they didn't do a very good job,
the whole process of transcribing
vinyl records has come under the
closest scrutiny. Performance
deficiencies that had previously
been ignored were now taken
seriously, to the extent that the best
reproduced sound you'll ever hear
will still come from a turntable
playing a well-produced vinyl disc.
CD, unlike analogue disc, has yet
to transcend its limitations and
there seems to be little chance that it
will improve in a hurry.
Getting elevated performance
from a turntable is also a skilled
operation which is why there are so
many potentially good turntables
around that sound, frankly, dismal.
That's where we come in, because
we have a great deal of experience
in installing, adjusting and aligning
turntables so they give their fullest
performance. We also have an in-
imate knowledge of each of the
turntables we sell and recommend,
from the remarkable Rotel RP830,
a genuinely competent turntable
complete with tonearm, for only
$499, to Michell Engineering's
magnificent GyroDec, at $2365
(tonearm extra) one of the few real
bargains still available for the de-
manding and critical listener.
The Michell GyroDec
So, when you buy a Thorens
TD316 from us, you're buying
more than a fine suspended turn-
table from one of Europe's most
respected manufacturers; you're
buying the best TD316 you'll ever
hear. We also have the best Denon
DP35F you'll ever hear, the best
Heybrook TT2 and the best Michell
Syncro. Plus the best of a number
of others.
We also want your turntable to
stay the best. Our checkover ser-
vice is free of charge and free of
obligation. Stylus, motor and
drive components are checked for
condition. We check alignment
and correct it if necessary. We also
give you an advice slip listing what
we found. We even check turn-
tables originally bought somewhere
else, so if you'd like your turntable
assessed and you haven't visited us
before, call in and bring your
turntable with you.
This service, as you might ex-*
pect, is very popular indeed, so if
you have to come any great
distance, phone us first to avoid
any possible delay.
As well as turntables we also
have a selected range of tonearms,
including latest models from
Syrinx, Michell and Grado. One
cartridge we must mention is the
Grado Signature 8MR, chosen by
most of the critics of America's
"The Absolute Sound" magazine as
the one to take to the proverbial
desert island. We also have a
comprehensive range of record and
equipment care accessories.
Finally, until Christmas we're
supplying, free of charge with
every complete turntable/tonearm
combination we sell, a Grado
MTE+1 cartridge, value $52. This
is the latest version of a long line of
cartridges, noted for their perform-
ance excellence and exceptional
value for money and regarded as
the least expensive way to get a
taste of 'high-end' sound. And
since, as with all new components
supplied by us, it will be fully
installed and aligned, and covered
by our own warranty, you'll never
hear a better MTE+1. You can't
get better than that!
137 Victoria Road
DRUMMOYNE NSW 2047
(02) 819 6499
Country-wide mail order a
Speciality. Call or write for
details.
BARTLETT НЕН
Of dRUMMOYNE
m 2MBS-FM
2MBS-F M MONTHLY PROGRAMME GUIDE. DEC. 1986
The Score
Highlights
Kazantzakis’ Monumental Novel Set to Music
Things Will Be Louder Tomorrow 8
Would Handel have liked Massed Messiahs? 10
Co
John Colborne-Veel: Bridging the Gap 12
Holiday Quiz 13.
Raymond Hansen — Ten Years On 14
Jazz Records | 18
Hot Off The Press 20
Jottings from Betsy Brown 24
Your Discount Retailers 26
Composers’ Listing 28
" — Programmes 3l
анне probably to the late 1720s when Handel Sustaining Subscribers 78
had just turned 40. See editorial article.
This Month
On behalf of everyone at 2MBS-FM I wish you, our dear subscriber, all the best for the
coming festive season and the new year.
On Saturday December 6, from 10 am to 4 pm, we are opening our doors to everyone for our
first ever CHRISTMAS GIFT FAIR.
There will be loads of small goods suitable for Christmas presents for your family and friends.
Music pens and stationery, mugs, gift cards and wrappings, handicrafts and lots more.
There ЇЇ also be an auction at 2 pm where you can bid for some beautiful gifts that have been
donuted to us by our many friends over the last year.
We invite you to join us in Centennial Park on November 30 for our Christmas bash — a
ВТО picnic or barbeque from 11.30 am. This promises to be a great chance for everyone to get
together and welcome in the new year. Wed love to see you there — so come along! The park is
great fun for kids of all ages, and we hope to have some live music!
1986 has been both a difficult and rewarding year for 2MBS-FM. We have faced enormous
financial difficulties and come through with the balance books showing a small surplus. We have
initiated many rewarding musical activities, including the Prom Concert, small fund-raising
concerts and the series of MBS Matinees. All of these will continue in 1987.
By the time this Stereo FM Radio reaches you we will have two new members of staff. A
manager (replacing David James who, regrettably, left us in October for commercial TV) and a
Technical Co-ordinator, sorely needed for some time.
We look forward to an exciting 1987, with many innovative programmes and activities being
planned.
And don't forget, we always seek your response to what мете doing — don't hesitate to tell us
— and we look forward to your support and company in 1987.
Belinda Webster
2MBS-FM 76 CHANDOS STREET. ST LEONARDS 2065 TELEPHONE (02) 4394777
MERKI CHRISTMAS FROM MELODIA.
Introducing a selection from our extensive range of records
imported from the USSR and now available for personal
shoppers at the New Era Bookshop, 425 Pitt Street, City
(between Goulburn & Campbell Streets), or by mail order
from our warehouse at Marrickville, as listed below.
Rachmaninov
Concerto No. 4 for
piano & orchestra
Victor Eresko.
A10 00161 003
$10.99 plus p&p $2.50 O
A. Khachaturian
Concerto in D minor
for violin & orchestra.
Valeri Klimov, USSR
Symphony Orchestra,
Conductor Y. Svetlanov
C10 17173-74
$10.99 plus p&p $2.50 O
A. Scriabin
Prometheus (Poem of
Fire) op 60, Poem of
Ecstasy, op 54
USSR Academic
Symphony Orchestra,
Conductor Y. Svetlanov
C10 14113-14
$10.99 plus p&p $2.50]
W.A. Mozart
Piano duets.
Elena Sorokina &
Alexander Bakhchiev
C10 18985 009
$10.99 plus p&p $2.50
P. Tchaikovsky
Piano pieces.
Svyatoslav Richter,
piano.
A10 00089 009
$10.99 plus p&p $2.50 0)
Edward Elgar
Concerto in B minor,
op 61 for violin & :
orchestra.
Igor Oistrakh.
A10 00123 002
$10.99 plus p&p $2.50 Г]
J. Brahms
Trio for piano, violin
& french horn, in E
flat major, op 40
M. Pletniov, V. Klimov,
A. Demin
C10 15823 007
$10.99 plus p&p $2.50
E
Georgi Sviridov
Pushkin’s Garland
concerto for chorus.
Moscow Chamber
Choir, Director &
Conductor, V. Minin
C10 15903 004
$10.99 plus p&p $2.50 O
Richard Wagner
Overtures & symphonic
excerpts from operas.
Conductor Yevgeni
Svetlanov, USSR
Symphony Orchestra
C10 15871-2
$10.99 plus p&p $2.50 O
L. Stravinsky
‚ D’Oiseau de Feu,
Ballet in 2 scenes.
Moscow Philharmonic
Symphony Orchestra,
Conductor, Dimitri
Kitaenko
A10 00097 000
$10.99 plus p&p $2.50 O
D. Schostakovich
Quintet for piano,
2 violins, viola & cello
in G minor, op 57.
Svyatoslav Richter &
the Borodin Quartet.
А10 00109 003
$10.99 plus p&p $2.50 Г)
Frederic Chopin
Preludes op 28,
Igor Zhukov, piano.
A10 00047 009
$10.99 plus p&p $2.50 O
For mail order please tick box next to record(s) required and send complete page
with your cheque or credit card details to:
New Era Books & Records, 64-68 Shepherd Street, Marrickville, NSW 2204
NaMe sob uos dE erecta sante Roms O Cheque Г1 Money order
ДЦО ое absum ree usu ынандыр ка enclosed enclosed
— eem р/С..... H Bankcard Ù Visa LJ Mastercard
Credit Card No.
па Ее ЕЕ ЗеВИ ГЇЇ
Expiry date:
ХА 10% discount will be given to 2MBS-FM Subscribers at the New Era Bookshop on presentation
of their current Membership Card. For mail order, please quote Membership number.
Sigñatüté Labour donnees e diei aes
JEJ
0 Please send me your Record Catalogue.
2MBS-FM PROGRAMME GUIDE DECEMBER 1986
THE SCORE
Another
innovation
for 2MBS-FM
Recently the Music Board of the
Australia Council announced its com-
missions for 1987. 2MBS-FM is very
proud to have received a grant to
commission young Sydney composer,
Robert Douglas, to write a 15-minute
radiophonic composition.
This is one of the first commissions
granted to a public radio station for a
radiophonic work, and we applaud the
Music Board for this spirit of adventure.
It recognises the fact that the potential
audience for a radiophonic work is far
greater than that for a new work for
traditional concert audiences, and we
hope that the role of radio in promoting
new music continues to be acknowledged
by the funding authorities.
Robert Douglas was one of the major
prize-winners in our Tenth Anniversary
Awards for Radiophonic Tape Compo-
sition, and we look forward to the first
performance of this new piece in May
1987. Robert will be writing the piece
using the Fairlight Computer Musical
Instrument.
MBS Theatre
Party
Ann Ramsay’s theatre parties are
always a success, so for Christmas,
here’s another one! — to see the play
Absurd Person Singular by Alan Ayck-
bourn (the author of Seasons Greetings).
It’s at the Northside Theatre Co. Marian
Street, Killara on December 2 and costs
$18 per ticket. 2MBS, as always, benefits
from Ann’s efforts.
The London Observer describes the
play as “Gloriously funny 20th century
comedy classic”.
For good seats apply soon with
stamped addressed envelope and money
to Mrs. Ann Ramsay, PO Box 328,
Pymble 2078, or ring 2MBS-FM.
The Volunteer
Scene
This is a tricky column to write. It is
prepared 6 weeks in advance of publi-
cation and its not at all easy to predict
our volunteer requirements that far
ahead. It is also hard to gauge your
response to advertised vacancies. If we
get 8 offers for 2 jobs we're embarrassed.
And right now we don’t know how many
subscribers with what array of talents
will be moved to respond to last month’s
article on volunteers. So check this
column next month for specific requests.
Of course, if you’re busting to join us,
ring up anyway and we'll be glad to have
you.
Thought you'd like to know about our
Christmas party in Centennial Park on
Sunday, 30th November. Details not yet
known. It may be near a lake so that
raucous, obstreperous characters can be
speedily disposed of, or within sight of
the kiosk so that when you want to get
rid of the kids for a bit you send them
off for a paddlepop (if you want two ‘bits’,
don’t give them quite enough money the
first time, then they'll have to undertake
the whole process twice). Other attrac-
tions are likely to be Ann Ramsay
conducting pre-Xmas carols, Brendan
Walsh telling impossible Irish jokes and
the about-to-be-formed 2MBS Ensemble
practicing within or beyond earshot
according to the public temper. Anyway,
ring the station for details and B.Y.O.
everything. See you there,
Jim Cullen
Farewell
On Friday October 10, David James left
the employ of 2MBS-FM. At David's
farewell, David Worobin spoke:
"Speeches as a rule are not very
popular but certain occasions, particu-
larly this one, justify a few words.
“Tonight we are assembled to pay our
respect and homage to a very endearing
personality.
*[ have always felt that David James
and 2MBS were inseparable both in
spirit and in substance. He has person-
ified in his musical and admirable
character all that the Station stands for
— simply the spirit of community in all
its cultural aspects.
“Let me say that David has consist-
ently demonstrated the qualities of
service and tolerance to a marked degree
without forgetting his ever-ready smile
of friendship and his warm sense of
humour — wonderful attributes in the
Manager of a radio station.
“Tn our affection and appreciation we
wish him every success in his new
venture, at the same time regretting that
he is leaving us, but, I am happy to
assure him that his contribution to
2MBS and the impact of his personality
will always be remembered."
Bequests and
Endowments
Many people in Sydney would like to
contribute to the support for fine music
in New South Wales but find themselves `
constrained by current commitments.
For those music lovers, a bequest is a
way of making that contribution, and
ensuring the continuance of the activ-
ities of the Music Broadcasting Society
of New South Wales Co-operative Ltd.
The Music Broadcasting Society of
New South Wales Co-operative Limited
is a privately administered and young
concern. There are, therefore, no large
bequests from the past from which to
derive additional income.
2MBS is not supported by taxes or
State contributions, except for compar-
atively small sums for special projects.
Membership subscriptions are com-
pletely inadequate to support the full
extent of MBS activities.
2MBS-FM is far more than a broad-
casting station — it is a civic force in
the community and recognised as the
agency responsible for FM broadcasts
of fine music in New South Wales. MBS
requires continuous additions to its
income from endowments and bequests.
Please remember the Music Broadcast-
ing Society of New South Wales Co-
operative Limited in your will.
Enquiries may be made in writing in
the strictest confidence to the Secretary
of the Society at 76 Chandos Street, St
Leonards 2065.
2MBS-FM PROGRAMME GUIDE DECEMBER 1986 3
(00
Sydney Symphony Orchestra
DECEMBER DIARY
Messiah
Messiah has long been the world’s best loved and most performed choral work. This year, the Sydney Philharmonia
Choirs and the Sydney Symphony Orchestra, in a special joint presentation, are giving Sydney audiences a unique
opportunity to hear this great work performed in two completely different, but equally valid styles.
Conductor Peter Seymour
Soprano Jennifer Bates
Alto Andrew Dalton
Tenor Thomas Bates
Bass Geoffrey Chard
DECEMBER 4, 8pm — DECEMBER 5, 8pm
The 35 voices of the Philharmonia Motet Choir, a Boys’ Treble Choir and a group of complementing players from
the Sydney Symphony Orchestra create for you the clarity and brilliance of an authentic performance that may have
been heard in Handel’s day.
DECEMBER 6, 8pm — DECEMBER 7, 2.30pm
‘Sydney Sings Messiah’ brings together the 180 voice Sydney Philharmonia Choir, the Sydney Symphony Orchestra
and a specially assembled Massed Choir of 600 voices in a performance that will thrill those who love choral music
on a grand scale.
FRIDAY DECEMBER 12, 7pm
Christmas Family Concert
Conductor Brian Buggy
Soloists Langshaw Ballet
Choir Combined School Choir of 150
Voices
‘The Old Man's Hat: Јоу to the Morning, Deck The Halls, God Rest Ye Merry Gentlemen, Good King Wenceslas,
Hark The Herald Angels Sing, Jingle Bells, Oh Come All Ye Faithful
From The Nutcracker Ballet — Tchaikovsky: Dance of the Sugar Plum Fairies, Chinese Dance, Dance of The
Flutes, Russian Dance, Pas de Deux, Waltz of The Flowers
Christmas Surprise Package!
Let's Join In: Hark The Herald Angels Sing, Oh Come All Ye Faithful
The Twelve Days of Christmas: Orchestra, Ballet and Audience
A Christmas Fantasy: For Choir and Orchestra
BOOK NOW SELLING FAST!
All bookings at ABC Concerts, 145 Elizabeth Street, Sydney [Ph: 264 9466]
and Sydney Opera House Box Office [PH: 20525]
"THERE'S NOTHING LIKE BEING THERE"
2MBS-FM PROGRAMME GUIDE DECEMBER 1986
HIGHLIGHTS
whole of the month is a highlight! Just
a flip through the programme section of
the Guide will prove the point. There is
ба аннан peg ud
It's That Time of Year
Christmas is undoubtedly the focal point
of the month. Here are just a few
suggestions for festive music listening
— early on, at 4pm оп the 10th is the
Pro Arte Hour, with Christmassy music
of Finzi, Britten and Vaughan-Williams.
On the 22nd at 330pm, Annie
Schweitzer is Having Christmas in Mind
for the choir — be sure to listen. This
concert is followed at 1030am by а
mas Day at 5pm, presents Christmas at
In the same theme of words and music
comes 2 new senes called
Bartok and Ehot, and pre
sented by Peter Gyngell (one of the
readers in the It’s Christmas рго-
xum Fa (Dia ereak be Bu perity
of TS. Eliot will be read in between the
gramme is on the 21st at 7pm, and the
second will be at the same time on the
with general tributes to Elgars Sym-
phony no 1 on the 3rd and Mendel-
ssohn’s Symphony no 2 on the 2nd, both
at 3pm. As the 4th is the tenth anni-
versary of the death of Benjamin Britten,
Pat Вей has prepared a tribute to him
which goes to air on the 5th at 4pm.
The Badapest Trio
The 10th Sydney Festival, at the begin-
ning of this year, was graced with the
presence of the Budapest Trio — three
young Hungarians living in Australia.
MBS was at Sydney Town Hall to
record their recitals and these сап be
heard as a senes of four starting on the.
5th at 10.30am and continuing in the
ensuing weeks on the same day at the
same time. Listen out for these perfor-
music interspersed with discussion
programme on the 28th and all are timed
at 10pm. John Holmes also begins a
745pm if you would like to be there Tive
along with the performers and an
invitation is extended to join in the
knees-up afterwards in the foyer of
2MBS. Do feel free to bring a bottle and
things to munch and share with other
providers.
Almost the last Word е
АП the December activity culminates of “ UC П е
course in New Year’s Eve. If there are
any listeners left who are not in a home e
for exhausted subscribers or at health D Í
farms for the obese, the evening of the опа loons
3186 should give them a good time. At
9pm, for example Joe Neustatl has a a
programme of ‘salon’ music, which does
sound divinely decadent. This is followed
al 10pm by fratan hour uf ight plantes 2MBS-FM as a properly constituted organisation
and then an hour of suitably vivacious satisfies the requirements of the Australian
music to get everyone їп {һе mood for Elizabethan Theatre Trust and unconditional
midnight. After the New Year has been >
welcomed, there will follow a broadcast donations made to the Trust are allowable
of our Prom Concert tape. Have fun. deductions for the purposes of Income Tax. A copy
Я
Сап” Quite Catch the Beat of the Trust’s usual form for your use is shown
This ambitious and engaging two-part below. The form may be used for donations of any
series us z provide m of amount, but only those donating $150 or more will
иа ce IN be regarded as Patrons, and those donating $1,000 or
mental’ music and soundwork. A A
number of the diverse artists surveyed, more as Benefactors of the Society.
briefly discuss their respective
approaches to music-making and sound
production, while the works included
demonstrate just how disparate these
processes and results may be, ranging
from: improvisation; the recording studio
as an instrument (the series itself was
To: Secretary
The Australian Elizabethan Theatre Trust
produced entirely on a porta-studio);
composing by cassette machine; the PO Box 137
application of ‘found sounds’; the use of Kings Cross NSW 2011
traditional/new instrumentation and
their technique; and so on... я
These two one-hour programmes will Dear Sir,
be of interest not only to those already
familiar with innovative music practi-
ces, but also to those who are curious
to explore these areas perhaps for the
first time — especially as it will indicate
the breadth of current activity in ‘exper:
imental’ music to be found in Australia
today. Can’t Quite Catch the Beat can
be heard at 8pm Thursday December 11
and December 18. Produced and pre-
sented by Rik Rue (with the financial
assistance of the Music Board, Australia
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).
Council).
| (BLOCK LETTERS) 7 (MR/MRS/MS/MISS) (SURNAME) - ~ (INITIALS) С
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6 2MBS-FM PROGRAMME GUIDE DECEMBER 1986
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Subscribe Now!
12 issues of the Programme Guide, and Membership Card entitling me to
discounts from selected retailers and on 2MBS-FM merchandise.
L] $75 Sustaining Subscription Please tick:
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"HO .. Postcode -
Please make cheques and money orders payable to "2MBS-FM .
O Donation C1 * I have sent my donation to
C1 Patron ($150 or more) The Australian Elizabethan
о Benefactor ($1000 or more) Theatre Trust.
I would O would not O like acknowledgement in the Guide as a Patron or
Benefactor.
*[f you wish your donation or patronage to be tax-deductible, an unconditional
donation should be made through The Australian Elizabethan Theatre Trust.
Please use the form on the page opposite. Please note that tax-deductible donations
do not entitle the donor to receive the Programme Guide.
| |
| | i ! i
[dll ee из ee ee ee ee ee пано по пин ЫЙЫ OURS ee QE
ev Sepia i it le siento ca roe EE
Complete and mail form to: Subscriptions Dept, 2MBS-FM, 76 Chandos Street, St Leonards, NSW 2065.
2MBS FM PROGRAMME GUIDE DECEMBER 1986
7
Kazantzakis’
Monumental
Novel Set To
Music
Things will be
louder tomorrow
There has been a tendency to view the
“creation” of music as entirely emotional
in Hs inspirati È
music.
Things Will Be Louder Tomorrow is
dist), and can be heard on 3.91. Can-
nibale, 11 pm Thursdays 4th, 11th and
18th December.
: vídeo cassette — thoir = —
GAMMA FILMS — Klaus Јас © _
Chambers Pillar – Kimberleys — Redbank Gorge – Katherine Gorge - Arnhemland - Kings
Я Canyon — Ayers Rock - Olgas — Devils Marbles – Gosses Bluff – Cadunga/Bridgewater --
Pinnacle Desert – 12 Apostles — Gibber Desert – Simpson Desert - The Nullarbor — Finke |
River - Lake Eyre — Kangaroo Island — Napier Range – Wave Rock – Hamersley Range.
fn ee HE - - EAE
An unusual fílm about Australian landscapes.
They have been battered by the weather of millions of years into bizarre shapes, ...
... doodles of time.
Some are leftovers from a tíme, when time — on thís earth — began.
AUSTRALIA the first 4 BILLION YEARS: the film about a fascinating land.
Scientific Adviser: Armstrong Osborne, MSc Dip Ed. University of Sydney
Gamma Films
1 North Avenue Leichhardt NSW 2040
Please send me “Australia — the first 4 Billion Years
1 will be under no obligation to buy. If not satisfied 1 will
return the cassette within 7 days. 1 will receive my money
back without delay.
2MBS-FM PROGRAMME GUIDE DECEMBER 1986 9
Would Handel have liked
Massed Messiahs?
David Garrett
In March this year as a tourist in Dublin
I sought out the place where Handel’s
Messiah was first performed, in Fisham-
ble Street. This is a narrow street
descending from Christ Church Cathed-
ral to the quays on the Liffey and was
the site of Mr Neale's Great Musick Hall,
where Messiah was first heard on 13
April 1742; the hall fell into disuse by
the end of the century, and became a
victim of urban renewal, which is again
reshaping that part of Dublin today.
The main thing that struck me, walking
down that street, was how small the hall
must have been by modern standards
— indeed, the audience of 700 was only
able to be crammed in by requesting the
ladies not to wear hooped skirts and the
gentlemen not to wear swords.
Visiting Fishamble Street puts a
Strange perspective on the world-wide
tradition of performing Messiah in large
buildings, and often with large forces,
too. Sydney is of course no exception,
but in recent years various kinds of claim
for. authenticity have been made for
these modern performances. This year,
for example, the Sydney Philharmonia
Society and the ABC are mounting two
different kinds of Messiah, both in the
Concert Hall of the Sydney Opera House
*giving Sydney audiences' in the words
of the publicity brochure ‘a unique
opportunity to hear this great work
performed in two completely different,
but equally valid styles’. On December
4 and 5, the 35 voices of the Philhar-
monia Motet Choir, a Boys Treble Choir
and a group of complementing players
from the Sydney Symphony Orchestra
*create for you the clarity and brilliance
of an authentic performance that may
have been heard in Handel’s day’. On
December 6 and 7 ‘Sydney Sings Mes-
siah' brings together the 180 voice
Sydney Philharmonia Choir, the SSO
and a specially assembled Massed Choir
of 600 voices ‘in a performance that will
thrill those who love choral music on a
grand scale’.
It is perhaps unfair to look too closely
at the claims of publicity, and one can
only salute the marketing brilliance of
the suggestion that the concert-goer
would be missing something by failing
to attend either of these performances,
and should go to both. But a discrim-
inating public might well wonder how
the performing styles could be com-
pletely different when the soloists,
orchestra and conductor are the same,
and, for that matter, how an ‘authentic’
performance can be given using modem
instruments. Let us leave that aside —
merely observing that such claims are
better toned down, especially when
recordings are providing a much closer
approximation to ‘authenticity’ — the
word begs too many questions anyway.
