Document text
VOLUME 13, NUMBER 6
STEREO FM RADIO 102.5MHz PROGRAMME GUIDE
REGISTERED BY AUSTRALIA POST PUBLICATION No. NBP 1078
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2MBS-FM
Cover: Huntington Chamber Orches-
tra. Photograph by Andy Payne.
See article page 4.
2MBS-FM
PROGRAMME GUIDE JUNE 1987
CONTENTS
Highlights Phillip Sametz ` ` oe H
Lars-Erik Larsson Marie-Louise Sienestroem ` A
Patrons, Acknowledgements 3
The Huntington Chamber Orchestra 4
The Glory of Venice Elaine Hamilton Ee,
Grant Foster Lysbeth Cohen ` 8
Jazz Records Joya Jenson ee:
Vogels/2MBS-FM Young Performers Competition LE
The Volunteer Scene Jim Cullen 11
Hot Off The Press 12
Jottings from Betsy Brown 16
Your Discount Retailers ` 18
Composer Listing a WW 22
Programmes i 24
Sustaining Subscribers oo g
This month...
We’ve taken the plunge! Our new NEC transmitter has been ordered, and we hence need
to complete our fund-raising drive for the $86,100 necessary for this purchase.
We are almost half-way there, thanks to the many very generous donations that have
already been received since the fund was inaugurated in April 1986. We would like to
thank those who have supported us — the donations have ranged from $2 to $10,000 —
indicating that our listeners care very much that 2MBS-FM continues to provide their
musica] pleasure.
Our new transmitter will enable 2MBS-FM to anticipate trouble-free transmission for
the next decade. When we finally receive word from the Minister for Communications
that he has approved our eight-year-old application for higher power, we will reach most
of Sydney and its environs very clearly.
We are asking you to help in the purchase of our new transmitter in ways that will give
you great pleasure.
Foremost will be our 1987 Prom Concert on Sunday afternoon, August 23 in the Sydney
Town Hall. A very exciting programme is planned: a world premiere of a new work by
John Colborne-Veel, Geoffrey Tozer playing the Grieg piano concerto with the Prom
Festival Orchestra, and much more.
To our delight Lufthansa German Airlines has again generously donated a pair of
business-class air tickets for travel to Europe as a very attractive prize in our 1987 Prom
Raffle.
How can you resist joining us for great musical pleasure, the possibility of a marvellous
trip to Europe, and to help us finance our much-needed new transmitter?
Belinda Webster
2MBS-FM 76 CHANDOS STREET, ST LEONARDS 2065 TELEPHONE (02) 439 4777
| HIGHLIGHTS
Phillip Sametz
Roger Meets Dmitri
Few chances are given to hear the
complete preludes and fugues of Shos-
takovich. Even fewer are the opportun-
ities to hear Roger Woodward play them,
but you can do both over the four
Wednesday nights of the month at 11.
Don’t miss it.
Roger Woodward
Good OP Bull
Bob Goodnow answers the burning
question, Who was Ole Bull?, in two
programmes this month. A Norwegian
violinist, Bull was inspired in equal parts
by his country and Paganini, his music
reflecting these passions. He also had
a notably successful career as a violinist
and made a lot of money, part of which
he used to establish a Norwegian colony
in the USA (it failed). You can find out
more and hear a fair bit of his music
on Mondays 1 and 15 at 3.30pm.
A Tribute
For many, Peter Seymour was regarded
as so integral a part of Sydney’s musical
life that his permanent absence was
almost unthinkable. His death in March
robbed us of a tireless worker, a widely-
esteemed conductor and a great admin-
istrator. This month’s Philharmonia in
Concert includes a fitting tribute to the
man who ran the Sydney Philharmonia
Choir for nearly two decades: a recent
performance of Bach’s Magnificat given
under his direction. Be listening at 2pm
on Sunday 7.
Long Underwear Required
Mary Ludlow’s programme Faraway
Places asks us to pack a lot of clothes.
The journey from Bax’s Tintagel to
Copland’s Danzon Cubano involves
rather dramatic climatic changes, but
it’s bound to be bracing. If only shed
included Abram Chasins’ Rush Hour in
Hong Kong, op 5, we could have picked
up some bargains on the way home. Be
at the check-in counter by 9am on
Wednesday 3.
Get Orff’s Trilogy
The inescapable Carmina Burana is
Carl Orffs most famous piece, we know,
but it’s actually the first part of a trilogy
called Triumphs, theatrical tryptich. In
a genuinely ear-opening exercise, the
trilogy’s part 2, Catulli Carmina (Songs
of Catullus) will be followed directly by
Part 3, Trionfo di Afrodite (Triumps of
Aphrodite) on Sunday 7 at 8pm. Be the
first on your block to say you know what
happens to Carminain the following two
episodes.
A Romantic Character
Max Keogh’s programme Remote
Romantics on Friday June 12 at 8pm
presents us with, among other things,
the Cello Concerto of Eugene d’Albert.