Clearly the emphasis is on the difference
in these performances in the matter of
scale. So let us examine the claim of two
equally valid styles in that respect.
Last year 'Sydney Sings Messiah' was
given in the Sydney Entertainment
Centre, a building seating 12,000 — what
would Handel have made of that? He
would have been surprised that his
music should be performed in such a
place at all — but who is to say he would
have been displeased? — he is reported
to have once wished for a cannon in a
performance of his music. But there is
a paradox here — you might think that
a large body of performers makes a
mightily impressive sound. Not so —
there is a huge volume of air to fill, and
the Entertainment Centre is not
designed for unamplified sound. The
results without electronic assistance
would have been dismal, and the prob-
lems of co-ordination immense. Handel
knew not the wonders of electronic
amplification, but he may bave heard
the loud sounds he wanted in buildings
like the one in Fishamble Street.
Some of the difficulties facing ‘massed’
Messiahs can be filled out by a glance
at the history of the type of performance
which inspired the large Sydney one.
These began with the performance in
Westminster Abbey in 1784 to celebrate
the centenary of Handel’s birth (the
organisers had the date wrong — it
should have been 1785). There were 513
performers, made up about equally of
singers and instrumentalists. Two
hundred years later, an attempt was
made to duplicate this Westminster
Abbey performance in a Cathedral in
Washington DC. Although the band
assembled was probably the largest
orchestra of baroque instruments ever
put together in the USA, it fell more than
100 short of the size of the 1784 orchestra
— the choir, however, was somewhat
bigger. A recording of this performance
under Antal Dorati has been issued: it
is hard to tell what the sheer impact of
the sound was for the audience, but one
thing is clear — the performers are
basically together. Once again the fears
of experienced musicians were con-
founded — as a listener wonderingly
commented on the Westminster Abbey
performance.
"They played in time — excellent time
— contrary to all expectations.’ The
same expressions of wonder were heard
from performers and audience alike in
Sydney in 1985, where there were over
800 performers. So large-scale perfor-
mances can be satisfactory musically in
at least one respect. But do they produce
the effect they aim at?
In 1856 another Handel commemora-
tion was held in the Crystal Palace, the
enormous glass building built for the
Great Exhibition in London, which had
recently been transferred from Hyde
Park to Sydenham. 2,000 vocal and 500
instrumental performers ‘rendered’
Messiah, Judas Maccabeus, and Israel
in Egypt, but it was reported that ‘the
volume of sound was dispersed and lost
in the prodigious space’. After modifica-
tions to improve the acoustic results, the
Crystal Palace performances continued,
attracting audiences of up to 20,000
people. It is hard not to suspect, never-
theless, that ‘mass’ Messiahs have been
mounted largely for the benefit of the
performers, and as a tribute to Handel.
Worries about the quality and balance
of the sound have always troubled
musicians, which is no doubt partly why
additional wind and brass instruments
10 2MBS-FM PROGRAMME GUIDE DECEMBER 1986
ER ии
were added to the orchestra. The slow
tempi of which musicians and critics
began to complain in the 1890s were not
only a reflection of changing taste in the
interpretation of Handel’s music, but a
sheer necessity to accommodate and
unify the huge musical forces.
Actually, as the 1985 Sydney perfor-
mance demonstrated, if a small orches-
tra is used there is no need for these slow
tempi. There were other reasons than
ponderous tempi for the dislike of the
massed choirs and huge orchestras used
by conductors such as Costa and Manns
at the Crystal Palace. Bernard Shaw
made a pungent and pointful comment:
“People think that 4,000 singers must
be 4,000 times as impressive as one. This
is a mistake: they are not even louder.”
Anyone who has listened to choirs of
varying sizes in different venues will
agree that there is some truth in this
observation. Indeed, the multiplication
of the orchestral instruments in 19th
century performances (from whose
legacy we have only recently escaped,
or which in many performances is with
us still) may have come about precisely
because of a feeling of disappointment
that so many voices did not have more
impact.
In what, then, does the appeal of a
massed choir consist? Cynics may say
that many people come to a concert to
watch rather than to listen; “I’m going
to see The (sic) Messiah”. Or perhaps
Dr Johnson’s dictum about women
preachers applies: “it is not done well,
but you are surprised to find it done at
all”. There is a fascination with bigness,
with numbers, very prevalent in the last
century, and still affecting us, even
though a mere individual equipped with
thousands of watts of amplifier power
can out-sound the best efforts of thou-
sands. Perhaps, as Christopher Hog-
wood has suggested, the massed perfor-
mances of Messiah were an assertion of
power and of nationalism — of the
superiority of British music, musicians,
and institutions.
‘Sing it Yourself Messiahs’, ‘Peoples’
Messiahs’, in Australia and elsewhere,
exhibit a variety of approaches. Most
represent some compromise between
performer enjoyment and involvement
on the one hand, and a performance for
the paying public on the other. The two
approaches are not incompatible, since
part of the pleasure for the audience lies
in witnessing the obvious enjoyment of
those taking part.
Why is it Messiah which is subjected
to this mass treatment? Considered
objectively and apart from its institution-
alised familiarity, it is not the easiest of
music. Admittedly the notes are fairly
easy to read, but they are not easy to
sing well, in time and with good tone.
That we can consider mounting a
virtually impromptu massed perfor-
mance of Messiah at all is an indication
that Australia is heir to the British
choral tradition — it can be done by
selecting appropriate choruses for mass
participation, and by enlisting a well-
trained choir to lead the singing.
The remarkable thing is how well a
massed performance such as ‘Sydney
Sings Messiah’ can work. A large
number of singers is given the oppor-
tunity of singing the work with first rate:
Chamberlain & King
875 4433
After Hours Appointments can be arranged
1st Floor, 98 Yarrara Road, Pennant Hills
Solicitors —
For professional advice on any legal matters, contact
Peter Chamberlain or Robert King on
professional orchestral accompaniment,
fine soloists, and an experienced conduc-
tor. It is exhilarating for the singers to
experience the solidarity of numbers, to
get through difficult music with confi-
dence and accuracy — and the music
is superb. The audience, too, discover
that a ‘massed’ Messiah need not imply
thick sound, lumbering tempi, and
musical inaccuracy. To the surprise of
the purist advocates of authentic
Baroque performance practice, Messi-
ah’s greatness emerges virtually
unscathed. Handel certainly would have
been surprised, but from what we know
of him, his scruples, if any, would have
been muted with delight at the sheer size
of audience and performers. It could be
argued that this is the scale appropriate
for the Concert Hall of the Sydney Opera
House, which does not share the diffi-
culties of the Crystal Palace or the
Entertainment Centre.
It is largely pointless to object that had
Handel expected a performance on this
scale he would have written quite
differently. He didn’t — and what is
more, neither has anyone else, either in
his age or since. In this sense a case
can be made for the validity of the large-
scale approach. The smaller scale
performances to be given in conjunction
with the ‘massed’ ones are no doubt more
faithful to his intentions as to numbers
and balance of performers, but they can’t
yet be given here with the instruments
he expected, and above all, they are not
being given in a hall on the scale of the
one in Fishamble Street.
Note from the Editor:
Handel enthusiasts may be interested
to know that his L’Allegro, П Penseroso
ed Il Moderato, a pastoral ode with words
by Milton, will be performed at St Philips
Church, York Street, City, on Sunday
January 25, at 3.45pm as part of the
Music on the Move project.
2MBS-FM PROGRAMME GUIDE DECEMBER 1986 11
John ColborneVeel:
Bruce Johnson
Australian musical audiences seem to be
unhealthily dominated by artistic cate-
gories, perhaps because the pragmatic
empiricism of our culture makes us
nervous in their presence. It is all too
frequently the case that we are unable
to respond in any way to a specified work
of art until someone has told us how to
locate it as a category. The regrettable,
and generally slightly embarrassed
comment, “I like jazz, but I don’t
understand it,” emerges ultimately from
this fixation; so does the frequently
hostile reaction to any attempt at
experimentation in the arts. The problem
is compounded when an artist produces
work which refuses to situate itself
neatly, when his output bridges the gaps
between different forms, genres, style.
John Colborne-Veel is a case in point
and, in some senses, a victim of this urge
to compartmentalise. His compositions
draw on both the European and the
black American traditions. The latter,
usually comprehended under the term
jazz, has enjoyed a history marked by
a perennial irony: on the one hand it
has become the most influential music
of the 20th century, on the other, it
continues to be trivialised by the custo-
dians of our consciousness.
If you play or compose jazz (there is
another distinction which has only
dubious validity), then, ipso facto, you
are of little cultural import, a ratbag who
is at best tolerable and at worst a threat
to decency. So what happens when a
jazz person also composes string
quartets, ballets, concerti, sonatas, in the
‘approved’ European tradition? The
answer is that the legislative critics
shuffle uneasily, and look elsewhere, as
though an alcoholic uncle had broken
out of his room and joined the vicar’s
party downstairs.
“Look elsewhere.” This seems to be
precisely the situation. John Colborne-
Veel’s list of compositions numbers over
200. In terms of simple bulk it is hard
to understand how such output could be
so relentlessly overlooked. The problem
is that Colborne-Veel is also a jazz
composer and — quelle horreur! —
actually plays jazz in pubs. The concep-
tual difficulties are generally too great,
it seems to be asking too much to expect
people to reconcile these assumed
contradictions.
As a consequence, Colborne-Veel’s
work has received little recognition, a
circumstance exacerbated, it must be
admitted, by his own self-effacing
temperament. Yet he has been active in
performance and composition, for about
25 years. He studied music as a child,
but more or less in the casual way that
many children do. His serious engage-
ment with music dates from the early
60s when the massive jazz boom
attracted so many young people to take
up the music. He was active on the
Melbourne jazz scene, and became
nationally known through appearances
at the annual Australian Jazz Conven-
tions. In 1968 and 1969 he saw active,
duty in Vietnam while on National
Service, an experience which had a
serious impact on his thinking. Follow-
ing his discharge he settled in Sydney
to study at the Conservatorium on a
rehabilitation grant from the army. He
had by now determined that music was
his vocation, but having come to ‘aca-
demic’ studies from a jazz background,
his subsequent career has been very
broadly based.
He has always continued his jazz
activities, and even in this one area his
work has been multi-faceted. He has
been a member of a number of Sydney’s
best-known groups, including those led
by Graeme Bell, Ray Price (whom he
succeeded as leader upon Price’s retire-
ment), with both of whom he has toured
extensively. Colborne-Veel was also a
founder member of the Eclipse Alley
Five, a group which held the longest
continuous residency in the history of
Australian jazz, and led his own quartet
at the Purple Grape wine bar in Home-
bush. He recently finished a six-night-
a-week engagement of several months
with Paul Furniss at a Kings Cross night
club. He has also arranged for and led
large concert bands, including as M.D.
for the South Sydney Leagues Club in
the 70s.
It was during that period that he
began to devote more time to composi-
tion, including the score for the feature
film Spinifex Breed. From 1980 he has
been primarily a composer, though he
has continued performing with his own
jazz groups. He had earlier won one of
the Australian Jazz Convention annual
composition competitions and initially
most of his work was four-square in the
jazz idiom. Colborne-Veel became
increasingly interested in working on a
larger scale and one result was his Toad
Hall jazz suite, which was recorded and
in part broadcast by 2MBS-FM. The
Suite was also presented to critical
acclaim at one of the several Australian
jazz composition concerts which
Colborne-Veel has organised in the 80s.
He had also become active in other areas
of music. He toured with a number of
pit orchestras, wrote and arranged for
television, for the Tommy Steele tour,
and for recording sessions.
In the meantime, his compositional
activity was incorporating increasing
elements from the European tradition of
so-called ‘classical’ music. He had been
writing ballet music and concert works
since the early 70s. The latter include
saxophone quartets, orchestral pieces,
choral music, sonatas, settings for
Psalms and other devotional music.
When this material has received notice,
it has always been positive and enthu-
siastic. Renata Malek, who conducted a
performance of his Serenade in B Minor
for two violins, celio, oboe, clarinet and
bassoon, admired the work’s serenity
and its unusual harmonic structure.
Arthur Hubbard was very impressed
with Colborne-Veel’s Contra Bassoon
Concerto, and Werner Baer expressed
12 2MBS-FM PROGRAMME GUIDE DECEMBER 1986
the belief that he has a contribution to
make to Australian music.
The problem, however, is that
Colborne-Veel comes, so to speak, from
the wrong side of the tracks. He has not
made his way through the musical
Establishment, has not cultivated the
right people and in general is not
gregarious or self-promoting. Added to
that is the difficulty with which we
began: his jazz pedigree. Although the
basic flavour of his work is relatively
orthodox (in the sense that it is not
remorselessly experimental), his jazz
background makes him hard to pigeon-
hole, to evaluate.
There have been instances of estab-
lished academic composers taking on
jazz — Stravinsky and Ravel are two
prominent examples. Although the
results have always been at the very
least dubious (the essence of jazz
includes something called ‘swing’, and
I cannot think of a ‘classical’ composer
who has ever captured it), they at least
receive a respectful hearing. But when
a jazz musician attempts to bridge the
gap it is felt that some kind of imper-
tinence is going on, in spite of the fact
that the jazz component has greater
authenticity than in more academic
experiments.
In recent years there are some signs
that this prejudice is at least dissipating.
Jazz Studies courses have appeared in
Conservatorium curricula, and govern-
ment funding agencies have increas-
ingly sponsored jazz activity. The
‘institutionalisation’ of jazz is not
entirely good for the music, but it is at
least acknowledging its status as a
legitimate 20th century art form. In 1984
John Colborne-Veel composed Saint
Mary: A Festival Mass with Jazz
Soloists, and it has received the enthu-
siastic endorsement of the Church,
particularly through the good offices of
Fr. Paul Stenhouse. It has been fre-
quently performed, and recently a
recording of the Mass has been issued.
Perhaps this heralds the bridging of
several gaps: in addition to Colborne
Veel’s own musical Catholicism, it may
be that the Australian musical establish-
ment will recognize that a composer who
does not fit their preconceptions might
therefore constitute a valuable kind of
originality.
On the 4th of this month at 8pm
2MBS-FM will present a programme of
John Colborne-Veel’s music, ranging
from the Toad Hail Suite, to more
specifically European compositions, as
well as essays in popular music and
extracts from his Mass with jazz soloists.
A review of the recent recording of his
Mass will appear in next month's issue.
2MBS-FM PROGRAMME GUIDE DECEMBER 1986
10.
TWENTY QUEER
QUESTIONS,
or
A SOMEWHAT OPERATIC
HOLIDAY QUIZ
compiled with devilish malice by
MAX KEOGH
. What Australian opera was pro-
duced by Sir Thomas Beecham?
. Apart from the window cleaner
made famous by George Formby,
how else was Mr Wu immorta-
lised in music?
. In whose hand might a tampon
be found in the opera house or
concert hall?
. Who was Ernst Seiffert? (No; he
didn’t have it.)
. What is the first wind instrument
mentioned in the Bible?
. Mahler finished an opera by
Weber. Its title?
. Still on opera, name one in which
an aria is sung in a bath tub.
. And another watery operatic
question: Mad Max (a composer,
of course) consults a glacier for
advice in which opera?
. Delius went blind and used an
amanuensis for his composing.
The question is not who invented
the plastic amanuensis but what
other English composer used one.
Eight bar tunes are pretty nor-
mal, but name a famous one
having only (a) six bars, and (b)
seven bars.
. Where and why is Calixa Lavalee
remembered?
. If a nonette is not a little non,
what is it?
. What have four ways, four cen-
turies and three men got in com-
mon? (No; it is not a small,
inventive and remarkably skilled
cricket side.)
. In which year was made the first
complete recording of a British
symphony and whose work was
recorded?
15. Which famous composer
arranged Tea For Two for sym-
phony orchestra?
16. Why?
17. Ifon your bugle you blow a tattoo,
what might you expect as a
result?
18. Three of England’s great compos-
ers died in 1934. Name them.
19. Who is currently Master of the
Queen’s Music?
. Australian conductor Joseph
Post began his musical career as
an oboist. Name another Austral-
ian conductor whose first instru-
ment was the oboe.
(Answers are on page 16)
Going to the Opera
or Symphony
in the Park?
Why not enjoy a
picnic supper too?
coe
Clique Catering
can arrange a hamper for you to collect
at the Domain prior to performances.
09»
Phone Barbara on 816 5700
for more details.
13
Raymond Hanson
— Ten Years On
Max Keogh
It is ten years this month since
Australian composer Raymond Han-
son died in Sydney in his 68rd year
as a result of a heart attack. In
England, 24 hours earlier, the same
ailment had claimed Benjamin Brit-
ten. Oddly, they had been born also
a day apart.
In terms of performances and
public appreciation of his work, the
decade since Hanson’s death has
differed little from the previous ten
years. The Rum Rebellion opera, Jane
Greer, which he barely had finished
at the time of his death, remains
unheard as anyone — including the
composer — might have expected.
Likewise the second part of his great
oratorio The Immortal Touch; music
as sensitive and sensuous as the
words of Tagore of which it is a
worthy setting.
Thirty-six years after its completion
his Piano Sonata was published on the
very day he died. Subsequently it was
recorded by his friend and champion,
Igor Hmelnitsky. Gabriella Pusner, who
had been a Hmelnitsky pupil, also
recorded the Six Preludes and the
Episodes on Tarry Trowsrs. More
recently, Hanson’s Flute Sonata has
been included on the MBS release Flute
Australia (MBS 6) and, this year, that
recording has achieved release in the
USA and Canada.
Ten years after the composer’s
death these recordings and their
broadcast from time to time are
virtually the only means of hearing
Hanson’s music. The one major live
performance of a significant work
over the past ten years took place 14
months after the composer’s death
when Alwyn Elliott gave performan-
ces of the Violin Concerto with the
Sydney Symphony Orchestra under
John Hopkins during the ABC’s 13th
Prom Season. Elliott had introduced
the work two years earlier in Bris-
bane with Patrick Thomas
conducting.
It had taken 27 years for the ABC to
change its 1948 pronouncement that the
concerto was too long to programme!
Shortly after that first performance,
Elliott and Patrick Thomas recorded the
work for the ABC and it is heard
frequently on 2MBS-FM.
Speaking about Raymond Hanson
recently Patrick Thomas, always a
champion of Australian composers,
said, “Raymond Hanson deserved far
wider recognition than he received.
He was a prophet in his own country
and his was a very special if not
unique contribution to our musical
life.”
Dr Graham Hardie, lecturer in
music at Sydney University, is
attempting to do something to widen
appreciation of Hanson’s music. For
some time he has been working on
an annotated catalogue of Hanson’s
work which he hopes will attract
further attention to the Hanson
repertoire. Hardie hopes to complete
the catalogue next year.
14 2MBS-FM PROGRAMME GUIDE DECEMBER 1986
DO YOU ENJOY
MAKING MUSIC WITH OTHERS?
SO DO THE 120 OR SO MEMBERS OF THE
NSH Amateur
Chamter Mustc Society
мне
JOIN US FOR A FUN-FILLED, LIVE-IN
‘PLAY-IN’
AT WOLLONGONG UNIVERSITY ON JANUARY 24-26
FOR INFORMATION ABOUT MEMBERSHIP AND
ENROLMENT CALL 427-1303 OR WRITE TO THE
SOCIETY SECRETARY AT 9 MURRALAH PLACE,
LANE COVE, NSW 2066.
YOU CAN BECOME A MEMBER ANY TIME BUT
ENROLMENTS FOR WOLLONGONG MUST CLOSE
DECEMBER 12TH.
The Society promotes amateur chamber music by making it easier for players
to meet. It maintains and circulates a register of members and their talents so
they can arrange their own soirees. It also holds occasional playing-days
(with tutors) and provides a venue for performing.
2MBS-FM PROGRAMME GUIDE DECEMBER 1986
EE D PE PS
The lot of the resident Australian
composer never has been easy and it
is, unfortunately, still possible for
Melbournians to take a somewhat
perverse pride in claiming their
George Dreyfus as the only composer
working in Australia in serious music
to earn his keep solely from
composition.
It was never possible for Hanson
to be successfully ‘in demand’. His
somewhat intellectual and character-
istically spiritual music never pushed
itself forward: it is retiring, in the
nature of its author, and has to be
sought out. Not surprisingly there-
fore, there has been no ‘Hanson
revival’ in the decade since he died.
Even when, in the way of fashion,
his music eventually will have placed
upon it a higher valuation than at
present, Hanson will continue to
suffer the anachronism James Mur-
doch identified in his pioneer book on
Australian composers.
Hanson’s compositions in the 40s
were “оо radical to gain ‘currency
with the deeply entrenched conserva-
tism of Australian musical life of that
time. Stylistically he was in advance
of other composers working in Aus-
tralia.” But, Murdoch notes, by the
late 50s he was being considered a
conservative. He had fallen between
two stools of musical fashion.
Later generations of Australian
composers are finding recognition
and performance a little easier to
achieve than did the man who in his
28 years at the NSW Conservatorium
helped teach some of them — Nigel
Butterley, Richard Meale, Barry
Conyngham, Don Burrows. Burrows,
with three other ‘Bs’ — Brubeck, Bach
and Beethoven — always enjoyed a
special response from the eclectic
Hanson.
To mark ten years since Hanson’s
death, 2MBS will be broadcasting a
repeat of a programme The Immortal
©
U
U
rm
À
+
гп
S
16
Touch which takes its title from one
of the composer’s major works.
The programme was produced orig-
inally as a birthday offering to the
composer on his 62nd birthday and
was broadcast by 2MBS and by 5UV
in Adelaide a short time before he
died. In this programme Raymond
Hanson talks about his youth and
early musical training, the develop-
ment of his musical philosophy and
of his enthusiasm for young music-
makers. He introduces his own per-
formance of the Five Portraits for
Piano and the String Quartet, and
Hanson is paid a moving tribute by
Igor Hmelnitsky in introducing his
recording of the Piano Sonata. The
programme ends with the final part
of the oratorio The Immortal Touch,
recorded by 2MBS at its premiere at
the NSW Conservatorium in June
1975.
This two-hour commemorative
broadcast may be heard on Friday
5th — the anniversary of Hanson’s
death — commencing at 8 pm.
TWENTY QUEER
QUESTIONS,
Answers for quiz on page 13
1.In 1910, A Summer Night, by
George Clutsam (born Sydney,
1866).
2. As the title character in the last
of Eugene D’Albert’s operas,
produced in Dresden in 1932.
3. The bass drummer — particularly
if the opera is Zampa. It is a two-
headed drumstick. (Why have we
been so wrong for so long!)
4. Richard Tauber.
5. Ugab.
6. The Three Pintos.
7. Hindemith’s News of the Day.
8. Johnny Strikes Up the Band.
9. Sir George MacFarren (1813-
1887).
10. (a) God Save the Queen, (b) open-
ing of The Marriage of Figaro
overture.
11. Canada: he composed
nation’s national anthem.
the
NMOUd NVI
12. А composition for nine
performers.
13. All are works by Eric Coates.
. 1923 — the Second Symphony by
Sir John McEwen.
. Dimitri Shostakovitch.
. Because it was there. Those ans-
wering “because he needed the
money” are wrong. He lived in
Russia.
. (a) unless a bugler by profession, you
could find yourself a little breathless;
(b) you would experience a sense of
satisfaction; (c) the soldiers would
return to their quarters (and could
you really blame them).
18. Delius, Holst and Elgar.
19. Australia’s own Malcolm
Williamson.
20. Charles Mackerras.
Prizes
20/20 You must be Fred
Blanks! If not, go where
you are needed: join the
ABC.
10 to 19: Join the knowledgeable.
under 10: Join the hopefuls.
under 5: Join the rest of us and
havea Merry Christmas!
OUND =,
2MBS-FM PROGRAMME GUIDE DECEMBER 1986
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To: The Argus Music Company (Australia) Pty Limited [C] My chequetmoney order for $42.90is enclosed
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2MBS-FM PROGRAMME GUIDE DECEMBER 1986 17
Joya Jenson
Christmas is giving time, and what
better time to give the gift of music.
Many of the recent releases and re-issued
recordings could have wide appeal
because of the different styles and eras
covered, ranging from authentic New
Orleans through to contemporary,
including jazz-oriented offerings.
The latest release in the Jazz Classics
In Digital Stereo series, remarkably
remastered by Robert Parker, is
JOHNNY DODDS (АВС L38556 —
Festival Records). The 16 cuts encom-
pass the superb work of this Crescent
City clarinettist from 1923 to 1929. There
is the mournful but beautiful Sobbin’
Blues, with King Oliver’s Jazz Band
(Oliver and Louis Armstrong both on
cornet), and the distinctive sound of
Dodds’ Washboard band, stomping and
strutting on Bull Fiddle Blues and
Bucktown Stomp. Armstrong also
appears with Jimmy Bertrand’s Wash-
board Wizards, along with that redoubt-
able pianist, Jimmy Blythe, who
recorded prolifically with washboard
bands of the time. And don’t forget to
check out the five albums to date that
comprise Robert Parker’s Golden Years
In Digital Stereo series, dealing with a
wide spectrum of material, e.g. dance
music, comedy, pop and jazz.
Lady Day fans will revel in the three
volumes of 2-record sets titled, The Billie
Holiday Story (Avan-Guard В2УТ, 228/
9/30). The historic 1933 debut recording
of the singer with the Benny Goodman
Orchestra (Your Mother’s Son-In-Law)
heads an impressive output of almost a
hundred tracks, ending with It’s A Sin
To Tell A Lie, from a 1942 session of
the Billie Holiday Orchestra. You'll hear
Lady with bands led by Teddy Wilson,
Count Basie and Benny Carter, the
personnel of which includes the creme
de la creme of the swing masters, Lester
Young, Roy Eldridge, Buck Clayton, Ben
Webster et al.
The years from 1939 to 1953 are spanned
in The Golden Days of Jazz (Vanstory
VS3409/11 — Carinia Records) a 3
record boxed set, a pot-pourri of trad,
mainstream, swing and bop. Sound on
some tracks is shaky, but various
inclusions could interest many fans, e.g.
Alexander’s Ragtime Band (Sidney
Bechet), Henderson Stomp (Benny
Goodman), Way Down Yonder In New
18
JAZZ RECORDS
Orleans (Louis Armstrong), At The
Woodchoppers Вай (Woody Herman), St
Louis Blues (Roy Eldridge), That Old
Black Magic (Ella Fitzgerald), Flying
Home (Lionel Hampton) and Lover Man
(Dizzy Gillespie and Sarah Vaughan).
There is a very welcome reissue from
one of the most respected of jazz guit-
arists, blues master KENNY BURRELL
Midnight Blue (Blue Note BST84123 —
EMI). The evocative Soul Lament is a
vehicle for the solo splendour of Burrell
(who plays electric guitar on this cut).
Tenorist Stanley Turrentine is another
key soloist on Chitlins Con Carne, made
all the more exciting by the conga
drumming of Ray Barreto. Recorded in
1963, this is a Blue Note classic.
From a 1984 session comes DIZZY
GILLESPIE Closer To The Source
(Atlantic 81646 — WEA Records).
Among the special guests are Stevie
Wonder and Branford Marsalis, and the
group is more into a light jazz rock, pop
and funk bag. In the mellowness of his
years, Dizzy does not seem to be trying
for anything much, but the result is easy
listening, although strictly not for
purists.
The strong, volatile voice of a sultry
young. jazz-oriented singer is heard on
Rapture ANITA BAKER (Elecktra
60444-1 — WEA). Hear Baker’s emotion-
charged reading of You Bring Me Joy,
her torchy original tune that dissolves
into scatting phrases, and the expressive
Rod Temperton song, Mystery, pre
viously performed so tellingly by Man-
hattan Transfer.
And, while on that subject, there is an
exciting new offering from the sophis-
ticated Sydney singer, MAREE MONT
GOMERY Woman of Mystery (1 агтікіп
LRJ 189). The violet-eyed cover shot of
Montgomery looks remarkably enig-
matic, but there’s no mystery as to her
ability to bring her distinctive person-
ality and pizzazz to whatever she
touches. This recording cannot be
labelled simply jazz, pop, or funk, for it
has elements of all these. The backing
by top Sydney-based musicians is
laudable, as are the arrangements by
musical director, Serge Ermoll, and the
repertoire embraces both standards and
originals. Maree Montgomery is for
those who like a voice that is daringly
different and a style that is individual
— qualities not easy to find in today’s
scene.
From the latest (and fourth) release in
the Cornerstones of Australian Jazz
series comes ONAJE Waltz For Stella
(Larrikin LRJ 174). This gifted and
resourceful Melbourne quartet are
bonded by a keen musical compatibility,
and play their own material, seeking to
shape it in the mould of their distinctive
originality. Most of the tunes here are
from saxophonist Richard Miller, who
blows hard-edged tenor as well as
soprano. The remarkable rhythm sec-
tion comprises Bob Sedergreen on piano,
Gary Costello, bass, and Allan Browne,
drums. There is a satisfying exploration
of varied textures and moods, with
particularly impressive soloing from
Sedergreen and Costello.
The mixture of duo flute flights and
appropriate backing from the Chris
Hinze Combination and Sydney bassist
Craig Scott delightfully integrate when
they all partake of Flute Salad DON
BURROWS & CHRIS HINZE (ABC
Records L38418 — Festival Records).
Ideas flow smoothly and there’s a
subtlety in the phrasing of flautists
Burrows and Hinze, who both possess
a rich, pure tone and fine technique. For
the most part, the atmosphere is one of
peace and tranquility, with a gentle
swing to be enjoyed as quiet listening
pleasure.
The combination of a well-known Eng-
lish jazz pianist and a distinguished
Australian classical French horn player
is presented on GEORGE SHEARING
& BARRY TUCKWELL Play The Music
Of Cole Porter (Concord 138586 —
‘estival Records). The improvisational
content is supplied by Shearing, bassists
John Clayton and Don Thompson and
drummer Grady Tate, while Tuckwell,
naturally, plays it straight. There is also
a string background on some of the
tracks, which were recorded last Janu-
ary. An intriguing experiment that some
may find interesting although not a jazz
record per se.
Jova Jenson is the Herald's Jazz critic.
(
2MBS-FM
THE MUSIC LOVERS’ STATION
2MBS-FM PROGRAMME GUIDE DECEMBER 1986
2MBS GIFT FAIR
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Beautiful gifts from all corners of the globe
kindly donated by our supporters, individuals and companies
10 am to 4 pm, Saturday, 6th December, 1986
76 Chandos Street, St. Leonards
AUCTION AT 2 PM
Spanish brass & glass table
Exclusive Italian leather chair
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Complete Dinner Set
Kosta Boda Glassware
Etching original
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Rare Vintage Wines
Restaurant meals
and much, much more
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mugs, chocolates, music pens and stationery, silk ties,
glossy posters, youname it...
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2MBS-FM PROGRAMME GUIDE DECEMBER 1986 19
HOT OFF THE PRESS
Reviewers this month are Brin
Newton-John, Paul Roper and David
Worobin.
Richard Strauss: Lieder. Jessye
Norman (Sop), Geoffrey Parsons (p).
Philips 416 298-1.
Jessye Norman’s recent recording of
the Strauss songs with orchestra
(Philips 6514 322) established her as
one of the great Strauss interpreters
of our time. She has added to that
reputation with this recital of twenty
songs with piano accompaniment.
Strauss wrote most of his songs for
the soprano voice, many of them for
his virago of a wife, Pauline, who
sang them superbly well even if she
often invited applause for herself
before Richard had fmished playmg
the accompaniment.
Apart from juvenilia, Strauss’
songs date from his Opus 10 (1885)
settings of poems by Hermann von
Gilm (otherwise unknown). Three of
Nacht’ and Zeitlose(meadow saffron)
— which prove, as if Schubert had
not already done so, that it is some-
times an advantage to have a poet-
aster as your scriptwriter. There are
settings of four poems by Adolph von
Schack, diplomat, orientalist, patron
of the arts, lyricist, epicist, historian,
but as a poet much on a par with
True poets are not entirely forgot-
ten: von Arnim contributes one poem
and Heine two to this recital. But
Norman has preferred songs with
texts by radical socialists like Karl
Henckell and John Henry Mackay or
Richard Dehmel to those of Rueckert,
Uhland, Hoelderlin or even Goethe.
The singer is called on to produce
a great spectrum of tone colour and
emotion, from the Schubertian sim-
lein, through the joviality of Kling,
the lightheartedness of Ich trage
meine Minne, the melancholy of
Stiller Gang, the rapture of Heimliche
Aufforderung to the poignancy of
Traum durch die Daemmerung and
the power of Befreit.
Jessye Norman accomplishes it all
with ease. One is constantly amazed
that the voice that soared so majes-
tically over the orchestra in Frue-
hling (from the Four Last Songs —
Philips 6514 322) can whisper, cajole,
suffer, chuckle, soothe, as here.
Parsons proves himself a
worthy successor to Gerald Moore.
Note: This disc also contains the
very last song that Strauss wrote
(1948), a setting of an indifferent
poem Malven (hollyhocks) by a Swiss
poetess, Betty Knobel. Strauss wrote
it for Maria Jeritza, who had been his
Octavian, Ariadne and Helen. Jeritza
did nothing about it. When she died
aged 96, the MS was auctioned in
New York in 1984 for $60,500.
Malven, interesting historically
rather than musically, was recorded
by special permission of the Koch
Foundation which owns the MS.
BNJ
chronological sequence. The Con-
certo no 2 in B flat Op 19 was not
held in high esteem by its composer.
‘I do not give it out as one of my best"
he wrote to his publisher six years
after writing it and three years after
revising it Subsequent critics have
endorsed Beethoven's judgment. The
work has a great deal of charm,
Mozartian charm perhaps, but it also
has a Beethovenian drive. The first
movement is straightforward; the
Adagio, dignified throughout, has a
section toward the end where piano
and strings engage in a whispered
dialogue that is genuine Beethoven;
the finale, a rondo in 6/8, in the
hunting-horn style favoured by
Haydn and Mozart, with some bril-
hant writing for the soloist (Bee-
thoven played this work at his first
public appearance as a virtuoso, so
it is thought), brings the work to a
cheerfui conclusion. Beethoven may
not have rated it highly, but Argerich
and Sinopoli obviously enjoy playing
it and I enjoyed listening to it.
Beethoven set his standards high —
ordinary mortals can find great
pleasure in his op 19.
For his Concerto in C, op 15, written
two years after the original version
of op 19, Beethoven added clarinets,
trumpets and timpani to his orches-
tra. Again he went back to the sources
— the work opens with a martial
energy reminiscent of Mozart's first
springy soldiers, not the tightly-
disciplined troups of Ashkenazy/
orchestra under Sinopoli joins in
happily and equally crisply. Her slow'
movement sounded somewhat
matter-of-fact compared with Ashke-
nazy's meditative mysteriousness,
but I suggest that impression may be
due to Argerich/Sinopoli's refusal to
treat early Beethoven as mature
Beethoven.
Silent surface. Open, airy sound. A
most likeable disc. BNJ
Praetorius: Dances from Terpsi-
chore. The New London Consort;
Philip Pickett, director. L'Oiseau
Lyre 414 633 — 2.
It can be argued that the success of
performances of ensemble dance
music from the late Renaissance/
early Baroque depends largely upon.
two factors: the handling of instru-
mental texture, and the realisation of
its rhythmic possibilities. In both
this recent recording by a
newly formed group succeeds
Listeners whose introduction to
Michael Praetorius' music came via
the celebrated Early Music Consort
recording, made 15 years ago,
will note the striking similarities of
selection, ordering, and instrumental
colour. As there appears to be only
one performer common to both ensem-
bles (and he, significantly, a cornet
player), this fact serves perhaps as
testimony to the influence of the late
David Munrow. Especially is this so
in the several pieces where Philip
Pickett's group assembles one of ihe
grandest versions of the loud consort
imaginable, such as the explosive
opening Passamezzo or the conclud-
ing sequence of Voltas. The splendour
and exuberance of these orchestra-
tions simply cannot fail to impress,
e Continued page 22
20
2MBS FM PROGRAMME GUIDE DECEMBER 1986
2MBS-FM
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on WEDNESDAY, DECEMBER 10 at 8pm
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2MBS-FM PROGRAMME GUIDE DECEMBER 1986 21
and even when the fulsome cornets,
sackbuts and percussion are
dispensed with, the public, al fresco,
character of some of the ensembles
is a continuing source of delight.
Praetorius’ well known Bourree is
given by a wind band, a group of
curtals and racketts which produce
a penetrating, almost insect-like,
sound, while the use of a hurdy-gurdy
in a series of rustic Bransles is
distinctive and highly appropriate to
their origins, if a triple overpowering
after several minutes!
The more reflective dances are
treated with equal sympathy. A
Sarabande (his only one?) is the
vehicle for some fine division playing
by the lutenist which recalls, per-
haps, the influence that English
musicians exerted at the North Ger-
man courts. Artful embellishment
also adorns the Pavane de Spaigne
and the Spagnoletta, and the unex-
pected allocation of a pair of harps
to a series of gentle Bransles works
surprisingly well (of the lute consorts
in Hesperion XX’s Tobias Hume and
William Brade recordings).
Rhythmic impetus, too, is well
sustained and varied, with tempi
being if anything a trifle faster than
may have been anticipated. Unlike
some of his compatriots (e.g. Scheidt
and Haussmann), who were tending
to write music of a more abstract
nature in the guise of dance pieces,
Praetorius undoubtedly intended this
music for dancing, and these perfor-
mances effectively convey that
aspect of their character. The one
exception is a Bransle de la Torche
which Pickett has, curiously, chosen
to include twice: its rhythmic insist-
ence seems to prefigure a well-known
theme of Joaquin Rodrigo, and tends
to outstay its welcome in a short time.
Nonetheless, the impulse to dance
may prove hard to resist.
The fact that most of the items have
been included in earlier Praetorius
anthologies will make for interesting
comparative listening by those so
minded, although the performances
are certain to make an enormous
impression on their own terms. The
New London Consort’s debut record-
ing can be recommended to devotees
of this repertoire or to newcomers
with equal unreserved confidence.
PR
Mozart: Quintet in E flat K452 for
piano, oboe, clarinet, horn and
bassoon.
Beethoven: Quintet in E flat Op 16
for piano, oboe, clarinet, horn and
bassoon. Jos van Immerseel, piano;
Paul Dombrecht, oboe; Elmar
Schmid, clarinet; Piet Dombrecht,
horn; Danny Bond, bassoon. Accent
ACC8538.
The overall impression in these
particular versions is the sincere and
thoughtful approach towards authen-
ticity. Firstly, the period instruments
employed with their colour and tonal
significance to the composers’ ideas,
and secondly the study involved by
this group of artists in successfully
presenting the quintets with all the
subtleties inherent in the music by
two such different masters. Mozart’s
work dates from 1784 claimed by him
as the best he had as yet composed;
Beethoven’s effort is from 1797 and
largely influenced by the Mozart
quintet, but whether he sought to
emulate or surpass Mozart the result
is certainly a splendid act of homage.
It is therefore usual to couple these
two outstanding works in recordings
or include them їп concert
programmes.
I recommend this fine recording as
an excellent addition to your library.
DW
Quadrant
MONTHLY REVIEW
Box C344, Clarence St Post Office, Sydney NSW 2000
It must be said Quadrant has always exercised a most
courageous editorial policy, publishing responsibly on occa-
sion articles that wouldn’t have had a dog’s chance of
appearing in print elsewhere.
— Clement Semmler,
Quadrant has survived and flourished in a jungle full of
Pygmies with poisoned arrows, has succeeded in МсАшеу 5
original aim of bringing together in many spheres of
thought and art the essence of the Australian variant of the
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a0 sesnecsoscssscosconesecco ceo повете тава спане гопешаано cono stone
2MBS-FM PROGRAMME GUIDE DECEMBER 1986
This work can be heard in David’s
programme on December 2 at 5 pm.
Beethoven: Piano Concerto no 5 in E
flat Emperor. Claudio Arrau, piano;
Staatskapelle, Dresden; Sir Colin Davis,
conductor. Philips Digital 416215-1
Claudio Arrau’s splendid version of
Beethoven’s 5th piano concerto is a
revelation of a youthful wisdom which
this outstanding musician in his early
eighties displays with such telling
insight.
Arrau’s support with the heroic spirit
of the music has succeeded in placing
this interpretation in a new category.
Much thought has gone into this process,
remarkable for its evenness and balance.
Never once is there any suggestion of
display, the many emotional moments
are allowed their importance without
artistic detriment to the whole concept
of the concerto.
Further, the sensitive and brilliant
orchestral accompaniment provides the
essential support in this most successful
union of solo and orchestra. DW
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.
a
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Open for lunch
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warmest jazz rooms in Sydney with
excellent food & very good accoustics
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2MBS-FM PROGRAMME GUIDE DECEMBER 1986 23
Jottings from Betsy Brown
Roger Poole (violin), a student at the
Conservatorium in the 60s, and now a
lecturer in the English Department at
Nottingham University, writes that a
play he had written for one of his ex-
students “who runs a Little Theatre
group in London and Reading” was re-
drafted and put into production “and lo
and behold! it has just had a successful
3-week run on the Edinburgh Festival
Fringe”. The reviews were excellent with
acclaim for actors, producer, and author.
The play dealt with “Kierkegaard and
his ex-fiancee Regina”. Roger also
indicates that he has “just got what will
certainly be a contract with John
Hopkins Press in the USA for the ‘big’
book on Kierkegaard, the one I have been
trying to finish and place for 20 years”.
A friend and co-student of Roger Poole
at the Conservatorium, Tony Bremner
(piano and voice) and working in
London writes “Here I am in Germany
again (Krefeld, West Germany) singing
in Judith (the biblical character) by
Siegfried Matthus (1984)”. He also writes
to report that the “film, A Halo for
Athnar (for which he wrote the music),
goes out on ABC TV somewhere between
mid-September and mid-October”, and
the letter includes a reminder of his
“pleasure in conducting his music score
with the Adelaide Symphony Orches-
tra”, and the fact that he will “be in
Sydney in February to compose the
music for my first cinema film”.
THE SYDNEY GUITAR SUMMER SCHOOL 1987
January 12 to 23rd at Sydney Grammar School
Director Ken Burns. Teachers to include Timothy Kain and
members of the Sydney Guitar Quartet.
Classes for beginners — advanced.
Further information contact
Ken Burns 543 1512 or Richard Charlton 327 6365
Margaret Powell and husband
Michael Dussek (Margaret, cello;
Michael, piano) write from Barcelona in
Spain that they’ve “had a great time here
in Spain and it’s been good to get the
old Spanish out again”. They had been
attending the Music Festival at Costa
Brava, Torroella de Montgri, where
“Aldulescu’s course went very well”, and
they met up with (cellist) Anthea Scott-
Mitchell with her new piano quartet
which is very good”. Margaret studied
with Adulescu in Barcelona when she
left Sydney to pursue her studies. She
writes very glowingly of the very high
standards of performance at the Festi-
val, and is very thrilled that she and
Michael have been invited back to the
Festival next year. Further, they have
been invited to give some concerts in
Spain next year.
Lillian Danilo (piano and cello) is
expecting to spend one or two years in
London studying the cello and working
at her legal career. She chose to travel
to London as much as possible by train,
so went across on the Trans-Siberian
railway. She writes that “my 3-month
trip through China and the Soviet Union
was fascinating — full of surprises and
contrasts. What surprised me most about
China was the high standard of living
they seem to enjoy. I was impressed too
by how hard-working they are”. In
England she writes, “I am currently
enjoying a marvellous season of Prom
Concerts. I have subscribed for the lot
— 58 concerts over 2 months... and I
am going to most of them!”
Brian Stanborough (piano) writes in
his August letter that the “Grasse
Festival went very well and the South-
West Summer Tour was a terrific success
in Bordeaux and its region. Now I am
again in Ajuccio-Marina Viva for 2
weeks to give 5 concerts. I will be taking
up my post at Toulon Opera on Ist
September. Corsica is really wonderful,
and my new record Liszt came out a
week ago and is selling very well indeed”.
Lidia Purwanta (violin), who studied
at the Conservatorium in the 70s, writes
from her home in Jogjakarta that she
has been touring and performing “at
International Jazz Festivals in India
and Europe... This year the Dutch
Government offered me a three-year
scholarship to study at the Conservat-
orium in Amsterdam. I am thinking
about studying Composition and at the
same time learn as a private student
with Christian Bor. This Dutch scholar-
ship is open for me anytime before I
reach 35 years of age. I have also been
offered a scholarship by the Ford
Foundation to study wherever I like for
three semesters starting April, 1987. So
I am thinking hard what to do”.
Miss Betty Brown was formerly Headmistress of the NSW
Conservatorium High School and more recently Student
Adviser.
24 2MBS-FM PROGRAMME GUIDE DECEMBER 1986
TN Be, Ti step eet!
мос. ia dek COE AT f.
фы мушеа ынсы геч
= S im NE d RS ЗЕ ЕДНИ
ка = vee ely э ON eae
ims vs us jet p
2MBS-FM 76 Chandos St, St Leonards 2065
2MBS-FM PROGRAMME GUIDE DECEMBER 1986 25
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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
82 Sussex Street, Sydney
Phone 290 3311
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
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
FLORISTS & GIFTWARE
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
HARDWARE
Fisher’s Hardware
Southside Plaza
Drive-in Shopping Centre
Prince’s Highway, Rockdale
Phone 587 4393 or 587 8991
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
HEALTH FOODS
Gordon Health & Specialty Foods
6St 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
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
Wall’s Pharmacy
345 Darling Street
Balmain 2041
Phone 810 1290
(No discount on RNS prescriptions)
26 2MBS-FM PROGRAMME GUIDE DECEMBER 1986
PIANOS AND MUSICAL
INSTRUMENTS
Jens Bagoien
Shop 4, 261 Old Northern Road,
Castle Hill NSW 2154
Phone 634 3952
Charles Moller
Lute & Hurdy-Gurdy Maker
11 Fernbank Street
Marrickville 2204
Phone 558 6348
Graham McDonald
Fretted stringed instruments built, repaired and
restored
280 Victoria Road,
Gladesville
Phone 817 2173
Landis Geary Music
Suite 6, 212 New South Head Road,
Edgecliff 2027
Phone 328 1400
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
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
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
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
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
ы)
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Postcode
Tarantella Music
783 Pacific Highway, Gordon TSHIRTS; SPORTSWEAR, SCREEN
Phone 498 3711 INING.
The Compact Disc Centre Seren Machi Road
25 Anderson Street, Chatswood Stanmore 2048
Phone 439 7999 Phone 513227
The Record Collector
Shop97 — TRUCK RENTAL
pond! Junction Plaza Ranger Truck Rental & Leasing
Phone 387 2284 2g Parramatta Rd, (Cnr. Ostend St)
RESTAURANTS Phone 647 2233
е Lile Snail WINE AND SPIRITS
anuel Damian, proprietor Cam + ша
perdown Wine Cellars
ы дешен 2428 21 Kingston Road
Phone (065) 54 6222 Camperdown Phone 516 4466
KaBuki Too WORD PROCESSING
Licensed Japanese Seafood Restaurant Precision Word Processing
98 Bourke Street 125 Livingstone Ave
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.
20% saving.
West Pymble Phone 498 8539
Computer labelling, mailing lists, individual
computerised letters
e
2MBS-FM
2MBS-FM PROGRAMME GUIDE DECEMBER 1986 27
Wyatt and Martin Waterworth. Numbers
represent dates on which composers
may be heard.
Abelard 11
Adam 24
Addinsell 31
Albeniz 22, 26
Albert, Prince Consort 8
Albrechtsberger 10, 29
Alfven 12
Arpieu 18
Auric 17
Babell 9
Bach, C.P.E. 21
Bach, J.C. 16, 21
Bach, J.S. 4, 7, 8, 9, 13, 14, 15, 20, 21, 22,
23, 24, 25, 30, 31
Balakirev 11
Balbastre 13
Balfe 17
Barbella 18
Barber 26
Bartok 19, 21, 26, 28
Bax 23, 26
Beach 4
Beath 8
Beethoven 2, 3, 4, 5, 6, 7, 8, 10, 11, 12, 13,
15, 16, 17, 18, 19, 21, 22, 23, 24,
26, 28, 29, 30, 31
Bellini 15
Benjamin 12
Bennett 4
Berlioz 1, 5, 9, 17, 19, 25, 31
Bernstein 15
Biber 21, 22
Bizet 10, 11, 22, 28, 31
Blavet 2
Boccherini 15, 31
Bochsa 9
Boehm 9
Boellmann 28
Boieldieu 3
Boito 18
Borodin 2, 11, 19
Boulanger 4, 18
Brade 21
Brahms 1, 2, 4, 5, 9, 11, 13, 16, 20, 21, 23,
27, 31
Bridge 16
Britten 4, 5, 8, 10, 22, 25
Brophy 13
Bruch 9, 18, 27
Bruckner 4, 7, 21
Brumby 12 Faure 1, 7, 9, 11, 14, 16
Brunetti 7
Feld 29
Buelow 22 Ferrabosco 26
Bull 21, 27 eo
Field 12
Butterley 7 Finzi 10, 17
Buxtehude 12, 22 ;
Fouchetti 18
Byrd 4, 7 Е aix 8
rancaix ©
Cage 29 Franck 5, 19, 14, 21
28 2MES-FM PROGRAMME GUIDE DE
Cambini 1
Camilleri 24
Campion 26
Cantelotibe 12
Carreno 4
Carulli 14
Casella 16
Cauchiello 18
Chabrier 31
Charpentier 22, 25
Chavez 10
Chopin 3, 6, 10, 12, 18, 20, 26, 27
Cimarosa 29
Cilea 29
Clarke 2
Clifford 12
Coates 3, 10, 17
Colborne-Veel 4
Colgrass 17
Coprario 26
Corelli 1, 7, 15, 18, 21, 24, 25, 28
Cornelius 21, 22, 25
Coste 12
Couperin 14
Coward 11
Cowell 29
Crusell 17, 30
Czibulka 17
Dandrieu 25
Daniel 26
Danzi 13
Daquin 13, 25
Debussy 2, 4, 5, 6, 10, 16, 17, 18, 20, 23,
26, 27, 29
Delius 8, 16, 19, 26
Denis 18
Dering 21
Dohnanyi 28
Donizetti 9, 10, 15, 22, 27, 28, 29
Dowland 21
Duez 10
Dufaut 14
Duparc 26
Оирге 13
Durufle 2?
Dvorak 1, 3, 6, 7, 8, 10, 11, 15, 18, 20, 21,
24, 28, 30
East 26
Edmunc эп 13
Elgar 1, _, 8, 9, 15, 17, 19, 21, 29, 31
Enescu 19, 29
Evans 27
de Faila 30
Frohlich 19
Frye 19
Furtwaengler 31
Gabrieli 5, 21, 22, 26
Gafulla 1
Galinda 22
Gautier 2
Gershwin 1, 18, 22
Gibbons 4, 7
Ginastera 12
Giuliani 14, 24
Glazunov 1, 8, 10, 18, 21, 29, 31
Glinka 8, 10, 19, 21, 30
Gluck 2, 28
Goldmark 15
Goossens 27
Gossec 29
Gottschalk 2, 9, 10, 16, 22, 30, 31
Gounod 8, 10, 27
Grainger 8
Granados 2, 31
Grenser 18
Gretry 14
Grieg 1, 8, 21
Grofe 17
Guillou 24
Gumpelzhaimer 14
Haase 26
Handel 1, 2, 5, 12, 14, 19, 22, 25, 29, 30
Hanson, R. 5, 12
Hardy 3, 25
Harrison 29
Harty 17
Hasselmans 16
Hassler 7
Haydn, J. 3, 4, 5, 7, 8, 9, 11, 13, 15, 16, 17,
18, 20, 26, 29, 30
Hellendaal 24
Helsted 12
Herbert 25
Hertel 29
Holmboe 26
Holst 3, 17, 21, 25
Hoover 4
Hotteterre 14
Howells 14
Hume 26
Humperdinck 21, 31
Ibert 12
d'Indy 15
Infante 13
Isaacs 11
Ives 25
Jacobi 25
Janacek 3, 8, 15, 25
Johnson 26
Jolivet 16
Josquin des Pres 12, 19
Kalman 31
Khachaturian 17, 23, 31
Kirchner 19
Kjerulf 12
EMBER 1986
[SSS yl a a I a EP SE I лайн ыйа н и RE
—————————— ——Є—ҮЄ————————
Kodaly 7, 20, 26, 27
Kraus 30
Krebs 12
Kreisler 3, 8, 27
Krommer-Kramer 3
Kuhlau 27
Lanchbery 3
Langford 1
Langlais 8
Lanner 4, 31
Larsen 3
Гесоса 10
Leoncavallo 22
Lehar 17, 18, 31
Linde 5
Liszt 1, 4, 6, 8, 10, 18, 20, 22, 25, 28
Lloyd-Webber 3
Locatelli 22, 25
Locke 30
Loewe 11
Loewenstein 19
Lovelock 27
Lucchisi 31
Lyadov 1
MacDowell 10
Mackerras 12
de Machy 21
Mahler 3, 8, 10, 14, 26
Maillard 14
Mancini 24
Marais 15
Martinu 3, 25, 29
Masek 30
Massenet 10, 29, 31
Mayr 31
Mazak 22
Mendelssohn 1, 3, 5, 6, 8, 13, 15, 16, 19,
20, 25, 29, 30, 31
Mercadante 17
Messiaen 7, 8
Meyerbeer 3, 8, 17
Milton 25
Moncayo 22
Monteverdi 5, 22
Moreno-Torroba 15, 18, 26
Morenzio 7
Morton, R. 12
Mozart, F. 7
Mozart, L. 10, 29
Mozart, W. 1, 2, 3, 4, 5, 7, 8, 9, 10, 12, 13,
14, 15, 16, 17, 19, 20, 21, 22,
23, 28, 29, 30
Mussorgsky 11, 15
Myslivecek 17
Nadermann 2
Nathan 8
Naumann 30
Nazareth 31
Nedbal 26
Nederman 30
Nielsen 23
Novak 19
Novello 18
Offenbach 10, 29, 31
Olivers 14
Orden 24
2MBS-FM PROGRAMME GUIDE DECEMBER 1986
Pachelbel 5, 31
Paganini 10, 15, 27, 29, 30
Palestrina 14, 21
Partch 31
Pergolesi 1
Persichetti 18
Pezel 14
Philips 21
Pierne 2
Piston 9
Pleyel 14, 23
Poenitz 16
Poliakin 10
Ponchielli 4, 22, 29, 31
Popper 9
Poulenc 9, 10, 25, 31
Praetorius 7, 24, 25
Prokofiev 4, 10, 16, 18, 24
Puccini 3, 4, 11, 22, 24, 29, 31
Purcell 4, 8, 23
Rachmaninov 1, 3, 7, 8, 9, 15, 24, 28, 30
Raff 19
Rameau 12, 16, 17, 20
Rangstroem 25
Ravel 13, 16, 22, 26, 27, 29
Rejcha 24, 29, 30
Respighi 1, 19
Rejcha 29, 30
Respighi 1, 19
Reznicek 3
Ries 19, 31
Rimsky-Korsakov 1, 12, 24
Rodrigo 15, 24
Roellig 30
Rolla 7
Romero 28
Rosseter 26
Rossetti 25
Rossi 5
Rossini 3, 4, 7, 11, 17, 19, 28, 29, 31
Rubinstein 13
Ryba 25
Saint-Saens 1, 5, 7, 9, 12, 28
Salieri 31
Salulini 14
Sammartini 2, 7, 14, 26, 30
Sarasate 4, 10
Satie 31
Scheidt 22
Schmidt 29
Schoenberg 31
Schubert 4, 5, 6, 8, 9, 11, 12, 13, 16, 20,
22, 27, 30, 31
Schuetz 5, 7, 23, 24
Schulz 30
Schumann, C. 12
Schumann, R. 3, 6, 9, 12, 23, 28, 30
Scriabin 2
Sculthorpe 25
Serov 29
Sheppard 22
Shostakovich 14, 20, 28, 29
Sibelius 4, 25, 30
Simpson 21
Sinding 12
Slaney 22
Smetanin 13
Soler 2, 25
Sousa 1, 19
Spisak 26
Spohr 7, 9, 14
Stamitz, C. 22, 30
Steiner 3
Stolz 4, 25
Straus, O. 10
Strauss, E. 7
Strauss, J. sr З, 11, 31
Strauss, J. jr 3, 4, 18, 24, 30, 31
Strauss, Josef 11, 18
Strauss, R. 3, 4, 9, 11, 12, 17, 29
Stravinsky 8, 9, 11, 14, 26, 31
Suk 26
Sullivan 10, 31
Suppe 8, 29, 31
Suessmayr 18
Svendsen 12
Sweelinck 13
Szymanowski 2
Taffanel 9
Tallis 4, 22
Tartini 5
Tchaikovsky 1, 8, 11, 12, 14, 18, 19, 20,
22, 24, 27, 29, 30, 31
Telemann 3, 5, 6, 12, 14, 23, 30
Thomas 9, 28
Thomson 29
Tippett 9, 21
Tomasek 8, 11, 29
Torelli 23, 28
Torroba 3
Toselli 3
Tosti 22
Track 13
Triebensee 24
Turina 130
Varese 9, 17
Vaughan Williams 7, 10, 12, 21, 24, 26, 28
Verdi 2, 4, 8, 15, 18, 24, 28, 31
de Victoria 7, 24
Villa-Lobos 9, 10, 16
Viotti 10, 14
Vivaldi 3, 4, 9, 12, 14, 23, 29, 30
Volkmann 8, 26
Wagenseil 9
Wagner 11, 21, 22, 28, 29
Wailly 1
Waldteufel 10, 31
Waller 31
Walton 17
Warlock 14, 25
Watts 25
Weaver 27
Weber 2, 4, 11, 15, 26, 29, 31
Weill 25
Werner 25
Widor 2
Wieniawski 3, 25, 29
Williamson, M. 9, 27
Wolf 21, 28
Wuorinen 17
Xenakis 17
Zelenka 25, 29
Zemlinsky 26
Zumsteeg 11
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AA TM
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NT
2MBS-FM PROGRAMME GUIDE DECEMBER 1986
PROGRAMMES FOR
DECEMBER
5 у Orchestra 50
Philharmonic Orchestra PO
Radio Orchestra RO
Festival Orchestra FO
Chamber Orchestra co
National Orchestra NO
Theatre Orchestra то
Promenade Orchestra Prom O
Chorus and Orchestra Ch&O
Music duration is shown after the record identification.
Sa
Monday 1
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 items from the classical repertoire
with time calls in between
9.00 MOZART:
THE GREAT INTERPRETERS
Mozart, W. (1756-1791). Eine Kleine
Nachtmusik. Vienna PO/Furtwaengler.
EMI C149 03 584 (mono) 14
Coronation Mass, K317.
Anna Tomowa-Sintow, soprano; Agnes
Baltsa, contralto; Werner Krenn, tenor; Jose
van Damm, bass; Vienna Singverein; Berlin
PO/Karajan.
DG 26150/3 26
Violin sonata in E flat, K302. Itzhak Perlman,
violin; Daniel Barenboim, piano.
DG 410 896-1 12
10.00 THE MAGIC OF THEODORAKIS (1)
Theodorakis, M. (b1925). Kaymos; Stou
kosmou tin aniforia.
Helithonaki; Pira tous; Thromous touranou;
Toniro kapnos.
Varka sto yialo; Manoula mou; O yiokas sou. 8
Grigoris Bithikotsis; Maria Farandouri; Ch &
O/Mikis Theodorakis.
EMI/WRC R 02599 (all above)
10.30 MISCELLANY OF MUSIC
Prepared by Ruth Warren
Dvorak, A. (1841-1904). The Golden Spinning
Wheel op 109 (1896). Czech PO/Neumann.
Supraphon 4 10 2591-2
Rachmaninov, S. (1873-1943). Piano concerto
no 4 in G, op 40 (1927). Earle Wilde, piano;
Royal PO/Jascha Horenstein.
Quintessence PMC 7053 23
Lyadov, A. (1855-1914). About Olden Times,
ор 21b (1889). USSR SO/Yevgeny Svetlanov.
Melodiya CM 02111-12 5
Villa-Lobos, H. (1887-1959). Prelude no 1 in E
minor (1940). John Williams, guitar.
CBS SBR 235802 4
Glazunov, A. (1865-1936). Raymonda ballet op
57. Bochumer SO/Maga.
Impromptu SM 191503 24
12.00 A JAZZ SANDWICH
Prepared and presented by Derrick Davey
During this hour of jazz music we shall hear
small groups led by tenor sax players Gene
Ammons and Don Byas, and a big band led
by arranger Manny Alban. Also, because _
yesterday was St Andrew's Day, some music
with a Scottish flavour.
1.00 TWO RUSSIAN COMPOSERS
Prepared by Gerda Hoffman
Tchaikovsky, P. (1840-1893). Marche slave, op
31. Berlin PO/Ozawa.
EMI EL 270237-1 9
Rimsky-Korsakov, N. (1844-1908).
Scheherazade (1888): Sea and Sinbad's Ship;
Story of Kalender Prince; Young Prince and
Young Princess; Festival of Bagdad. Royal
PO/Stokowski.
RCA ARL1 1182 44
2.00 DIVERTISSEMENTS
Prepared by Jeff Scholer
Faure, G. (1845-1924). Ballade for piano and
orchestra. Philippe Entremont, piano;
Philharmonia O/Dutoit.
CBS CX 74102 14
Gafulla, C. (1810-1880). Washington Grays
March. University of Michigan Symphony
Band/Reynolds.
Pro Arte SDS 622 5
Berlioz, H. (1803-1869). Incidental music from
The damnation of Faust. Halle/O Loughran.
MFP CFP 40312 13
Liszt, F. (1811-1886). Piano concerto no 2 in
A. Lazar Berman, piano; Vienna SO/Giulini.
DG 2530 770 22
3.00 RECORDINGS OF RENOWN
Prepared and presented by Earle King
Elgar, E. (1857-1904). Enigma variations, op 36
(1899). London PO/Barenboim.
FMRS 55 30
Grieg, E. (1843-1907). Piano concerto in A
minor, op 16 (1868). Dinu Lipatti, piano;
Philharmonia O/Alceo Galliera.
FMRS 79 29
Handel, G. (1685-1759). Concerto in G minor
(1703). Jacques Chambon, oboe; Jean-
Francois Paillard CO/Paillard.
Erato STU 70579 10
Berlioz, Н. (1803-1869). Harold in Italy, op 16
(1834). William Primrose, viola; Boston SO/
Munch.
FMRS 76 38
5.00 WORK’S DONE FOR TODAY
Prepared by Michael Sheehan
Mozart, W. (1756-1791). Violin concerto no 4
in D, K218 (1775). Anne-Sophie Mutter, violin;
Philharmonia O/Karajan.
HMV ASDZ 4185 24
Respighi, О. (1879-1936). Symphonic poem —
The Festivals of Rome (1929). Cleveland O/
Maazel.
Decca SXL 6822 26
Tchaikovsky, P. (1840-1893). Symphony no 5
in E minor, op 64 (1888). USSR State SO/
Svetlanov.
Melodiya C 10523-4 48
Brahms, J. (1833-1897) Two songs with violin
obbligato, op 91 (1884). Christa Ludwig,
soprano; Herbert Downes, viola; Geoffrey
Parsons, piano.
НМУ ESD 1006151 12
7.00 YOUR MONDAY DATE
Prepared and presented by Geoff Gilbert
Jazz from ‘Bunk’ to the ‘Bird’.
8.00 MUSIC THAT'S BAND (50)
Prepared and presented by Owen Fisher
In this monthly series of band music on
2MBS-FM the accent is on variety. Famous
bands will play marches, waltzes, tone poems,
hymns, transcriptions of classical works,
musical comedy, and an odd novelty number
thrown in for good measure.
Mendelssohn, F. (1809-1847). Overture: Ruy
Blas. Black Dyke Mills Band/Geoffrey Brand.
Decca SB305 7
Gershwin, G. (1898-1937). Gershwin for brass.
St Mary's District Brass Band/Cliff Reese.
Troubadour TCS 037 6
Saint-Saens, C. (1835-1921). French military
march. Brighouse and Rastrick Band/Walter
Hargreaves.
EMI TWO 253 5
Mortimer, F. John Peel. Fairey Band/Harry
Mortimer.
HMV OCSD 3668 3
Richards, G. The quest. Hendon Band/Donald
Morrison.
Astor GGS 1516 4
Anon. Salute d'Amour. CWS Manchester
Band/Alex Mortimer.
Fontana STFL 509 2
Sousa, J-P. (1854-1932). Comrades of the
Legion march. Philip Jones Brass Ensemble/
Elgar Howarth.
CD Decca 410 290-2 3
Saint-Saens, C. The Swan, from Carnival of
the Animals. Hammonds Sauce Works Band/
Geoffrey Whitlam.
Decca SB 327 4
Langford, G. Strauss Fantasy. Massed Bands:
Besses o' th' Barn; Hammonds Sauce Works
Band; Parc and Dare Band; Sun Life
Stanshawe Band/Vilem Tausky. .
Chandos BBR 1003 8
Anon. Nibelungen march, after Wagner.
Carlton Main Frickley Colliery Band/Robert
Oughton. ;
Grosvenor GRS 1020 4
9.00 STORMY MONDAY
Two hours of the best in blues. R & B, soul,
gospel, cajun and zydeco. With regular
specials on artists, bands and musical styles,
as well as our weekly guide to the local blues
music scene. Included in the programme are
interviews with visiting and local musicians
and broadcasts live from Studio C.
ллы
2MBS-FM PROGRAMME GUIDE DECEMBER 1986 31
11.00 CROSSING THE DIVIDE
Corelli, A. (1653-1713). Violin sonata in G
minor, op 5 no 5 (1710). Cynthia O’Brien,
violin; Ruth Wilkinson, bass viol; Paul Thom,
harpsichord.
Larrikin LRF 069 10
Mozart, W. (1756-1791). String quintet in G
minor, K516 (1787). Wolfgang Rausch, Josef
Sepsei, violins; Peter Pfuhl, Sabine Pfuhl,
violas; Philipp Bosbach, cello.
Harmonie der Welt HMW 599 31
Corelli, A. Violin sonata in B flat, op 5 no 2.
Lucy van Dael, violin; Wouter Moeller, cello;
Alan Curtis, harpsichord.
EMI 1C 065-46 439 9
Mozart, W. Piano quartet in G minor, K478.
Dene Olding, violin; Irena Morozov, viola;
David Pereira, cello; David Bollard, piano.
Philips 416 000-1 25
Corelli, A. Violin sonata in D, op 5 no 1.
Sigiswald Kuijken, violin; Wieland Kuijken,
cello; Robert Kohnen, harpsichord.
Accent ACC 8433 11
Mozart, W. Fantasia in D minor, K497 (1782).
Daniel Blumenthal, piano.
Move MS 3052 6
Corelli, A. Sonata in B flat, op 5 no 11 (arr.).
Frans Brueggen, recorder; Anner Bijlsma,
cello; Gustav Leonhardt, harpsichord.
RCA RL 30393 7
TESES
Tuesday 2
1.00 THE RUBBER ROOM
Prepared by lan Hartley and Marc Dekenzo
Avant-garde studio techniques with a regular
state of the art album
3.00 TILL DAWN
Three hours of classical music to dispel the
darkness
6.00 EARLY MORNING MUSIC
Shorter items from the classical repertoire
with time calls in between
9.00 THE CELESTIAL HARP OF
YESTERYEAR
Prepared by Ida Ferson
Blavet, M. (1700-1768). Sonata no 1
L'Henriette'.
Anon. (16th C). Greensleeves — Theme and
variations for flute and harp. Christian Larde,
flute; Marie-Claire Jamet, harp.
WRC R 03470 (2 above) 16
Handel, G. (1685-1759) Harp concerto in B
flat, op 4 no 6 (1738). Susan Drake, harp;
English String O/Boughton.
Nimbus 2139 27
Nadermann, F. (1773-1835). Sonata no 4. 5
Gluck, C. (1714-1787). Scene des Champs-
Elysees from Orpheus (1762). Christian Larde,
flute; Marie-Claire Jamet, harp.
WRC R 03470 (2 above) 3
10.00 SAMUEL BARBER'S SUMMER MUSIC
Prepared by Bob Goodnow
Barber, S. (1910-1981). Summer music for
woodwind quintet, op 31. Bergen Quintet.
CD Bis 291 12
Knoxville summer of 1915. Leontyne Price,
soprano; New Philharmonia O/Thomas
Schippers.
RCA AGL1 5221 16
10.30 CONCERT HALL
The Cleveland Orchestra
Prepared by Bob Goodnow
Borodin, A. (1833-1887). Polovtsian dances.
MFP CFP 4013 11
Debussy, С. (1862-1918). La mer (1904).
Decca SXL 6905
Brahms, J. (1833-1897). Symphony no 3 in F,
op 90 (1884). Cleveland O/Szell (3 above)
CBS 61924
Scriabin, A. (1872-1915). Poem of ecstasy.
Cleveland O/Maazel. 5
Decca SXL 6905 19
12.00 DISTINGUISHED WOMEN
SOLOISTS (1)
Prepared by Sofia Boniecki
Soler, A. (1729-1783). Fandango. Elisabeth
Chojnacka, harpsichord.
Erato STU 71163 11
Dohnanyi, E. (1877-1960). Variations on a
Nursery song (1913). Cristina Ortiz, piano;
New Philharmonia O/Kazuhiro Koizumi.
НМУ ASD 3197 25
Widor, C. (1845-1937). Trois nouvelles pieces,
op 87 (1934). Jane Parker-Smith, organ.
L’Oiseau-Lyre SOL 352 14
Pierne, G. (1863-1937). Impromptu caprice, op
9. Marisa Robles, harp.
Argo SPA 348 6
Szymanowski, К. (1882-1937). Violin concerto
no 1, op 35 (1916). Wanda Wilkomirska, violin;
NPO/Witold Rowicki.
Muza SX 2351 24
Granados, E. (1867-1916). Six pieces on
Spanish popular songs. Alicia de Larrocha,
piano.
Decca 410 288-1 27
Verdi, G. (1813-1901). Aria: Caro nome, from
Rigoletto (1851). Joan Sutherland, soprano;
Covent Garden Royal Opera House Ch & O/
Francesco Molinari-Pradelli.
Decca SPA 100 6
2.00 MUSIC WEEKLY
2MBS PROD UCTION
A repeat of Sunday’s programme of interviews
with people in and behind the music.
3.00 COMMEMORATIVE OCCASIONS
Mendelssohn's second symphony was
performed at the Queen’s Hall opening
concert on December 2, 1893, with Frederick
Cowen as conductor and Henry Wood as
organist.
Mendelssohn, F. (1809-1847). Overture to a
Midsummer night's dream, op 21 (1826) 12
Symphony no 2 in F, op 52, Hymn of Praise
(1840). Elizabeth Connell, Karita Mattila,
sopranos; Hans-Peter Blochwitz, tenor;
London SO and CH/Claudio Abbado.
CD DG 415 353-2 (2 above). 74
4.30 A GOTTSCHALK FESTIVAL
Prepared by Bob Goodnow
Gottschalk, L. (1829-1869). Grand scherzo, op
57; Polka in B flat. Leonard Pennario, piano.
Angel RL 32125
Grand tarantelle; Symphony no 2. Eugene
List, piano; Vienna State Opera O/lgor
Buketoff.
Vox TVS 34440 20
5.00 TUESDAY CONCERT
Prepared and presented by David Worobin
Mozart, W. (1756-1791). Quintet in E flat,
K452.
Beethoven, L. (1770-1827). Quintet, op 11
(1797). Jos van Immerseel, piano; Paul
Dombrecht, oboe; Elmar Schnad, clarinet; Pier
Dombrecht, horn; Danny Bond, bassoon.
Accent ACC 8538 (2 above) 28
Mahler, G (1860-1911). Symphony no 4 in G.
Kiri Te Kanawa, soprano; Chicago SO/Solti.
Decca 410 188
7.00 ROBIN'S NEST OF JAZZ
One hour of mainstream to modern jazz is
prepared and presented by Robin Forsaith
and tonight Robin will feature the Melbourne
group the Ken Schroder Nonet — featuring
singer Margaret Morrison and the Mesmeric
recording cut in Melbourne in December 1985
Lush Life. Some of the tunes My Shining
Hour, When the sun comes out, and the title
track Lush Life.
8.00 NEW RELEASES
Presented by Ray Bryon
Our weekly survey of the latest from the
overseas and local record catalogues.
Features both LPs and compact discs.
10.00 BEAUTIFUL BAROQUE
Prepared by John Staats
Gautier, P. (1642-1696). Passacaille Sommeil
from Suite in E minor. Quadro Hotteterre.
Telefunken 6.42052 8
Clarke, J. (1674-1707). English suite in D for
trumpet and organ. George Kent, organ;
Edward Tarr, trumpet.
Nonesuch H 71 356 4
Sammartini, G-B. (1701-1775). Symphony in E
flat JC 30. Angelicum O of Milan/Newell
Jenkins.
Nonesuch H 71162 11
Telemann, G. (1681-1767). Quartet in D minor.
Samuel Baron, flute; Ronald Roseman, oboe;
Arthur Weisberg, bassoon; Edward Brewer,
harpsichord.
Nonesuch H 71352 16
Handel, G. (1685-1759). Concerto grosso in B,
op 3 no 2. Collegium Aureum/Franz Josef
Maier.
Harmonia Mundi 1C 151 99 622/23 13
Mozart, W. (1756-1791). Quartet in E, K428/
421B. Aban Berg Quartet, Vienna.
Telefunken 6.42348 25
11.30 MUSIC OF CHINA
Vangelis. The Tao of Love. 3
Yin and Yang; 6
Himalaya; 11
Summit. 5
Michel Ripoch violin; Vangelis, synthesizer.
CD Polydor 813 653-2 (all above)
32 2MBS-FM PROGRAMME GUIDE DECEMBER 1986
Recordings to wrap up REDUCED FROM $14.99 to $7.99 per Lp
your gift list this Christmas z 24:28 24:24:24 nt 24 x4 224
PAD-219
90 MINUTE CASSETTES
OF CHRISTMAS CLASSICS
SPLENDOR OF CHRISTMAS: Christmas favorites by Virgil Fox, Royal Philharmonic
Orchestra, Tower Brass Bands, Beecham Choral Society. CF J-036
A CHRISTMAS FESTIVAL: Selections celebrating the Joy of Christmas by the
Ambrosian Singers, Westminster Brass Ensemble, Royal Philharmonic Orchestra,
Beecham Choral Society with organ and chimes. CFJ-037
HANDEL: HIGHLIGHTS FROM "MESSIAH": Harwood, Procter, Young, Shirley-
Quirk; Royal Philharmonic Orchestra and Chorus/Sir Malcolm Sargent; 90 minutes
of the most popular selections from Handel's "Messiah". CFJ-038.
NOELI: Christmas favorites including Tchaikovsky: Nutcracker Suite; Bach: Jesu,
Joy of Man's Desiring; Handel: Selections from Messiah. CF J-039.
CHRISTMAS IN OLD EUROPE: European carols from Germany, Italy, and
Czechoslovakia performed by the Prague Madrigal Singers, Musica Bohemia,
Prague Brass Quintet, and the Czech Song Chorus. CFJ-040
CAROLS OF CHRISTMAS: Carols of Britten, Vaughan-Williams, Rutter, and
Traditional; Plymouth Festival Chorus and Orchestra; American Boychoir. CFJ-
061
JESU, JOY OF MAN'S DESIRING AND OTHER BAROQUE CHRISTMAS
FAVORITES: Bach, Telemann, Corelli, and others, Collegium Aureum/La Petite
Bande. CFJ-062.
J.S. BACH: HIGHTLIGHTS FROM THE CHRISTMAS ORATORIO: Soloists, Tolzer
Boys Choir, Collegium Aureum. CFJ-064.
CHRISTMAS PANFLUTE AND CHORUS: Holiday favorites played on the Panflute
with Chorus. CFJ-065.
CHRISTMAS VIGIL: (Russian Orthodox Church Music) Choir of Russian Orth
Cathedral, London. IKO-12.
CAROLS FROM DURHAM CATHEDRAL: MVP-800
CHRISTMAS AT NORWICH CATHEDRAL: LPB-748
A CHRISTMAS SEQUENCE: Christmas Songs of the 16th Century. Pro Cantone
Antiqua. B. Turner. PAL-1079
J.S. BACH: CHRISTMAS ORATORIO (HIGHLIGHTS): Coll. Aureum, G. Schmidt-
Gaden, Tolzer Boys Choir and Soloists. PAL-LO80
J.S. BACH: CHRISTMAS ORATORIO: BWV 248. Coll Aureum. G.Schmidt-Gaden,
Tolzer Boys Choir and soloists. 3 Pal 3003 (3 LP Boxed Set)
fd
PAD—-122
PTY. LIMITED
wishes alL lovers of fine music
avery Merry Christmas!
2MBS-FM PROGRAMME GUIDE DECEMBER 1986
RER FE
Wednesday 3
MIDNIGHT
12.00 SHADES OF BLACK
Prepared and presented by Dave Stewart
A pot-pourri of black-oriented music from
now and then and from here and there
1.00 BALLISTIC AFFAIR
Music of the Carribbean, focussing on
Jamaican reggae. Other featured styles
include calypso, soca and Martiloupe.
3.00 NEW RELEASES
Presented by Ray Byron
· 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 items from the classical repertoire
with time calls in between
9.00 BEETHOVEN IN CONCERT
Prepared by Barrie Marchant
Beethoven, L (1770-1827). Romance in F, op
50. Jean-Jacques Kantorow, violin; New
Japan PO/Inoue
Denon C37-7005 9
Piano sonata no 29 in B flat, op 106 (1817-18).
Emil Gilels, piano.
CD DG 410 527-2 48
String quartet in B flat, op 18 no 6. Quartetto
Italiano.
Philips 6500 647 27
10.30 CONCERT HALL
Prepared by Ray Byron
Weber, C-M. (1786-1826). Symphony no 1 in
C, op 19 (1807). London SO/Schoenzeler.
RCA LRL1 5106 24
Janacek, L. (1854-1928). Taras Bulba —
Rhapsody for orchestra (1918). Czech PO/
Ancerl.
Supraphon 50380 22
Rachmaninov, S. (1873-1943). Piano concerto
no 2 in C minor, op 18 (1901). Gary Grafman,
piano; New York PO/Bernstein.
CBS GPS 6 34
12.00 THE SOUND OF JAZZ
Prepared and presented by Kevin Jones
The Count Basie band which played at the
Sydney Opera House taped live at the Shimin
Kaikan in Hanamatsu City on May 21, 1978
(Live in Japan 78, Pablo Live 2308 246). The
lineup included many soloists including the
Count at the piano, Danny Turner alto, Eric
Dixon tenor and flute, Kenny Hing tenor, and
a superb drummer in Butch Miles.
A final look at Duke Ellington and his
Orchestra from 1942 (The Indispensable Duke
Ellington, Volumes 7/8, RCA Jazz Tribune NL
89274-2). The eight tracks include two of the
Duke's all-time classics, Mainstem and
Johnny come lately.
Nestico, S. The һеаї on (1978); Freckle face.
Сатоп, В. Ja-da.
Ellington-Persons. Things ain’t what they used
to be. (mono).
Basie-Wood. A bit of this and a bit of that.
Simon-Marks. All of me.
Count Basie and his Orchestra (all above).
Pablo 2308 246
Ellington, D. Someone (1942).
Strayhom, B. My little brown book.
Ellington, D. Mainstem.
Strayhom, B. Johnny come lately.
Lenke-Drake-McGrawe. Hayfoot, strawfoot.
Ellington, D. | didn't know about you.
Henderson-Ellington, M. A slip of the lip (can
sink a ship).
Ellington, D. Sherman shuffle. Duke Ellington
and his Orchestra (8 above).
RCA NL 89274-2 (mono).
1.00 WEDNESDAY MATINEE
The Beethoven symphonies (1)
Prepared and presented by Audrey Manning
Beethoven, L. (1770-1827). Serenade in D for
flute, violin and viola, op 25 (1801). Jacob
Berg, flute; Max Rabinovitsj, violin; Darrel
Barnes, viola.
Turnabout TVC 37004 24
Krommer-Kramer, F. (1759-1831). Partita in B
flat for two oboes, two clarinets, two horns
and two bassoons IV:24. Members of
Collegium Musicum, Prague.
Supraphon 1111 2973 G 14
Haydn, J. (1732-1809). String quartet in G, op
77 no 1 (1799). Aeolian String Quartet.
Argo HDNP 60 23
Boieldieu, F. (1775-1834). Harp concerto in C
(c1800). Marie-Claire Jamet, harp; Paris CO/
Kuentz.
Turnabout TV 334 148 22
Beethoven, L. Symphony no 1 in C, op 21
(1799-1800). O of the Eighteenth Century/
Brueggen.
Philips 416 329-1 28
3.00 COMMEMORATIVE OCCASIONS (1)
Prepared by Pat Bell
Elgar, E. (1857-1934). Symphony no 1 in A
flat, op 55 (1908). London PO/Thomson.
CD Chandos CHAN 8451 57
4.00 PRO ARTE HOUR
By courtesy of Avan-Guard Music Pty. Ltd.
{
Prepared and presented by Еїпїг Brunckhorst
Larsen, L. (contemp). In a winter garden: a
choral work for Advent. Janis Hardy, mezzo-
soprano; Dan Dressen, tenor; Plymouth F
Ch&O/Brunelle.
Pro Arte PAD 151 44
Holst, С. (1874-1934). Four carols: A babe is
born; Now let us sing; Jesu thou the virgin-
born; The saviour of the world is born. Linda
Wilcox, soprano; Dan Dressen, tenor, Leroy
Lehr, baritone.
Pro Arte PAD 192 10
5.00 EARLY EVENING CONCERT
Prepared and presented by Brendan Walsh
Harty, H. (1879-1941). The Derry Air. Pan Hon
Lee, violin; Ulster O/Thomson.
Chandos DBR 2001 5
Vivaldi, A. (1678-1741). Concerto in G for two
mandolins and strings. Andre Saint-Clivier,
Christian Schneider, violins; Toulouse CO/
Auriacombe.
HMV SOELP 10486 11
Strauss J. (1804-1849). Radetzky march.
Vienna PO/Willi Boskovsky.
Decca D147 D2 3
Reznicek, E. (1860-1945). Overture to Donna
Diana. New Zealand SO/Hopkins.
DG DGG2 4
Lanchbery, J. (b1923). Mouse waltz from
Tales of Beatrix Potter. Royal Opera House O
of Covent Garden/Lanchbery.
HMV ESDW 713-1-2 4
Lloyd-Webber, A. (b1948). Pie Jesu from
Requiem. Sarah Brightman, soprano; Paul
Miles-Kingston, treble; Winchester Cathedral
Choir; English CO/Maazel.
EMI EA 1481 4
Trad. Brian Boru's March. James Galway,
flute; Harp Ensemble/Robles.
RCA VRL1 7189 3
Rossini, G. (1792-1868). Overture to An Italian
Girl in Algiers. Boston Pops O/John Williams.
Philips 6514 186 8
Chopin, Е. (1810-1849). Three waltzes: no 1 in
E flat; no 6 in D flat; no 7 in C sharp minor.
Artur Rubinstein, piano.
Time-Life STL'PO1 11
Torroba, M. (1891-1982). Gentleman with the
plumed hat from Luisa Fernanda. Pilar
Lorengar, soprano; Placido Domingo, tenor;
French NR O/Navarro.
CBS IM 39210 4
Coates, E. (1886-1957). The Merrymakers
overture. New Philharmonia O/Adrian Boult.
Lyrita SRCS 107 4
Puccini, G. (1858-1924). Nessun dorma from
Turandot. Jussi Bjoerling, tenor; Rome Opera
House O & Ch/Eric Leinsdorf.
Time-Life STL 569 7
Steiner, M. (1888-1971). Suite from film, The
Treasure of the Sierra Madre. NPO/Charles
Gerhardt.
RCA AGLI 3782 8
Dvorak, A. (1841-1904). Carnival overture.
London SO/Istvan Kertesz.
Decca VIV 7 9
Strauss, J. (1825-1899). Vienna bonbons, op
307. Vienna PO/Maazel.
DG 413 480-1 9
34 2MBS-FM PROGRAMME GUIDE DECEMBER 1986
Meyerbeer, G. (1791-1864). Coronation march
from The Prophet. London SO/Bonynge.
Decca VIV 69
7.00 THE JOY-A-JAZZ
Another ride on a blue note
Tonight Joya Jenson features some more of
the unforgettable music which was mostly
recorded during the classic Blue Note LP
period from the mid-1950s to the mid-1960s.
Tracks will be heard from the excellent 2-
record re-issue, The Best of Blue Note
Volume 2 (Blue Note BLU261051/2 — EMI
Records). Selections include Collard Greens
And Black-Eyed Peas with Bud Powell
(piano), George Duvivier (bass), Art Taylor
(drums); Brownie Speaks with Clifford Brown
(trumpet), Lou Donaldson (alto sax), Elmo
Hope (piano), Percy Heath (bass) and Philly
Joe Jones (drums); Three O'Clock In The
Morning with Dexter Gordon (tenor sax),
Sonny Clark (piano), Butch Warren (bass)
and Billy Higgins (drums): Senor Blues with
Horace Silver (piano), Hank Mobley (tenor
sax), Donald Byrd (trumpet), Doug Watkins
(bass) and Louis Hayes (drums): The
Rumproller with Lee Morgan (trumpet), Joe
Henderson (tenor sax), Ronnie Mathews
(piano), Victor Sproles (bass) and Billy
Higgins (drums); Our Delight with Tadd
Dameron (piano), Fats Navarro (trumpet),
Ernie Henry (alto sax), Charlie Rouse (tenor
sax), Nelson Boyd (bass) and Shadow Wilson
(drums).
8.00 THE GREEK PASSION
Prepared by Joe Neustatl
Martinu, B. (1890-1959). The Greek Passion,
an opera in four acts. Libretto by the
composer based on the novel 'Christ
Recrucified' by Nikos Kazantzakis.
MANOLIOS: John Mitchinson, tenor
KATERINA: Helen Field, soprano
PRIEST GRIGORIS: | John Tomlinson, bass
KONSTANDIS: Philip Zoll, tenor
PRIEST FOTIS: Geoffery Moses, bass
YANNAKOS: Arthur Davies, tenor
LENIO: Rita Cullis, soprano
NIKOLIOS: Catherine Savory, soprano
PANAIT: Jeffery Lawton, tenor
MICHELIS: John Harris, tenor
OLD MAN: David Gwynne, bass
ADONIS: Jeffrey Lawton, tenor
DESPINO: Jana Jonasova, soprano
PATRIARCHEAS: David Gwynne, bass
OLD WOMAN: Catherine Savory, soprano
LADAS (spoken role): Micheal Geliot
Villagers from Lycovrissi; refugees.
Czech P Ch; Brno State PO/Mackerras.
Supraphon 1116 3611/12
Synopsis:
Act I. The square in Lykovrissi, a village on the
slopes of Mount Sarakina. In the square is a
Church with steps leading up to the Cafe
Konstandis. It is a sunny Easter Sunday. Mass
is over and villagers are leaving the Church;
among them are the Elders, the priest
Grigoris, a powerful, well-fleshed,
domineering man, seeking to bend God to his
will, for good or evil; Archon Patriarcheas,
hereditary leader of Lykovrissi; spoiled,
childlike, living only for pleasures of table and
bed, Old Ladas, arch-miser, mean and
150
cowardly, starving as he gloats over his full
coffers, planning to take even more from the
poor. The Priest announces that next year
Passion of Christ will be staged and the Elders
will appoint the actors.
The Priest Grigoris chooses Konstandis, the
owner of the cafe to be James, the Apostle of
Christ, Yannakos, the sturdy merchant-pedlar
Apostle Peter and Katerina, the widow, ripely
beautiful, goodhearted, prostitute of the
village, comfort for local young males, to be
Mary Magdalene. The gentle defenceless
shepherd Manolios is chosen to act the role of
Christ. Panait, the pedlar, a wild undisciplined
man crazed by lust, hating all, revengeful,
despite all his protests is to act Judas.
Lenio, Manolios' fiancee enters but when she
approaches her beloved he turns away from
her to avoid temptation.
A sound of choral singing is heard far away, it
is getting dark, Lenio and Manolios watch in
silence the violet peaks of Mount Sarakina
turn to blue. The apostles and villagers return
and the distant voices become clearer,
chanting a Psalm.
A chorus of refugees from a nearby village
enter the square. Church bells begin to ring.
At the head of the procession is Priest Fotis,
leader of magnificent strength and wisdom,
the firm rock to which all turn, carrying the
Gospel. Others carry icons, banners, with a
cross of St George, heavy bundles and tools.
Their village has been plundered and ravished
by the Turks and the survivors are now
pleading for help and they ask for some land
to enable them to establish a new settlement.
They find very little sympathy from the greedy
Elders who offer no time or help to their
starving neighbours. An exhausted young
woman Despino sinks to the ground. Priest
Grigoris demands to know what sin the
hungry refugees have committed to fall into
such disfavour with the God.
Despino collapses and dies. "Cholera!" Priest
Grigoris shouts and the villagers withdraw in
fear. Only Katerina comes forward and throws
her shawl into the blanket which was spread
out to receive alms.
Manolios advises the refugees to settle in the
mountains, where there is water and game.
They walk off in the direction of the Mount
Sarakina.
Act Il. Scene 1. Outside Yannakos’ little house.
Nearby is his donkey. Opposite stands the
house and garden of Katerina. In the
background Mount Sarakina. Yannakos
lavishes all his love on the donkey and as the
curtain rises he is having a one-sided
conversation with the beast. He exchanges a
few words with the warm hearted Katerina
while the older miser Ladas is impatiently
waiting to talk to him.
After Katerina departs Ladas convinces the
simple Yannakos to go and visit the destitute,
hungry refugees, who now live on the Mount
Sarakina, and exchange basic food for their
jewellery and other precious objects which
they saved from the Turks and carried with
them. Yannakos, reluctant at first, finally
agrees to share the treasures with Ladas and
looks forward to a more affluent way of life.
Scene 2. Outside the village at the Spring of
St Basil. It is noon and Manolios is drawing
water. Katerina reproaches Manolios for
haunting her in her sleep while thinking of
her. Manolios denies this and expresses his
feeling of pity for her. He now departs for the
mountains.
Scene 3. A desolate spot on Mount Sarakina
where Priest Fotis and his people found
temporary home. They are planning to build a
new village for themselves.
Yannakos enters unnoticed and asks himself
"With what are they going to build? They
must be mad! Starving, and they still talk of
building."
The old man jumps into a pit, and asks to be
buried in the foundations of the new village
for the sake of posterity. Yannakos can no
longer keep his silence, comes out sobbing
and tells Priest Fotis about his and Ladas'
intentions and asks forgiveness. The Priest
forgives him and recalls a dream he had last
night about how St George placed a tiny
village into his palm asking Priest Fotis to
plant it.
Act Ill Scene 1. Manolios's hut on Mount
Panagia. It is evening and Manolios is
wrapped in a blanket. He asks his young help
Nikolios to play on his pipe, but soon loses his
patience and abruptly stops him. He hears the
voice of Lenio who is demanding to know
when they are going to marry. Then the image
changes to Priest Grigoris who reminds him
of his obligations to his role of Christ. Katerina
also appears and claims that Manolios robs
her of her sleep. Yannakos accuses him of
pretence to be Christ and think only of
marriage. They all appear in turn in a dream.
Last of all a woman dressed in black bends
over Manolios and when he tries to touch her
she bursts out into a mocking laughter; when
she removes her veil it is Katerina. All vanish,
Manolio wakes and sees his fiancee Lenio
enter his hut. She asks why he looks at her as
if she was a ghost. She reminds him that she
is his betrothed, Lenio, and she can find
another, better than he is. As she leaves
Manolios tries to follow her. He has to go now
to the village and departs. Nikolios picks up
his pipe and starts playing. Lenio returns to
the sound of the instrument, Nikolios drops
his pipe, rushes toward her and throws her to
the ground.
Scene 2. A little room in Katerina's home. It is
dark. Katerina sits by the window. Manolios
comes to visit her. Ecstatically she welcomes
him, tells him how she thinks of him day and
night and how he is her only salvation.
Manolios replies he only came to tell her
never to call him or think of him in future. To
help him and forget him.
As he departs after calling her "Sister"
Katerina calls out to him to go and she will for
ever wait for him.
Scene 3. The road leading to Sarakina. It is a
bright sunny day. Yannakos is eating. Katerina
enters carrying a heavy bundle and leading a
sheep and a goat. Greeting Yannakos, tells
him that since she was chosen to act Mary
Magdalena she is taking her possessions and
will present them to the hungry refugees. In
the distance the voice of Manolios is heard,
preaching.
Priest Grigoris approaches and claims that
Manolios has cast an evil eye on their
prosperous village. Other Elders agree with
—————MMMM———— À— — € €
2MBS-FM PROGRAMME GUIDE DECEMBER 1986
35
SE A a I сий дё а PT NGECMCUR IESU NOMEN NE CUNG EE ЕАН
him that Manolios is dangerous and while he
. does not own land himself, he preaches “We
are all brothers” and claims that Christ has put
these ideas into his head. As Manolios comes,
preaching, an old woman exclaims that this
could not be the shepherd, this could only be
Christ coming down on earth to save souls of
the sinners. Nikolios remarks that Lenio is
going to be his bride and Manolios, without
any anger, accepts the situation and joins his
companions. As it is getting dark Katerina
feels the presence of mysterious, divine being.
Yannakos calls out: “Who is there? Who is
there?”
Act IV. The village square and Church.
The villagers are celebrating the wedding of
Lenio and Nikolios. Priest Grigoris interrupts
the happy scene and warns them against the
preaching of Manolios. “When a sheep has a
disease, we must drive it out of the fold, so
that others should not be contaminated.” He
: pronounces Manolios excommunicated,
turning the peasants into an angry mob.
Manolios comes out of the Church and
delivers a beautiful monologue about how
unworthy of his task to impersonate Christ he
is. No matter how honestly he tried, his mind
was occupied with Satan-Katerina and after
being on the cross he would go home to
Lenio waiting for him. It’s all lies! A man is
subjected to constant tests, and fails. The
agonies he has endured and the peace he at
last found.
From far away voices can be heard, the
refugees from Sarakina calling for Manolios.
The shepherd can no longer restrain himself
and speaks for the refugees whose children
are dying of hunger for which he demands an
account even from God. The people from
Sarakina are on their way to the village to take
by force what they need. Urged by Priest
Grigoris, the villagers rise against Manolios.
The angered mob, headed by Judas - Panait
hurl themselves at the shepherd and brutally
kill him. Priest Fotis and his people enter and
kneel around the corpse. Appalled at what
they did all ask for mercy from the Lord and
stand up in prayer. Priest Fotis tells his people
that it is time to continue their march in
search of a new home. They slowly depart.
The curtain falls as the chorus sings “Kyrie
eleison. Christe eleison. Amen!”
10.30 A BENNELONG WIND SERENADE
2MBS-FM PRODUCTION
Strauss, R. (1864-1949). Serenade no 1 for two
flutes, oboes, clarinets, four horns, two
bassoons and bass, op 7 (1880).
Mozart, ММ. (1756-1791). Serenade no 10 пВ
flat K361 Grand Partita (1783). Bennelong
Wind and Brass Ensemble (both above)
2MBS-FM recording
11.30 THE MAGIC BOW
Prepared by Barrie Marchant
Toselli, Е. (1833-1926). Serenata, op 6. John
Georgiadis, violin; Susan Georgiadis, piano.
CBS SBR 235917 4
Schumann, R. (1810-1856). Traumerei op 15
no 7. 3
Mozart, W. (1756-1791). Rondo arr. Kreisler.
Arthur Grumiaux, violin; Istvan Hajdu, piano
(2 above)
Philips 6599 372 7
Kreisler, F. (1875-1962). Praeludium and
Allegro. John Georgiadis, violin; Susan
Georgiadis, piano.
CBS SBR 235917 6
Ss
Thursday 4
12.00 MIDNIGHT
STOPS/GAPS/MEASURES
Prepared by Rik Rue and Shane Fahey
A programme spanning a wide area of music
and sounds from regional environmental
works, text, experimentation in sound, and
local and international new musics.
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
Three hours of classical music to dispel the
darkness.
6.00 EARLY MORNING MUSIC
Shorter items from the classical repertoire
with time calls in between
9.00 THE BOSTON SYMPHONY
Prepared by Bob Goodnow
Strauss, R. (1864-1949). Till Eulenspiegel's
lustige Streiche, op 28 (1895).
Time-Life STL 558 10
Beethoven, L. (1770-1827). Violin concerto in
D, op 61. Jascha Heifetz, violin.
Time-Life STL 546 38
Debussy, C. (1862-1918). Le Martyre de St
Sebastien (1911).
Time-Life STL 548 29
Strauss, R. Die zweite Brautnacht from Die
Aegyptische Helena, op 75 (1924).
Time-Life STL 558 5
Boston SO/Munch (all above).
10.30 CONCERT HALL
Prepared by Ruth Warren
Beethoven, L. (1770-1827). Egmont overture
(1810). Dresden State O/Boehm.
DG 2535 135 9
Mozart, W. (1756-1791). Horn concerto no 4 in
E, K495 (1786). Mason Jones, horn;
Philadelphia O/Ormandy.
CBS GM 531 16
Schubert, Е. (1797-1828). 13 original дайсеѕ
D365 (1821). Peter Serkin, piano.
Pro-Arte PAD 168 13
Weber, C-M. (1786-1826). Clarinet concerto in
E, op 74 (1811). Janet Hilton, clarinet; City of
Birmingham SO/Jani.
Chandos ABRD 1058 22
Haydn, J. (1732-1809). Symphony no 44 in E
minor Mourning (1771). London PO/Pritchard.
EMI CFP 40021 22
12.00 WOMEN’S WORK
Prepared by Bob Goodnow
Beach, A. (1867-1944). Piano quintet in F
sharp minor, op 67. Mary Louise Boehm,
piano; Kees Kooper, Alvin Rogers, violins;
Richard Maximoff, viola; Fred Sherry, cello.
Turnabout TV S34556 25
Carreno, T. (1853-1917). Quartet in B minor.
Macalester Quartet.
Vox SVBX 5112 23
Boulanger, L. (1893-1918). Nocturne. 3
Hoover, K. (b1937). On the betrothal of
Princess Isabelle of France aged 6. Katherine
Hoover, flute; Virginia Eskin, piano.
Leonarda LPI 104 (2 above) 3
1.00 LILI BOULANGER
Prepared by Bob Goodnow
Boulanger, L. (1893-1918). D'un matin de
printemps. Barry Griffeths, violin; Keith
Harvey, cello; Eric Parkin, piano.
Unicorn DKP 9021 5
Songs 1-5. Kristine Ciesinski, soprano; Ted
Taylor, piano.
Leonarda LPI 118 11
D'un soir triste. Eric Parkin, piano; Barry
Griffeths, violin; Keith Harvey, cello.
Unicorn DKP 9021 11
Songs 6-10. Kristine Ciesinski, soprano; Ted
Taylor, piano.
Leonarda LPI 118 13
D'un vieux jardin; D'un jardin clair. Eric Parkin,
piano.
Unicorn DKP 9021 5
D'un matin. Katherine Hoover, flute; Virginia
Eskin, piano.
Leonarda LPI 104 8
Nocturne. Barry Griffeths, violin; Eric Parkin,
piano.
Unicorn DKP 9021 3
2.00 THE GREAT NINTH SYMPHONY
By courtesy of Polygram Records Pty. Ltd.
J oya
Bruckner, A. (1824-1896). Symphony no 9 in
D minor (1894). Chicago SO/Solti.
CD Decca 417 295-2 61
Te Deum in C (1881). Vienna PO/Karajan.
CD DG 410 521-2
3.30 THE MAGIC BOW
Prepared by Barrie Marchant
Brahms, J. (1833-1897). Hungarian dance no
17 (arr Kreisler). Ida Haendel, violin; Alfred
Holocek, piano.
Supraphon SUAST 50465 4
Debussy, C. (1862-1918). Golliwogs cakewalk;
Girl with the flaxen hair. Jascha Heifetz, violin;
Brooks Smith, piano.
RCA LSC 3256 5
Sarasate, P. (1844-1908). Zigeunerweisen. Ida
Haendel, violin; Alfred Holocek, piano.
Supraphon SUA ST 50465
Prokofiev, S. (1891-1953). March from love of
three oranges. Jascha Heifetz, violin; Brooks
Smith, piano.
RCA LSC 3256 1
Wieniawski, H. (1835-1880) Scherzo-
Tarantella. Ida Haendel, violin; Alfred Holocek,
piano.
Supraphon SUA ST 50465 5
4.00 MIKIS THEODORAKIS
Theodorakis, M. (61925). Songs from Zatoura.
Christina Cuenne, vocal.
Imperial SCO64-24150.
Various songs. Maria Farandouri, vocal; John
Williams, guitar.
CBS SBR 235 465
36 2MBS-FM PROGRAMME GUIDE DECEMBER 1986
This Christmas, say it with Music
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biographies of famous composers, vocal scores, novelty items, Moeck recorders from
Germany, blank cassettes, cassette carry cases.
DON’T FORGET! 2MBS-FM MEMBERS RECEIVE THE USUAL DISCOUNT ON
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Near Gordon railway station. Free carpark at rear of store.
2MBS-FM PROGRAMME GUIDE DECEMBER 1986
37
Theodorakis-Ritsos. 18 small poems set to
music played by Theodorakis and others.
Delta 5008
5.00 SOUNDS DELIGHTFUL
Beethove
n
Prepared and presented by Ann Ramsay
Beethoven, L. (1770-1827). Symphony no 1 in
C, op 21 (1799-1800). Vienna PO/Bernstein.
DG 410 836-1
Violin sonata no 9 in A, Kreutzer (1802-03).
Itzhak Perlman, violin; Vladimir Ashkenazy,
piano.
Decca SXL 6990 37
Piano concerto no 5 in E flat, op 73 Emperor
(1809). Alfred Brendel, piano; London PO/
Haitink.
Philips 412 917-1 39
Romance no 1 in G for violin and orchestra,
op 40 (1803). Josef Suk, violin; Academy of St
Martin in the Fields/Marriner.
HMV/WRC S 5666 7
7.00 BOUNDLESS BASS
Dave Holland
Dave Holland is a versatile bass player who
has pushed the boundaries for the instrument
forward. In this programme we'll hear him
solo, with duo bassist Barre Philips, with
guitarist Derek Bailey and with guitarist John
Abercrombie with drummer Jack DeJohnette.
8.00 JOHN COLBORNE-VEEL
From blues to ballet
John Colborne-Veel is a Sydney composer
and musician who is working through a broad
range of styles. Although originally better
known as a jazz trombonist who worked with
such major figures as Ray Price and Graeme
Bell, over the last few years he has attracted
attention and growing acclaim as a composer
of jazz works and within the more
conventional European tradition. His career is
reviewed in a feature article in this month's
guide, and this programme presents a range
of his work. It includes a number of his jazz
compositions, sections of the Jazz Suite Toad
Hall, recent compositions and arrangements
for Chilean singer Angelique Oporto, extracts
from his string quartet based on his ballet
Tiger Jim, and sections of his Jazz Mass: St
Mary — A Festival Mass with Jazz Soloists.
This last was performed at this years Manly
Jazz Festival, and has recently been released
on a commercial recording.
9.00 SING JOYFULLY
CONCERT RECORDED BY
2MBS-FM
‚ Byrd, W. (1543-1623). Sing joyfully unto God.
Gibbons, O. (1583-1625). O Lord, increase my
faith.
Tallis, Т. (с1505-1585). The lamentation of
Jeremiah, part 1.
Vivaldi-Bach. Concerto in D minor, BWV596.
Peter Bray, organ.
Purcell, H. (1659-1695). O sing unto the Lord.
Bach, J.S. (1685-1750). Toccata and fugue in
F, BWV540. Peter Bray, organ.
Bennett, R. (b1936). Verses.
Britten, B. (1913-1976). Rejoice in the lamb,
op 30.
Taverner Consort; Susan Briedis, director
(all above).
10.00 THANKS FOR THE MEMORY
Prepared and presented by Joe Neustartl
Youmans, V. (1898-1946). Without a song.
Giorgio Tossi, baritone; Unnamed orchestra.
Legendary Recordings LR 142-5
Anderson, L. The penny-whistle song. Leroy
Anderson and his Orchestra.
MCA COP/S 4599 5
Verdi, G. (1813-1901). Quando le sere al
placido from Luisa Miller. Gianni Raimondi,
tenor; O of Milan R and T/Simonetto.
Fonit Cetra LMR 5007 6
Sim Graham. Love will find a way from
Maid of the mountains.
Gladys Moncrieff, soprano; Unnamed
orchestra.
Columbia DRUM 8179 (mono) 5
Stolz, R. (1880-1975). Three hearts in three
quarter time. Die Hoch und Deutschmeister
Band/Winter.
Marcato 30450 1 4
Puccini, G. (1858-1924). Lovely maid in the
moonlight from La Boheme. Jussi Bjoerling,
tenor; Hjordis Schumberg, soprano;
Orchestra/Grevillius.
WRC R 03668 (mono) 5
Lanner, J. Steam Waltz. Vienna CO/Angerer.
Intercord INT 180 878 12
| have ordered a basket of flowers for you.
Comedy Harmonists.
Odeon 1C 148 31 469M 4
Trad. In the wood and on the heath, in a cool
place. Richard Tauber, tenor; Mischa
Spoliansky, piano.
Parlophone PMEO 9432 4
Shenerev, G. Country waltz and quadrille.
Anatoli Belyaev, accordion.
Melodiya C20 17689-90 2
Russian song. Zabit Tebia; Peter Lestchenko;
Unnamed orchestra.
WRC 3035 3
11.00 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...
Program 1 of ...
THINGS WILL BE LOUDER TOMORROW
A series of three one-hour programs exploring
the relationship between the dominant
aspects of the world soundscape and music:
how the dynamics of the world soundscape
become the dynamism of music. These
programs will trace the evolution of the world
soundscape, pinpointing the ascendancy of
new dominant characteristics and
demonstrating their relationship with the
vocabulary of music from avant-garde to
popular.
Prepared and presented by Chris Wade
ы киы а Ын
Friday 5
12.00 MIDNIGHT
A STRICTLY CHEMICAL POINT OF VIEW
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.
1.00 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 4th dimension to the final frontier,
from the inner mind to the outer limits...!
3.00 TILL DAWN
Three hours of classical music to dispel the
darkness
6.00 EARLY MORNING MUSIC
Shorter items from the classical repertoire
with time calls in between
9.00 GALLIC CONCERT
Prepared by Audrey Manning
Franck, C. (1822-1890). The Breezes (1876).
Concertgebouw O Amsterdam/Otterloo.
Philips 6566 008 9
Saint-Saens, C. (1835-1921). Henry VIII ballet-
divertissement (1883). R Luxembourg O/
Froment.
Vox Turnabout QTSV 34600 16
Carnival of the animals (1886). Joseph Villa,
Patricia Prattis Jennings, pianos; Anne
Martindale Williams, cello; Pittsburgh SO/
Previn.
CD Philips 400 016-2 21
Franck, C. Symphony in D minor (1886-88).
Concertgebouw O Amsterdam/Otterloo.
Philips 6566 008 37
10.30 THE BUDAPEST TRIO AT THE 10TH
SYDNEY FESTIVAL
CONCERT RECORDED BY
2MBS-FM
Beethoven, L. (1770-1827). Trio in C minor, op
1 no 3 (1794-95).
Brahms, J. (1833-1897). Trio in C minor, op
101 (1886). Budapest Trio (2 above).
2MBS-FM recording
12.00 A MIDSUMMER NIGHT'S DREAM
Prepared and presented by Earle King
Berlioz, H. (1803-1869). Les nuits d'ete (1840-
41). Kiri Te Kanawa, soprano; Paris O/
Barenboim.
CD DG 410966-2 29
Debussy, C. (1862-1918). Nocturnes (1897-
99). Women of the Berkshire F Ch; Boston
SO/Pierre Monteux.
FMRS 31" 23
Mendelssohn, F. (1809-1847). A midsummer
night's dream — complete incidental music
(1826-43). Lillian Watson, soprano; Delia
Wallis, mezzo-soprano; Finchley Children's
Music Group; London SO/Previn.
CD EMI C747163-2 57
2.00 CHORAL SYMPHONIES
Prepared and presented by Ray Byron
Mendelssohn, F. (1809-1847). Symphony no 2
in B flat, op 52 Hymn of Praise (1840). Edith
Mathis, Lieselotte Rebmann, sopranos;
Werner Holweg, tenor; Chorus of German
Opera, Berlin; Berlin PO/Karajan.
DG 2740 128 69
Franck, C. (1822-1890). Psyche, symphonic
poem for chorus and orchestra (1888). Czech
P Ch; Prague SO/Fournet.
Supraphon SUAST 50674 43
38
2MBS-FM PROGRAMME GUIDE DECEMBER 1986
Suppliers of fine and commercial Artists Supply Co
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4.00 A TRIBUTE TO BENJAMIN BRITTEN
Prepared by Pat Bell
Britten, B. (1913-1976). Men of good will
(1947). Minnesota O/Neville Marriner.
HMV ASD 143628 1 8
Variations on a theme of Frank Bridge, op 10
(1937). English String O/William Boughton.
CD Nimbus NIM 5025 25
Courtly dances from Gloriana, op 53 (1953).
Julian Bream Consort.
RCA VL 89030 10
Four sea interludes from Peter Grimes, op 33a
(1944-45). Philharmonia O/Giulini.
HMV SXLP 30240 17
Mozart, W. (1756-1791). Piano concerto no 27
in B flat, K595 (1791). Clifford Curzon, piano;
English CO/Britten.
CD Philips 416 154-2 32
6.00 THE FOUR SEASONS
Prepared and presented by Nicole Aristidis
Vivaldi, A. (1678-1741). The Four Seasons.
Alan Loveday, violin; Simon Preston, organ
and harpsichord continuo; Academy of St
Martin in the Fields/Marriner.
Argo ZRGA 654 41
Albinoni, T. (1671-1750). Concerto a 5 in D
minor, op 9, no 2 (1722). Maurice Andre,
trumpet; Jacques Chambon, oboe; Georg-
Friedrich Hendel, violin; Saar RCO/Ristenpart.
Erato ST 4285 12
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. Tonight we end
this series of programmes of extended works
by, or featuring, jazz performers, with the two
composers that commenced the series.
First we hear the remainder of the Afro-
American Sketches by Oliver Nelson, which
traced the evolution of jazz from its African
and southern United States origins. The
remaining sketches are... There's a
yearnin’... Going up North... Disillusioned...
and Freedom dance.
Secondly we complete the musical
interpretation of The Planets by Australian
jazz composer/instrumentalist Brian Brown,
with his impressions of Neptune — the
mystic ... Venus — the evening star... Space
walk... Mercury — the winged messenger...
Mars — the red planet... and finally, Southern
cross.
8.00 THE IMMORTAL TOUCH
Prepared and presented by Max Keogh
A repeat of a 1975 birthday tribute to
Australian composer Raymond Hanson to
mark the tenth anniversary of his death
Hanson, R. (1913-1976). Five portraits, op 23
(1948). Raymond Hanson, piano.
ABC recording
Piano sonata, op 12 (1940). Igor Hmelnitsky,
piano.
M7 Records MLF 196
String quartet (1967). Sydney String Quartet.
ABC recording
The Immortal touch, op 35 — excerpts (1952).
Rita Baldachino, soprano; Warren Russell,
bass-baritone; Combined NSW State
Conservatorium Ch&O/Richard Gill.
2MBS recording
10.00 MUSICKE OF SUNDRIE KINDES
Heinrich Schuetz — The Venetian Influence
Schuetz, H. (1585-1672). O Primavera (1611);
Alma Aflitta. Concerto Vocale.
CD Harmonia Mundi HMC 901162 7
Gabrieli, G. (1557-1612). Canzona in Echo a
12 (1608). Chamber Harmony of Paris and O/
Florian Holland, director.
Arion ARN 90612 4
Magnificat a 14 (1615). Taverner Choir;
London Cornett & Sackbut Ensemble, Andrew
Parrott, director.
L'Oiseau-Lyre DSLO 537 6
Schuetz, H. Buccinate in Neomenia Tuba
(1629); In te Domine, speravi (1629). Soloists
and the Saqueboutiers de Toulouse.
CD Erato ECD 88150 9
Rossi, S. (c1570-c1630). Sonata in dialogo
detta la viene (1623). Alarius Ensemble,
Brussels.
Telefunken 4.42095 5
Monteverdi, C. (1567-1643). Laudate
Dominum primo (1640). Lausanne Vocal &
Instrumental Ensemble, Michel Corboz,
director.
Erato/WRC S 6360-7 5
H. Anima mea liquefacta: Adjuro vos,
filliae Jerusalem (1629); In venerunt me
custodes civitatis. Soloists and the
Saqueboutiers de Toulouse.
CD Erato ECD 88150
11.00 MUSIC AMONGST FRIENDS
Pachelbel, J. (1635-1706). Suite in G. Musica
Antiqua, Cologne.
Archiv 2723 078 10
Tartini, G. (1692-1770). Sonata in G minor,
Devil's Trill (1713). Pierre Amoyal, violin;
Susan Moses, cello; Eduardo Farina,
harpsichord.
Erato STU 71023/24 16
Telemann, G. (1681-1767). Solo in C, from
Essercizii musici (c1740). Bradford Tracy,
harpsichord.
Harmonia Mundi 1C 065 99788 20
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2MBS-FM PROGRAMME GUIDE DECEMBER 1986 39
“This is my last,
and I think my best recording of
Dvorak’s Cello Concerto
and Tchaikovsky’s Rococo Variations.”
ДА
CD: ECD-88 224
40 2MBS-FM PROGRAMME GUIDE DECEMBER 1986
COMPACT
olas E R AT O
DIGITAL AUDIO
HAENDEL Georg-Friedrich BACH Johann Sebastian ANDRE Maurice
The Messiah Les Plus Beaux Noéls :
Marjanne Kweksilber - James Bowman - Weihnachts-Oratorium BWV 248 5 Minuit Chrétien - Stille Nacht -
Paul Elliott - Gregory Reinhart Barbara Schlick - Carolyn Watkinson - O Tannenbaum - Adeste Fideles...
Chœur “The Sixteen” Kurt Equiluz - Michel Brodard Les Petits Chanteurs de Saint-Laurent
The Amsterdam Baroque Orchestra Ensemble Vocal de Lausanne Orchestre Francois Rauber
Ton Koopman Orchestre de Chambre de Lausanne ELI AA —
а Michel Corboz ECD 88160
ECD 880503 t:
_ ECD 880593123
CHANT GREGORIEN HORNE Marilyn POULENC Francis
Liturgie du Vendredi Saint OFFENBACH : Concerto pour 2 pianos et orchestre
Passion selon Saint-Jean La Grande Duchesse de Gerolstein en ré mineur
Leçons de Ténèbres CHERUBINI : Médée Concerto pour piano
Chœur Grégorien de Paris SAINT-SAËNS : Samson et Dalila . ae -—
Francois Рошаг AUBER-GOUNOD-MASSENET. rançois-René Duchable -
ECD 88102 DONIZETTI - GODARD . Jean-Philippe Collard, pianos
Rotterdams Philharmonisch Orkest
Orchestre Philharmonique de Monte-Carlo James Соот
Lawrence Foster пл ECD 88140
ECD 88085
PACHELBEL Johann
VIVALDI Antonio SALIERI Antonio
Concerti per Mandolini Canon en ré majeur pour cordes Concerto en si bémol majeur pour
RV 93, 425, 532, 558 et basse continue pianoforte et orchestre - Concerto en do
1 Solisti Veneti ALBINONI : majeur pour flûte, hautbois et orchestre
Claudio Scimone Adagio pour cordes et orgue Paul Badura-Skoda, pianoforte
ECD 88042 BACH : Chorals de Cantates Clémentine Hoogendoorn, flûte
OO BONPORTI : Pietro Borgonovo, hautbois _
Concerto a quattro п° 5, op. 11 SALIERI Francesco : La Tempesta di Mare
MOLTER : Concerto pour 2 trompettes I Solisti Veneti
ALAIN Marie-Claire en ré majeur Claudio Scimone
"s Gérard Jarry, violon ECD 88176 |
ANDRE Maurice Guy Touvron, trompette
Trompette et Orgue: Orchestre de Chambre Jean-Francois Paillard
BACH: Jean-Francois Paillard
BIZET Georges
Choral “Jésus, que ma joie demeure” ECD 88020
ALBINONI : Sonates en ré, en fa zx c CMM тате таа Carmen
ALBINONI: | Julia Migenes Johnson - Placido Domingo -
Concertos en fa majeur, en ré mincur Ruggero Raimondi - Faith Esham
HAENDEL: и Chœurs et Maîtrise de Radio France
Sonates en la majeur, en fa majeur Water Music Orchestre National de France
Maurice André, trompette English Baroque Soloists Lorin Maazel
Marie-Claire Alain, orgue John Eliot Gardiner ECD 880373 1:33
ECD 88185 ECD 88005 ECD 88041 (extraits)
CE DISTRIBUTED EXCLUSIVELY BY CARINIACO.
6 A
RTARMON ROAD, WILLOUGHBY, NSW, 2068
2MBS-FM PROGRAMME GUIDE DECEMBER 1986 41
ET ed
Saturday 6
12.00 MIDNIGHT
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 CHOICE FOR TODAY
Prepared by Sidia Lorence
Schubert, F. (1797-1828). Symphony no 2 in
B, D125 (1814-18). Cologne RSO/Wand.
Electrola 1C 065 99 772 29
Beethoven, L. (1770-1827). Sonata in C sharp
minor, op 27 no 2 Moonlight. Vladimir
Horowitz, piano.
CBS CBR 2355 97 16
Schumann, R. (1810-1856). Song cycle:
Woman's life and love, op 42. Kathleen Ferrier,
contralto; John Newmark, piano.
Decca ACL 307 (mono) 19
Dvorak, A. (1841-1904). Piano concerto in G
minor, op 33 (1876). Sviatoslav Richter, piano;
Bavarian State O/Kleiber.
HMV ASD 3371 39
Debussy, C. (1862-1918). Sonata for violin and
piano. David Nadien, violin; David Hancock,
piano.
Monitor MCS 2017 11
12.00 WHATS NEW ON RECORD
Prepared and presented by Lachlan Benson
A look, often briefly, at new records from here
and overseas, compact discs, and occasional
re-releases of great conductors and
performers
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.
JAZZ r ROM GERMANY; PART 1: BOOGIE
AND BRASS
The first of a five-part series of programmes
recorded by the Voice of Germany. Today's
presentation features the work of the aptly
named pianist Axel Zwingenburger, born
Hamburg 1955. Zwingenburger is a famous
local exponent of boogie piano and has
performed with numerous visiting celebrities
including Lionel Hampton, Arnett Cobb,
Sippie Wallace, Big Joe Turner. In 1979 he
won the German Recording Industry Award.
Today he is heard with colleagues Remer von
Essen on clarinet, veteran trumpeter Oscar
Klein, and Zwingenburger’s brother Thorsten
on drums.
3.00 MUSICA VIVA
Graeme Skinner presents music by artists
currently visiting or touring in Australia for
Musica Viva in 1986.
4.00 CONTEMPORARIES
Prepared by Ruth Warren
Mendelssohn, F. (1809-1847). Midsummer
night's dream overture (1826).
CBS GM 520 9
Chopin, F. (1810-1849). Piano concerto no 2
in F minor (1829). Artur Rubinstein, piano;
Philadelphia O/Ormandy (2 above).
RCA LSC 3055 . 32
Liszt, F. (1811-1886). Faust symphony (1854).
Alexander Young, tenor, Beecham Choral
Society; Royal PO/Beecham.
HMV SXDW 3022 70
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 SATURDAY NIGHT LIVE
LIVE FROM 2MBS-FM
Leading Sydney flautist Michael Scott will give
a recital with soprano Elaine Blighton and
accompanist Helen Osborne. You are
welcome to join us in Studio C and enjoy the
thrill of a live broadcast. Be there by 7.45 pm
and bring a bottle for the convivialities
afterwards!
11.00 MENDELSSOHN CHAMBER MUSIC
Prepared by Rosemary Catts
Mendelssohn, F. (1809-1847). Songs without
words, op 85. Rena Kyriakou, piano.
Vox/WRC S 5785/7 14
Violin sonata in F. Alberto Lysy, violin; Edith
Fischer, piano.
Claves LP 30 376 21
String quartet in F minor, op 80. Melos
Quartet.
DG 2740 267 24
Sunday 7
12.00 MIDNIGHT
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 Ray Byron
A varied programme of classical music for
relaxed weekend listening.
9.00 TOP ARTISTS ON COMPACT DISC
Prepared by Sofia Boniecki
Rachmaninov, S. (1873-1943). The Isle of the
Dead, op 29 (1909). Concertgebouw O/
Ashkenazy.
CD Decca 410 124-2 21
Saint-Saens, C. (1835-1921). Violin sonata no
1 in D minor (1885). Pinchas Zukerman, violin;
Marc Neikrug, piano.
CD Philips 416 157-2 23
Bruckner, A. (1824-1896). Symphony no 4 in
E flat, Romantic (1874). Chicago SO/Solti.
CD Decca 410 550-2 63
Mendelssohn, F. (1809-1847). Prelude and
fugue in D minor (1837). Marie-Claire Alain,
organ.
CD Erato ECD 88112 8
11.00 FROM THE BAROQUE AND
CLASSICAL
Prepared by John Staats
Telemann, G. (1681-1767). Sonata for
recorder, violin and basso continuo. Quadro
Hotteterre.
Telefunken 6.42052 9
Sammartini, G.-B. (1701-1775). Symphony іп
A, JC73.
Nonesuch H 71162 7
Brunetti, G. (1740-1808). Symphony no 23 in
F.
Angelicum O of Milan/Jenkins. (2 above).
Nonesuch H 71156
Haydn, J. (1732-1809). String quartet in E flat
Hob.III:64 (1790). Kreuzberger String Quartet.
Telefunken 6.42501 17
12.00 THE JAZZ MASTERS
The Washboard Rhythm Kings: Part 3, 1932-
1935
Prepared and presented by Alex Craig
See The Jazz Masters note for noon of the
23rd, which also covers this programme.
Fried. Fire (1932). The Washboard Rhythm
Kings.
RCA 430.700. 3
Lewis, Young, Akst. Dinah (1933). Kahn,
Erdman, Mares, Schoebel. Nobody's
sweetheart (1933). The Washboard Rhythm
Kings.
RCA LPM 10021 6
Unidentified. Dog and cat (1933).
Unidentified. Old man blues (1933).
Washboard Rhythm Boys.
Historical HLP 24 7
Various (1934-35). Georgia Washboard
Stompers. Gardenia G.W.S. 4012. 31
Shilkret, Austin. Lonesome road (1935).
Washboard Serenaders.
Parlo-phone A 6048 3
1.00 THE FLUTE SOCIETY PROGRAMME
A concert of birdsong
CONCERT RECORDED BY
2MBS-FM
Butterley, N. (D1935). The white-throated
warbler (1965). Christine Draeger, piccolo.
Yoshimatsu, T. Digital bird suite (1984).
Anthony Fogg, piano (2 above).
Maxwell Davies, P. (b1934). The kestrel paced
round the the sun (1972). 19
42
2MBS-FM PROGRAMME GUIDE DECEMBER 1986
ROY WATERSON PRESENTS в
: Š
An Cvening of Bel Canto
^» ИМ OPERA, OPERETTA AND SONG" әәә
WITH
RAYMOND
BJÖRLING
From the most remarkable singing
dynasty the world has ever known —
David Björling,
Jussi Björling,
Rolf Bjorling,
the mantle now falls on
RAYMOND BJORLING
"А lyric tenor voice of great beauty.
Jennifer
McGregor
Coloratura Soprano
Star of the
Australian Opera*
Geoffrey Г
Спага
Distinguished
Australian Baritone
English National Opera,
Sadlers Wells and Covent
Garden, Welsh National Opera j |
and the Australian Opera. si : : *Courtesy of the Australian Opera
with LESLEY STENDER — Mezzo-Soprano (Brisbane and Sydney)
SUSAN HIRST — Mezzo-Soprano (melbourne and Adelaide)
BRISBANE MAYNE HALL. Saturday February 7th 1987 at 8 pm.
Bookings — TICKETWORLD ON THE MALL, 211 Queen Street, Brisbane (07) 265 8555
SYDNEY TOWN HALL. Sunday February 8th 1987 at 8 pm. Bookings — BASS (02) 266 4800
MELBOURNE DALLAS BROOKS HALL. Saturday February 14th 1987 at 8 pm. Bookings — BASS (03) 11500
ADELAIDE TOWN HALL. Sunday February 15th 1987 at 8 pm
Bookings — FESTIVAL THEATRE BOX OFFICE and BASS outlets (08) 213 4788
Tickets $16.50. Students, Senior Citizens and Equity $12.50
Included in the programme will be famous tenor - baritone duets from 'Pearlfishers and ‘Boheme’.
The artists will sing other favourite duets and the quartette from ‘Rigoletto’.
222 AND OF COURSE FAVOURITE SWEDISH BALLADS QQaooo—— — — — jz
a
2MBS-FM PROGRAMME GUIDE DECEMBER 1986 43
Messiaen, O. (b1908). Le merle noir (1952).
Christine Draeger, flute (3 above); Anthony
Fogg, piano.
Joseph, D. Through tropical stars (1978).
Christine Draeger, piccolo, flute, alto flute;
Susan Hackett, flute. G
Popp, W. Birdsong, op 324. Christine Draeger,
flute; Anthony Fogg, piano.
2MBS-FM recording
2.00 PHILHARMONIA IN CONCERT
A series of programmes in which we hear
performances from the subscription concerts
of The Sydney Philharmonia Society
de Victoria, T. (1548-1611). Motet and Mass: O
magnum mysterium (1592). Sydney
Philharmonia Motet Choir/Seymour. 23
Corelli, A. (1653-1713). Concerto grosso, op 6
no 8 Christmas. Australian CO/Clements. 14
Hassler, H. (1564-1612). Dixit Maria
Marenzio, L. (1553-1599). Hodie Christus
natus est.
Byrd, W. (1543-1623). О magnum mysterium.
Praetorius, M. (1571-1621). Omnis mundus
jocundetur. Sydney Philharmonia Motet
Choir/Seymour. 11
Vaughan Williams, R. (1872-1958). Folksongs
of the four seasons, Part 4 Winter (1950).
Female Voices of the Sydney Philharmonia
Motet Choir; David Miller, piano; Peter
Seymour, conductor. 14
Schuetz, H. (1585-1672). The Christmas story
(1660). Richard Barnard, EVANGELIST;
Romola Tyrell, ANGEL; Stephen Bennett,
HEROD; Sydney Philharmonia Motet Choir;
Australian CO/Seymour. 37
SPS recordings
4.00 PIANO WORKS OF BEETHOVEN
Prepared by Ruth Warren
Beethoven, L. (1770-1827). Diabelli variations,
op 120 (1819-23). Rudolf Buchbinder, piano.
Telefunken 2768 50
Rondo a capriccio in G, op 129 (1825-26)
Alfred Brendel, piano.
Turnabout TV 334 162 6
5.00 EVENSONG FOR THE SECOND
SUNDAY IN ADVENT
Prepared and presented by Ann Ramsay
Various. Hymns: Praise my soul, the King of
Heaven; O Thou who camest from above;
Blessed City, Heavenly Salem; All my hope on
God is founded; Come down O love divine.
Paul Trepte, organ; Worcester Cathedral
Choir and Festival Ch Society/Hunt.
Abbey MVP 808 15
Balfour Gardiner, H. (1877-1950). Evening
hymn.
Byrd, W. (1543-1623). Teach me O Lord. 4
Rossini, G. (1792-1868). Gratias agimustibi. 6
Bach, J.S. (1685-1750). Jesus is the brightest
Light. 2
Gibbons, O. (1583-1625). Almighty God, who
by Thy Son Jesus Christ. lan Lyon, treble;
Adrian Culshaw, Richard Stevens, altos; John
New, tenor; Simon Deller, Rowland Sidwell,
baritones; Philip Moore, organ; Guildford
Cathedral Choir/Moore.
Abbey LPB 771 4
Various. Carols: A Tender Shoot; The Angel
Gabriel; While shepherds watched their flocks;
Shepherds in the field abiding; Ding Dong!
Merrily on High. Choir of Seaford College
Chapel/Hill.
Abbey LPB 825 13
Bach, J.S. Jesu, Joy of man’s desiring. Aled
Jones, soprano.
10 AJ 2 3
6.00 POSTLUDE
For the Second Sunday in Advent
Prepared and presented by Ann Ramsay
Bach, J.S. (1685-1750). Wachet Auf, Ruft uns
die Stimme, BWV140 Cantata for XXVII
Sunday after Trinity. Agnes Giebel, soprano;
Hertha Toepper, contralto; Peter Schreier,
tenor; Theo Adam, bass; Thomaner Choir;
Gewandhaus O Leipzig.
Archiv 198 407 . 29
Italian Concerto; Adagio from Pastorale in F;
Trio in G; Allemande from French suite no 6;
Bourree from English suite no 2; Gavotte and
Musette from English suite no 3; Gigue from
French suite no 5. John Williams, guitar; Peter
Hurford, organ.
CBS 37250 23
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 DIVERTISSEMENTS
Prepared by Jeff Scholer
Strauss, E. (1835-1916). Interpretations waltz,
op 97. Vienna CO/ Angerer.
Intercord INT 180 826 12
Mozart, W. (1756-1791). Bassoon concerto in
B flat, K191. George Zukerman, bassoon;
Wuerttemberg CO.
Turnabout TV 334039 22
Kodaly, Z. (1882-1967). Dances of Galanta.
Philadelphia O/Ormandy.
Maestro 61930 16
Dvorak, A. (1841-1904). Legend no 3 in G
minor, op 59. English CO/Kubelik.
DG 2530 786 4
9.00 VERSIONS AND VARIATIONS
Bach, J.S. (1685-1759). Nun komm der
Heiden Heiland, BWV599, from The Little
Organ Book. Marie-Claire Alain at the
Marcussen organ of the Varde Church,
Denmark.
Erato EPR 15501 2
Three settings of Nun komm der Heiden
Heiland, BWV659, BWV660, BWV661. Lionel
Ross at the Silberman organ, Arlesheim,
Switzerland.
Harmonia Mundi/WRC S 4486 10
Cantata: Nun komm der Heiden Heiland,
BWV61 (1714). Helen Donath, soprano;
Adalbert Kraus, tenor; Wolfgang Schoene,
bass; Bach Ensemble/Helmuth Rilling.
Laudate 98670 GEMA 18
Bach-Busoni. Nun komm der Heiden Heiland.
Sequiera Costa, piano.
Marco Polo 6.220153 5
Violin concerto in G minor, BWV1056. Igor
Oistrakh, violin; Ensemble of Soloists of
Moscow PSO.
Melodiya CM 02763 11
Harpsichord concerto in F minor, BWV1056.
Gustav Leonhardt, harpsichord; Leonhardt
Consort.
Telefunken 6.48239 11
10.00 SERENADE TO MUSIC
The guitar in chamber music
Prepared and presented by Lachlan Benson
Rolla, A. (1757-1841). Three duets for violin
and guitar. Erno Sebestyen, violin; Juan
Pastor, guitar.
Schwann VMS 1034 24
Mozart, F.X. (1791-1844). Sextet in A minor for
flute, clarinet, horn, cello and guitar.
Consortium Classicum.
Schwann VMS 1050 12
Spohr, L. (1784-1859). Septet in A minor, op
147 (1853). Nash Ensemble.
CRD 1099 33
Faure, G. (1845-1924). Nocturnes nos: 9 in B
minor, op 97 (1908); 10 in E minor, op 99
(1908); 11 in F sharp minor, op 104 no 1
(1913); 12 in E minor, op 107 (1915). Paul
Crossley, piano.
CRD 1106/7 20
Sonata no 2 in E minor, for violin and piano
op 108 (1916). Pierre Amoyal, violin; Anne
Queffelec, piano.
Erato/WRC R 06212 24
Monday 8
12.00 MIDNIGHT
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 items from the classical repertoire
with time calls in between.
9.00 MOZART:
THE GREAT INTERPRETERS
Mozart, W. (1756-1791). Symphony no 41 in
C, K551 Jupiter. Royal PO/Beecham.
HMV SXLP 30043 30
String quartet in D, K575. Alban Berg Quartet.
Telefunken 6.41999 24
10.00 19TH- AND 20TH-CENTURY
COMPOSERS
Prepared by John Staats
Delius, F. (1862-1934). Appalachia, variations
on an old slave song. Allen Jenkins, baritone;
Ambrosian Singers; Halle O/Barbirolli.
HMV ASD 2635 37
Stravinsky, 1. (1882-1971). Mass. Trinity Boys
Choir; English Bach FCh.; Members of the
English Bach FO/Bernstein.
DG 2530 080 21
Glazunov, A. (1865-1936). Symphony no 5 in
B flat, op 55. Moscow RSO/Fedoseyev.
Melodiya/HMV ASD 3363
44 2MBS-FM PROGRAMME GUIDE DECEMBER 1986
Rachmaninov, S. (1873-1943). The cliff,
fantasy for orchestra, op 7. Rotterdam PO/
Waart.
Philips 9500 302 16
12.00 A JAZZ SANDWICH
Prepared and presented by Derrick Davey
Clifford Brown was considered by most critics
to be one of the top trumpeters of the day and
destined to be in the same class as Dizzy
Gillespie and Miles Davis. Unfortunately he
died in a car accident at the age of 26.
Today we shall hear the beginning and the
end of Clifford Brown. His first recording with
an obscure R & B band in 1952 and his last
made a few hours before his death in 1956.
Other artists you will hear during this hour of
jazz include big bands led by Frenchman
Claude Belling and the Kenny Clarke/Francy
Beland band. And to show no favouritism, a
spot of Dixieland.
1.00 19TH-CENTURY CONCERT
Prepared by Ruth Warren
Dvorak, A. (1841-1904). Symphonic variations
for orchestras, op 78 (1877). Czech PO/
Neumann.
Supraphon 1 10 0616 23
Volkman, R. (1815-1883). Concert piece for
piano and orchestra, op 42 (1860). Jerome
Rose, piano. Luxembourg RSO/Cao.
Turnabout TV-S 34576 18
Tchaikovsky, P. (1840-1893). Symphony no 4
in F minor, op 36 (1878). Vienna PO/Karajan.
DG 415 348
2.30 THE MAGIC OF THEODORAKIS (2)
Theodorakis, M. (b1925). Thoxa to theo;
Eissoun kalos, eissoun ghlykos.
Strata tistrata; Otan teliossi; O polemos.
Chrissoprasino phillo.
Penia; E hartaeti.
Grigoris Bithikotsis; Maria Farandouri; Ch&O,
Mikis Theodorakis.
EMI/WRC R 02599 (all above).
Уһ о © о
3.00 DIVERTISSEMENTS
Prepared by Jeff Scholer
Suppe, F. (1819-1895). Morning, noon and
night in Vienna overture. Johann Strauss O of
Vienna/Boskovsky.
НМУ ESD 7061 8
Beethoven, L. (1770-1827). Choral fantasia, op
80. John Lill, piano; Scottish М Ch&O/Gibson.
НМУ FC 132 20
Schubert, F. (1797-1828). Shepherd on the
rock, D965. Elly Ameling, soprano; Guy de
Plus, clarinet; Irwin Gage, piano.
CBS 76976 12
Elgar, E. (1857-1934). Crown of India suite, op
66. Scottish NO/Gibson.
Chandos CBR 1012 17
4.00 THE MOST AUTHENTIC
INTERPRETATIONS
Prepared by Sofia Boniecki
Rachmaninov, S. (1873-1943). Elegie in E flat
minor (1938); Prelude in C sharp minor
(1910). Sergei Rachmaninov, piano.
L’Oiseau-Lyre 414 096-1 8
Messiaen, O. (b1908). Meditations on the
mystery of the Holy Trinity: Meditation no 9
(1969). Olivier Messiaen, organ.
Erato STU 70751 10
2MBS-FM PROGRAMME GUIDE DECEMBER 1986
Francaix, J. (61912). Five portraits of young
girls (1936). Jean Francaix, piano.
Wergo WER 60087 12
Kreisler, Е. (1875-1962). II bel rosmarino; Реп:
d'amore; Gioia d'amore. Fritz Kreisler, мо!
Carl Lamson, piano.
RCA MCV 902 8
Dohnanyi, Е. (1877-1960). Etudes de Conc: rt,
op 28 (1916). Ernst von Dohnanyi, piano
Everest 3061 12
Langlais, J. (D1907). Chant heroique, from
Nine pieces (1943). Jean Langlais, organ
Solstice SOL1 |
5.00 WORK’S DONE FOR TODAY
Prepared by Michael Sheehan
Mendelssohn, F. (1809-1847). | would that my
love, op 63 no 1; Greeting, op 63 no 3 (1836).
Kathleen Ferrier, Isobel Baillie, sopranos;
Gerald Moore, piano.
HMV CO 530
Liszt, F. (1811-1886). Symphonic poem no 3
Les preludes (1853). Berlin PO/Karajan.
DG 139037 1
Mahler, G. (1860-1911). Des knaben
Wunderhorn (1899). Elisabeth Schwarzkopf,
soprano; Dietrich Fischer-Dieskau, baritone;
London SO/Szell.
EMI S 36547 51
Dvorak, A. (1841-1904). Piano trio no 2 in F
minor, op 65 (1883). Suk Trio.
Supraphon SUAST 50817 39
ол
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
Meyerbeer, G. (1791-1864). O Paradis
(L'Africaine).
EMI 27 0262 1 4
Mozart, W. (1756-1791). Un'aura aniorosa
Cosi fan tutte (1790).
CD Claves 508 305 5
Bach, J.S. (1685-1750). Jesu, joy of man's
desiring (from Cantata BWV 147)
EMI EX 29 0056 3 3
Weatherley-Wood. Roses of Picardy.
RCA RL 42822 5
Lacalle, J. Amapola.
RCA PL 43885 3
Janacek, |. (1854-1928). Gehen sie, geh auch
du (Jenufa)) (1904).
Melodram 090 33/30 4
Puccini, С. (1858-1924). Weep not Liu
(Turandot) posth. (1926).
Preiser LV162 3
None shall sleep (Turandot) posth (1926).
MFP MFPA 9034
Bovio-D'Annibale. О Paese d' 'o sole.
Angel S 35852 4
Verdi, G. (1813-1901). Questa o quella
(Rigoletto) (1851).
HMV OXLP 7637 2
Haydn, J. (1732-1809). O tuneful voice
Pearl SHE 540 t
Gounod, C. (1818-1893). Salut, demeure
(Faust) (1859).
Decca SXLA 6649 6
9.00 STORMY MONDAY
Two hours of the best in blues, R ‘m B, soul,
gospel, cajun and zydeco. With regular
specials оп ariists, bands and musical styles,
as well as our weekly guide to the local blues
music scene. Included in the programme are
interviews with visiting and local musicians
and broadcasis live from Studio С
11.00 CROSSING THE DIVIDE
Linger, C. (1816. 1862). Allmaechtiger, ich
hebe mein Aug. Deine heilige Geburt; Kommt
zu ihm; Wenn кожа uns befangen. Adelaide
Singers; Patrick Thomas, conductor
ABC AC 1019 19
Mendelssohn, Е (i609 154/)
C minor, op 65 по: с
огдап.
MD: а G 1134 10
Albert, Prince Сопзоп (1819-1861).
Invocazione ail ‘Armonia (1845). Purcell
Consort of Voices, Jennifer Partridge, piano;
Grayston Burgess, conductor.
Decca SDD 570 10
Tomasek, V. (17/4 1850). Eclogues, op 35: no
5 in E minor, no 6 in С. Pavel Stepan, piano
Supraphon 1 11 1488 6
Nathan, І. (1790 1864). | eichhardt's grave
(1846). Gregory Martin, baritone; Norma
Williams, piano
Larrikin LRF 153 5
Grainger, P. (1882-1961). Colonial song
(1913); Duke cf Marlborough fanfare (1939).
UCLA Wind Ensemble, James Westbrook,
conductor.
Varese-Sarabanuo VCDM 1000 50 7
Britten, В. (1913-1976). Six metamorphoses
after Ovid, op 49 (1951). Maurice Bourgue,
oboe.
Harmonia Mundi HMC 902 16
Le Gallienne, D. (1915 1963). Four divine
poems of John Donne (1947-55). Lauris Elms,
contralto; Marie van Hove, piano.
WRC A 602 12
Beath, B. (b1932) Ficcolo victory: images of
colonial Australia (1982). Harold Wilson,
dijeridu; Adelaide Brown, flute, piccolo; Gary
Williams, cello, Mary Mageau, harpsichord.
rhythm sticks
Grevillea GRV 108? 9
Trad. The wild Colonial boy; The black velvet
band; Jim Jones of Botany Bay. John
Gordon, University of Sydney War Memorial
carillon.
EMI YPRX 2018 4
Sonata no 2 in
enstedt,
по SCK
Tuesday 9
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 performer s/wriiers
Specials on other well Kn
wn and/or
interesting рег ж.т. writers — musical
documentaries
Contempora: y pop пис, retlecting folk
roots.
Australian ро" from Anonymous to
Contemporary poets
Interviews/readings of Australian poets.
45
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AUDIO (|), |-
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the bank. Priced at $1795 the system combines
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At the heart of the system is Rotel's RX 850
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that FM broadcasts can offer. The cassette
deck is Rotel's top model, combining simple
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turntable we have selected is a semi-automatic
model from CDC fitted with a quality Ortofon
cartridge. Last, but certainly not least, we have
added Monitor Audio's brilliant R100
speakers, recently selected as the best of twelve
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perhaps an ideal gift for Christmas. We also
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gift giving.
SALES е SERVICE € INSTALLATION
2MBS-FM Subscribers Enjoy Discounts on many items
71 Military Road, Neutral Bay Telephone: 90 6001
(opposite ‘The Oaks’)
2MBS-FM PROGRAMME GUIDE DECEMBER 1986
RER PS NE PA EE
3.00 TILL DAWN |
Three hours of classical music to dispel the
darkness
6.00 EARLY MORNING MUSIC
Shorter items from the classical repertoire
with time calls in between
9.00 THE CELESTIAL HARP OF
YESTERYEAR AND TODAY
Prepared by Ida Ferson
Wagenseil, С. (1715-1777). Harp concerto in
G (1750). Susan Drake, harp; English String
O/Boughton.
Nimbus 2139 27
Thomas, J. (1826-1913). Grand duo in E
minor. 14
Bochsa, N. (1789-1856). Etude in A; Valse
study in F sharp minor. Lily Laskine, Marielle
Nordmann, harps.
Erato STU 71467 (2 above)
Faure, G. (1845-1924). Fantasy, op 79 (1898).
Christian Larde, flute; Marie-Claire Jamet,
harp.
WRC R 03470 3
10.00 THE MELLOW CELLO
Prepared by Barrie Marchant
Saint-Saens, C. (1835-1921). Allegro
appassionata, op 39.
Enigma K 23524 3
Villa-Lobos, H. (1887-1959). Bachianas
Brasileiras no 5.
RCA VRL1 7447 3
Rachmaninov, S. (1873-1943). Andante from
Sonata, op 19.
Enigma K 23524 6
Bach, J.S. (1685-1750). Arioso (arr. Gerhard
-Webber).
RCA VRL1 7447 4
Elgar, E. (1857-1934). Salut d’amour, op 12.
Enigma K 23524 3
Popper, D. (1843-1913). Gavotte no 2.
RCA VRL1 7447 3
Julian Lloyd Webber, cello (all above) with
Yitkin Seow, piano (nos 1, 3 & 5) and NPO/
Gerhardt (nos 2, 4, 6)
10.30 CONCERT HALL
The St Paul Chamber Orchestra
Prepared by Bob Goodnow
Vivaldi, A. (1678-1741). Concerto RV253 La
tempesta di mare (1725).
Philips 412 215 9
Mozart, W. (1756-1791). Violin concerto no 1
in B flat, K207 (1775). Pinchas Zukerman,
violin.
CBS D 37833 23
Cassation in D., K62a (1769).
Nonesuch H 71323 35
Rondo, K373; Adagio, K261 (1776).
CBS 1737839 15
St Paul CO/Zukerman (all above)
12.00 DISTINGUISHED WOMEN SOLOISTS
(2)
Prepared by Sofia Boniecki
Williamson, M. (b1913). Piano concerto no 2
(1960). Gwenneth Pryor, piano; English CO/
Zaliouk.
HMV EMD 5520 16
Bruch, M. (1838-1920). Violin concerto no 1 in
G minor, op 26 (1866). Anne-Sophie Mutter,
violin; Berlin PO/Karajan.
DG 2532 016 26
Brahms, J. (1833-1897). Four Hungarian
dances nos: 1 in G minor, 2 in D minor, 3 in Е;
4 in F minor (1869). Katia Labeque, Marielle
Labeque, piano.
CD Philips 416 459-2 13
Strauss, R. (1864-1949).Four last songs:
Spring. September; Time to sleep; At dusk
(1948). Kiri Te Kanawa, soprano; London SO/
Davis.
CBS SBR 235960 22
Poulenc, F. (1899-1963). Concert champetre
for harpsichord and orchestra (1928). Zuzana
Ruzickova, harpsichord, Czech PO/
Sanderling.
Supraphon 50 926 28
Babell, W. (c1690-1723). Concerto in C, for
descant recorder, strings and continuo, op 3
no 1. Michala Petri, recorder; Academy of St
Martin in the Fields/Sillito.
Philips 6514 310 7
2.00 MUSIC WEEKLY
2MBS PRODUCTION
A repeat of Sunday’s programme of interviews
with people in and behind music.
3.00 19TH- AND 20TH-CENTURY
COMPOSERS
Prepared by John Staats
Berlioz, H. (1803-1869). Symphony funebre et
triomphale, op 15. Musique des Gardiens de
la Paix de Paris;Desire Dondeyne, director.
Nonesuch H 71366 37
Stravinsky, І. (1882-1971). Concerto for two
pianos. Paul Jacobs, Ursula Oppens, pianos.
Nonesuch H 71347 21
Varese, E. (1883-1965). Offrandes (1921). Jan
de Gaetani, mezzo-soprano; Contemporary
Chamber Ensemble/Weisburg.
Nonesuch H 71269 9
Piston, W. (1894-1976). Concertino for piano
and chamber orchestre (1937). Gary
Steigerwalt, piano; Philharmonia Virtuosi of
New York/Kapp.
Turnabout TV 34733 14
4.30 A GOTTSCHALK FESTIVAL
Prepared by Bob Goodnow
Gottschalk, L. (1829-1869). La gallina. Leonard
Pennario, piano.
Angel RL 32125 3
Souvenirs d’Andalouse. Alan Mandel, piano.
Desto DC 6471
Cuban country scenes — opera in one act.
Trinidad Paniagua, soprano; Jose Alberto
Estaves, tenor; Pablo Garcia, baritone; Vienna
State Opera O/Buketoff.
Vox TVS 34440 14
Souvenir de Havana. Alan Mandel, piano.
Desto DC 6472
5.00 TUESDAY CONCERT
Prepared and presented by David Worobin
Haydn, J. (1732-1809). Divertimento in D for
baryton, viola and cello, Hob.XI97. Munich
Baryton Trio.
Claves D609 21
Mozart, W. (1756-1791). Violin concerto in A,
K219 (1775). Vladimir Spivakov, violin, English
со
HMV ASD 3639 32
BERLIOZ
LES TROYENS
Jon Vickers
Josephine Veasey
Berit Lindholm
Royal Opera House Orchestra
Colin Davis
40 416 432-2 ADD
BERNSTEIN BY BOSTON
WEST SIDE STORY SUITE
ON THE TOWN - DANCES
CANDIDE OVERTURE
WONDERFUL TOWN SUITE
Boston Pops
John Williams
CD 416 360-2 DDD
© 416 360-1 • Œ 416 360-4
MOZART
DON GIOVANNI
Ramey * Tomowa-Sintow
Baltsa * Battle
Winbergh * Furlanetto
Berlin Philharmonic
Herbert von Karajan
ЗО 419179-2 DDD
3 © 419 179-1 +E) 419 179-4
WAGNER
TRISTAN UND ISOLDE
Price * Kollo * Fassbaender
Fischer-Dieskau * Moll
Dresden Staatskapelle
Carlos Kleiber
4CD 413315-2 DDD
VIVALDI
THE FOUR SEASONS
Isaac Stern * Shlomo Mintz
Pinchas Zukerman • Itzhak Perlman
CD 419214-2 DDD
© 419 214-1 * 419214-4
HANDEL
ATHALIA
Joan Sutherland
Emma Kirkby * James Bowman
Aled Jones * David Thomas -
Academy of Ancient Music
Christopher Hogwood
200 417 126-2 DDD * 2 © 417126-1
TCHAIKOVSKY • DOHNANYI
PIANO CONCERTO No.1
NURSERY SONG VARIATIONS
Andras Schiff
Chicago Symphony
Georg Solti
CD 417 294-2 DDD
© 417 294-1 • E3 417 294-4
BERLIOZ
ROMEO ET JULIETTE
Quiver * Cupido * Krause
Montreal Symphony
Charles Dutoit
200 417302-2 DDD
2 © 417302-1
Give the gift
of music.
Marketed in Australia by
PolyGram Records
2MBS-FM PROGRAMME GUIDE DECEMBER 1986
47
POP ER NC EE LE AP MEE SS IE NEE MEUM OP IE
Piano concerto in A, K414 (1782). Murray
Perahia, piano, English CO.
CBS SBR 236008 25
Schubert, F. (1797-1828). Symphony no 6 in C
(1817-18). Vienna PO/Kertesz.
Decca JB74 31
7.00 ROBIN'S NEST OF JAZZ
Prepared and presented by Robin Forsaith
A leading name band musician in the 40S, this
tenor-saxophone player plays on Robin's Nest
of Jazz this evening. He joined the West Coast
company of the stage play The Connection,
for which he wrote the music, led a quartet
and took an acting role. Did you know that
about Dexter Gordon, the featured musician
on this one hour of mainstream to modern
jazz.
8.00 NEW RELEASES
Presented by Ray Byron
Our weekly survey of the latest from the
overseas and local record catalogues.
Features both LPs and compact discs.
10.00 MICHAEL TIPPETT
Piano sonatas
Prepared by Ida Ferson
Tippett, M. (b1905). Piano sonata no 1
1937).
21
Piano sonata no 2 (1962). 12
Piano sonata no 3 (1973). 23
Paul Crossley, piano.
CRD 11301
11.00 SUPPER CONCERT
Prepared by Audrey Manning
Spohr, L. (1784-1859). Sonate concertante in
E flat, op 113 (1806). Robert Aitken, flute;
Erica Goodman, harp.
Bis LP 143 20
Taffanel, P. (1844-1908). Fantasy on Der
Freischutz by Weber. Robert Aitken, flute;
Elizabeth Westenholz, piano.
Bis LP 166 11
Schumann, R. (1810-1856). Arabesque in C,
op 18 (1839). Vladimir Horowitz, piano.
CBS M3 37895
Bohm, T. (1794-1881). Grande polonaise, op
16. Robert Aitken, flute; Elizabeth Westenholz,
piano.
Bis LP 166 11
Donizetti, G. (1797-1848). Sonata. Robert
Aitken, flute; Erica Goodman, harp.
Bis LP 143 5
Wednesday 10
12.00 MIDNIGHT
EARDRUM
African music allsorts: from bush ballads to
electric dance, a thousand languages, a
thousand styles (including certain neo-African
hybrids: SALSA. Merengue. Afro-Arab ...)
In resisting the rock/funk crossover, Eardrum
uses the Ghanaian principle of SANKOFA (go
back and retrieve).
Each programme presents a sampling of the
music of a particular country, instrument,
performer, etc. Forgotten classics a speciality!
1.00 THE POUNDING SYSTEM
Prepared by Richard Fielding, Clay Caplice
and Ossie Borthwick
The island of Jamaica is the brithplace of
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 soon developed into a unique
form through the musician's 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
introducing various subgenres such as dub
(re-mixed instrumentals powered by hard
bass and drum rhythms). The associated DJ
style (talking over dub tracks) and lover's rock
(softer romantic moods) to an enthusiastic
young audience. This programme will attempt
to cover the main innovations in reggae from
the early days of ska to the latest lethal
sounds. Killer!
3.00 NEW RELEASES
Presented by Ray Byron
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 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 items from the classical repertoire
with time calls in between.
9.00 FROM RUSSIA
Prepared by Audrey Manning
Glinka, M. (1804-1857). Souvenir of a night in
Madrid (1845). Bamberg SO/Ceccato.
RCA RL 30320 9
Suite from The invisible city of Kitezh (1903-
04). Scottish NO/Jarvi.
Chandos DBRD 3004 24
Glazunov, A. (1865-1936). Violin concerto in A
minor, op 82 (1904). Ruggiero Ricci, violin;
Philharmonia Hungarica/Peters.
Turnabout TV 334 621 19
Prokofiev, S. (1891-1953). Symphony no 3 in
C minor, op 44 (1928). Concertgebouw O/
Kondrashin.
Philips 412 070-1 32
10.30 CONCERT HALL
Prepared by Jean Fryer
Vaughan Williams, R. (1872-1958). Fantasy on
a theme of Thomas Tallis. Royal PO/
Stokowski.
Telefunken 6.42631 16
Mozart, L. (1719-1787). Trumpet concerto in
D. John Wilbraham, trumpet; Academy of St
Martin in the Fields/Marriner.
Argo ZK 72 73 10
Mahler, G. (1860-1911). Symphony no 4 in G.
Judith Raskin, soprano; Rafael Druian, violin;
Cleveland O/Szell.
CBS 61056 58
12.00 THE SOUND OF JAZZ
Prepared and presented by Kevin Jones
The Count Basie Orchestra in top form on its
1978 tour of Japan (Live in Japan '78, Pablo
Live 2308 246). The programme includes such
staples as Frank Fosters Shiny stockings and
Ernie Wilkin's Basie.
A look at one of the better bands of the Swing
Era, Andy Kirk and his Clouds of joy (Walkin’
and swingin', Affinity AFS 1011).
Its best points were the arrangements and
piano playing of Mary Lou Williams and tenor
playing of Dick Wilson.
Foster, F. Shiny stockings. (1978).
Steinberg, J. Left hand funk.
Plater, B. John the III.
Wilkins, E. Basie.
Nistico, S. Black velvet.
Basie-Hendricks.
Count Basie and his Orchestra (all above).
Pablo 2308 246 (all above)
Williams. Walkin' and swingin' (1936-38);
Mary's idea.
Cahn-Chaplin. The lady who swings the band.
Cahn-Hollinder-Chaplin-Freeman-Nichols.
Until the real thing comes along.
Smith. Floyd's guitar blues.
Williams, John & Mary Lou. Lotta sex appeal.
Ellington-Mills. Ring dem bells.
Williams. Twinklin'. Andy Kirk and his Clouds
of Joy (8 above).
Affinity AFS 1011 (mono)
1.00 WEDNESDAY MATINEE
The Beethoven Symphonies (2)
Prepared and presented by Audrey Manning
Albrechtsberger, J. (1736-1809). Partita for
harp and orchestra (c1772). Anna Lelkes,
harp; PO of Gyor/Sandor.
Budapest FX 12 299 20
Mozart, W. (1756-1791). Clarinet quintet in A,
K581 (1789). Kaman Berkes, clarinet; Eder
Quartet.
Telefunken 6.42524 30
Viotti, G. (1755-1824). Violin concerto no 22 in
A minor (c1800). Yehudi Menuhin, violin,
Menuhin O/Menuhin.
HMV ASD 3492 24
Beethoven, L. (1770-1827). Symphony no 2 in
D, op 36 (1801-02). Academy of Ancient
Music/Christopher Hogwood, harpsichord
and director.
CD L'Oiseau-Lyre 414 338-2 33
3.00 MUSIC WITH A LATIN FLAVOUR
Prepared by Mary Ludlow
Chavez, C. (1899-1978). Sinfonie India (1935-
36). Mexico State SO/Batiz.
HMV ESD 7146 12
Gottschalk, L. (1829-1869). Two piano solos:
Souvenirs d'Andalousie; Souvenir de Porto
Rico. Ivan Davis, piano.
Decca VIV 63 10
Turina, J. (1882-1949). La Oracion del Torero
(1925). Swiss Romande O/Lopez-Cobos.
Decca 410 158-1 8
Villa-Lobos, H. (1887-1959). Suite popular
Brasileira (1908-12). Eric Hill, guitar.
Saga 5453 16
2MBS-FM PROGRAMME GUIDE DECEMBER 1986
Marquina. Espana Cani. Boston Pops O/
Fiedler.
RCA LSC 3270 5
Waldteufel, E. (1837-1915). Espana waltz.
NPO/Douglas Gamley.
Decca VIV 32 5
4.00 PRO ARTE HOUR
By courtesy of Avan-Guard Music Pty. Ltd.
{
Prepared and presented by Einir Brunckhorst
Finzi, G. (1901-1956). In terra pax, Christmas
scene. Linda Wilcox, soprano; Leroy Lehr,
baritone; Plymouth FO/Brunelle.
Pro Arte PAD 152 14
Britten, B. (1913-1976). A ceremony of carols,
op 28. American Boy Choir/Kuzma.
Pro Arte PAD 160 25
Vaughan Williams, R. (1872-1958). Carols
from the nativity play, The First Nowell. Linda
Wilcox, soprano; Plymouth FO/Brunelle.
Pro Arte PAD 152 11
LIMITED.
5.00 EARLY EVENING CONCERT
Sponsored by U.A.P., France’s national
insurer, in support of the diffusion of French
language and the Arts in Australia
UAP
Prepared and presented by Brendan Walsh
Franck, C. (1822-1890). Panis Angelicus.
Luciano Pavarotti, tenor; Wandsworth Boys
Choir; NPO/Adler.
Decca VIV 45 4
Liszt, F. (1811-1886). Concert paraphrase on
Rigoletto. Jorge Bolet, piano.
Time-Life STL 567 7
MacDowell, E. (1861-1908). To a wild rose.
Reginald Leopold, violin; Reginald Kilby and
his strings.
HMV SOELP 10486/7 2
Massenet, J. (1842-1912). Intermezzo from
Thais. Berlin PO/Karajan.
DG 139031 6
Offenbach, J. (1819-1880). Excerpts from
Orpheus in the Underworld. June Bronhill,
soprano; Kevin Miller, tenor; John Weaving,
tenor; Eric Shilling, baritone.
HMV ED29 0354 1 13
Gounod, C. (1818-1893). Soldiers' chorus
from Faust. Robert Shaw Chorale & O/Shaw.
RCA RDCS2348 4
Donizetti, G. (1797-1848). Quoi! vus m'aimez?
from Daughter of the Regiment. Joan
Sutherland, soprano; Luciano Pavarotti, tenor;
Royal Opera House Covent Garden O/
Bonynge.
Decca SXLA 6858 7
Debussy, С. (1862-1918). From dawn to noon
on the sea from La mer. Cleveland O/Maazel.
Decca VIV 56 9
Chopin, F. (1810-1849). Prelude in B minor,
op 28 no 6; Prelude in C minor, op 28 no 20.
Daniel Adni, piano.
HMV ЕМХ 41 20451 6
Waldteufel, E. (1837-1915). ‘Toujours ou
Jamais’ waltz. NPO/Gamley.
Decca VIV 32 7
Duez, J. Marche des nations. 1st Infantry
Regiment Band of the National Guard.
Barclay BA 215 3
Coates, E. (1886-1957). Elizabeth of Glamis
from Three Elizabeths Suite. Members of Paris
SO/Marty.
WRC R 05950/1 9
Bizet, G. (1838-1875). Patrie — dramatic
overture. Paris ©/Barenbi
EMI 2C 069 02770 12
Straus, O. (1870-1954). Theme from the film
La Ronde. RCA SO/Thorne.
RCA 5825 3401 2
Гесоса, С. (1832-1918). Excerpts from ballet
Mam/’zelle Angot. NPO/Bonynge.
Decca 411 898 1 10
7.00 THE JOY-A-JAZZ
Meet Menza
Don Menza, known as The Red Snapper, was
born in Buffalo, New York, and is not only a
powerful and swinging tenor saxophonist, but
also a remarkable composer and arranger.
During his career, he's played with Stan
Kenton and Maynard Ferguson, and led a
powerhouse of a big band in Los Angeles.
While on a stint in Germany in 1965 as a
member of the Max Greger Orchestra, Menza
got together a septet to record some of his
works. Tonight Joya Jenson plays selections
from Don Menza Septet Morning Song (MPS
15069 — Carinia Records), put down in
Munich, with a personnel that includes fellow
Americans Dick Spencer (alto saxophone)
and Rick Kiefer (trumpet), Austrian Fritz Pauer
(piano), Germans Rudi Fuesers (trombone)
and Gunter Lenz (bass) and Swiss Pierre
Faure (drums). Included is the lovely title track
ballad, Morning Song and the jazz waltz,
Cinderella's Waltz.
8.00 OPERA OF THE MONTH
Prepared and presented by Alison Gyger
Sullivan, A. (1842-1900). The Mikado (1891).
Comic opera in two acts, libretto by W.S.
Gilbert. First performed at the Savoy Theatre,
London, March 14, 1891.
THE MIKADO: Darrell Fancourt
NANKI-POO: Leonard Osborn
KO-KO: Martyn Green
POOH-BAH: Richard Watson
PISH-TUSH: Alan Styler
YUM-YUM: Margaret Mitchell
PITTI-SING: Joan Gillingham
PEEP-BO: Joyce Wright
KATISHA: Ella Halman
GO-TO: Radley Flynn
Ch and O of the D'Oyly Carte Opera
Company/Godfrey.
Decca ACLA 1014
Synopsis
Act I: The curtain rises to show the courtyard
of Ко-Коз official residence in Titipu, where
Japanese nobles are found in attires
suggestive of native drawings. Nanki-Poo, the
son of the Mikado of Japan, enters in the
disguise of a wandering minstrel, and finds
that his beloved Yum-Yum is to be married
that day to her guardian Ko-Ko, the erstwhile
cheap town tailor but now the Lord High
Executioner of Titipu. Ko-Ko enters, describes
how he attained his lofty rank, and advises all
concerned of his proverbial ‘little list’. Nanki-
Poo confesses his love for Yum-Yum and
finds that she much prefers him to Ko-Ko, but
could never get consent to marry anyone else.
Notice arrives that the Mikado is distressed at
the lack of executions in the town, and will
take serious action if the matter is not
rectified. Nanki-Poo, realising that he cannot
live without Yum-Yum, agrees to being
beheaded if he can be married to her for a
month prior to his execution. Katisha, an
elderly lady from the Mikado’s court, is in love
with Nanki-Poo. She enters arid claims him.
She is rudely spurned and rushes off to the
Mikado seeking vengeance.
ACT Il: Is set in Ко-Коз . г. Yum Yum is
dressing for her wedding, surrounded by
maidens attending her. Ko-Ko discovers that
the wife of an executed man must be buried
alive and takes great pleasure in advising her
of this. Nanki-Poo determines to kill himself at
once and let Ko-Ko be executed in his place.
The imminent arrival of the Mikado throws
them into panic, and they agree to falsify
Nanki-Poo's execution. He and Yum-Yum
rush off to be married as the Mikado and his
entourage enter. The Mikado shows his deep
humanity in insisting that the punishment
should always fit the crime. He is advised that
the bogus execution has taken place, all gory
details being provided. The Mikado and
Katisha are somewhat disturbed to find that
the victim was Nanki-Poo, and think up a
suitable punishment. Ko-Ko realises that his
only chance of survival is for him to woo
Katisha, which he does successfully. He
pleads for his life, and they convince the
Mikado that the pretended execution was in
accordance with the real intent of his wishes.
The appearance of Nanki-Poo and Yum-Yum
sets the scene for a happy (if doubtfully so for
Ko-Ko) finale.
9.30 Sullivan, A. (1842-1900). Patience (1881).
Comic opera acts, libretto by W.S. Gilbert.
First performed at the Opera Comique,
London, April 23, 1881.
COLONEL CALVERLEY: Donald Adams
MAJOR MURGATROYD: John Cartier
DUKE OF DUNSTABLE: Philip Potter
REGINALD BUNTHORNE: John Reed
ARCHIBALD GROSVENOR: Kenneth
Sandford
PATIENCE: Mary Sansom
LADY ANGELA: Yvonne Newman
LADY SAPHIR: Beti Lloyd-Jones
LADY ELLA: Jennifer Toye
LADY JANE: Gillian Knight
D'Oyly Carte Opera Chorus; New SO of
London/Godfrey.
Decca 414 429-1
Synopsis
ACT I: Is set at the exterior of Castle
Bunthorne. A chorus of love sick maidens are
extolling the virtues of their beloved aesthetic
poet, Reginald Bunthorne. He however loves
Patience, a simple dairymaid, who enters to
advise all that the 35th Dragoon Guards have
returned to the village, but the girls, who were
engaged to them twelve months before, are
no longer interested in them.
The Dragoon Guards enter and sing of the
glories of their life. They are astonished to see
their fiancees of the past year droop longingly
around Bunthorne and show a complete lack
of interest in them. Bunthorne confides to
Patience that his aestheticism is a mere play
to gain admiration.
Archibald Grosvenor arrives and immediately
recognises Patience as a childhood friend. He,
too, is a poet and confesses that he has
always loved her. She admits to loving him,
but cannot accept him as it would be selfish
to monopolise one so perfect. In despair they
part.
Acting on his solicitors advice, Bunthorne
runs a raffle with himself as the prize. Patience
2MBS-FM PROGRAMME GUIDE DECEMBER 1986 49
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interrupts the proceedings to agree to marry
him as proof of her unselfishness. The girls,
now on the point of returning to the
Dragoons, see Grosvenor, and flock to him, to
the chagrin of the soldiers and Bunthorne.
ACT Il: Is in a glade, Lady Jane reproaches
the maidens for their desertion of Bunthorne,
to whom she has remained faithful.
Grosvenor, as compared with Bunthorne,
finds the continuous attention somewhat
wearing and tells them that he can never love
them, as he is in love with Patience.
Lady Jane and Bunthorne conspire to force
Grosvenor to abandon his aesthetic pose and
return to things as they were before, but the
Dragoons clumsily adopt an aesthetic air, and
favourably impress their former loved ones.
Bunthorne persuades Grosvenor to become
an everyday young man and leave the field
clear to him. Patience, however, feels that
there is nothing to stop her loving a normal
Grosvenor. Lady Jane alone faithful to
Bunthorne, offers herself in marriage to him,
but the Duke of Dunstable, the most worthy
Dragoon, selects her as the most plain, to be
his wife. She immediately dumps Bunthorne,
leaving everyone paired, except Bunthorne,
who having no bride, has to content himself
with a tulip or lily.
11.30 THE MAGIC BOW
Prepared by Barrie Marchant
Poliakin, F. Le canari, polka.
CBS SBR 235917 4
Gounod, C. (1818-1893). Ave Maria.
Philips 6599 373 4
Sarasate, P. (1844-1908). Romanza Andaluza,
op 22 no 1.
CBS SBR 235917 6
Dvorak, A. (1841-1904). Larghetto from
Sonatina in G, op 100.
Philips 6599 373 3
Paganini, N. (1782-1840). Moto perpetuo, op
11
CBS SBR 235917 5
John Georgiadis, violin; Susan Georgiadis,
piano. (1, 3 & 5 above).
Arthur Grumiaux, violin, Istvan Hajdu, piano.
(2 & 4 above).
FRERE
Thursday 11
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 THE CRUSKIT HOUR
Patrick Gibson and Felicity Neale
Music from the '20s through to now, including
jazz, classical, electronic, rock and
experimental jumbled together in two hours of
fun and frivolity, interspersed with original
comedy, a continuing serial, and that's not all
3.00 TILL DAWN
Three hours of classical music to dispel the
darkness.
6.00 EARLY MORNING MUSIC Е
Shorter items from the classical repertoire
with time calls in between.
9.00 THE BOSTON SYMPHONY
Prepared by Bob Goodnow
Tchaikovsky, P. (1840-1893). Francesca da
Rimini, op 32.
Time-Life STL 541 23
Brahms, J. (1833-1897). Symphony no 4 in E,
op 98.
Time-Life STL 543 40
Stravinsky, І. (1882-1971). Jeu de cartes.
Time-Life STL 550 22
Boston SO/Munch (all above).
10.30 CONCERT HALL
Prepared by Ruth Warren
Dvorak, A. (1841-1904). Overture Otello, op 93
(1891-92). Czech PO/Neumann.
Pro Arte PAL 1054 14
Tchaikovsky, P. (1840-1893). Piano concerto
no 1 in B flat minor, op 23 (1874). Claudio
Arrau, piano; Boston SO/Davis.
Philips 9500 695 37
Brahms, J. (1833-1897). Rhapsody for alto and
male chorus, op 53 (1869). Bernadette Greevy,
contralto; Halle Choir; Halle O/Loughran.
MFP CPF 40064 13
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