Now here was a character. D’Albert’s
father, an S.S. Wesley pupil, wrote a
book on ballroom etiquette. Eugene
himself — no doubt confused about being
born to German and French parents in
Glasgow — moved to Germany, became
a famous pianist (Bruno Walter calling
him “a new centaur — half piano, half
man”) and wrote a lot of music, including
the opera Tiefland, which may be his
only famous piece. A vegetarian, he had
seven wives (including the pianist
Teresa Carreno) and is supposed to have
written an opera in the Walloon dialect.
How did he find time for it all?
Our Finger on the Pulse
August will bring Witold Lutoslawski to
Sydney to conduct his Third Symphony,
but Belinda Webster offers a sneak
preview of this important event on
Classics of Our Time, namely, the
composer’s recording of the work with
the Berlin Philharmonic. Pieces by
Ginastera and the now almost hypnot-
ically recurrent Villa-Lobos will also be
featured on the programme, which airs
on Thursday 4 at 2pm.
Ladies of the Keyboard
Two very different pianists will be
featured on Ida Ferson’s Pianists of
Renown this month. First, a tribute will
be paid to Lili Kraus, who died recently
at the age of 78. Her career was already
in full swing when she was arrested on
tour in Java by the Japanese in 1942
and interned for three years. Later, she
became the first pianist to record all the
Mozart scnatas.
The programme also offers a birthday
garland to Martha Argerich, who turns
46 this month. Tune in at 8pm on
Saturday 13.
Goethe Got At
Perhaps the French just don’t like
Goethe. Having had their way with him
in Gounod’s Faust, the librettists Barbier
and Carre threw Wilhelm Meister into
a cocked fedora for Thomas’ Mignon,
and promptly had another huge hit on
their hands. If all you know from this
piece are the arias Connais tu le pays
and Je suis Titania, tune in on Wednes-
day 10 at 8pm, when it will be presented
by Audrey Manning as Opera of the
Month. Full of good tunes, Mignon kept
the stage long after Thomas’ other
operas had been forgotten. A splendid
cast in this performance — including
Marilyn Horne, Frederica von Stade and
Ruth Welting — will show you why.
Breaking the Price Barrier
Pickwick have stormed the hi-fi barri-
cades with their budget-priced CDs.
Theirs is the first line of such discs that
offers performances of standard reper-
toire in toto, rather than snippets in the
manner of Opera’s Greatest Hits, 101
Strings play Stockhausen and Ballet
Goes Latin with Edmundo Ros. A
generous sampling of Pickwick fare can
be heard in two Ray Byron programmes,
called Pickwick Compacts, on Mondays
15 and 29 at 10am. Now you can stop
paying $35 for these plastic
contrivances.
Jumbo National Days
Marie-Louise Stenstroem and Max
Keogh have got their heads together to
celebrate Sweden’s and Denmark’s
National Days, which occur within a day
of one another. The Swedish segment
features music by Alfven and Dag
Wiren, while Denmark is represented by
Hartmann and Gade. Join us on Friday
5 (Denmark’s National Day) at 8 pm.
2 2MBS-FM PROGRAMME GUIDE JUNE 1987
LARS-ERIK
LARSSON
1908-1986
Marie-Louise Stenstroem
Not many Swedish composers have
achieved fame during their lifetimes.
This, however, happened to Lars-Erik
Larsson, though this unassuming and
self-effacing man did not seek popular-
ity. As far as he was concerned it was
rather a coincidence that his music
appealed so much to the general public.
Born in 1908 in Scania, in southern
Sweden, Lars-Erik Larsson began his
musical studies at the Conservatorium
in Stockholm, and later spent some years
in Leipzig and Vienna, where he studied
counterpoint with Schoenberg’s pupil
Alban Berg. Although he wrote several
works using the twelve-tone technique
he was never fully ‘in tune with’ the
expressionistic style of the Schoenberg
school. More important to him was his
contact with the ‘matter-of-fact? music
which Hindemith represented.
Lars-Erik Larsson never sought to
express philosophic profundity. As
Mozart was his guiding star he wanted
his music to be melodious, light and
playful in the very best sense of the word.
Though his tonal style might be familiar
his music manages to sound new and
fresh.
In 1937 Lars-Erik Larsson became
conductor of the Swedish Radio Sym-
phony Orchestra and at the same time
he was professor of composition at the
Stockholm Conservatorium. As conduc-
tor of the Radio Orchestra he was also
expected to compose, and during his 20
years with Radio Sweden some of his
most enduring compositions were
created. The lyric suite involving poetry
reading interspersed with music was
very much in vogue. His Pastorale Suite
and A Winter’s Tale are well-known
works from this period as is his God in
Disguise. This work is a protest against
violence, yet its tone is basically optim-
istic and pastoral. It was first performed
only a few weeks after the German
occupation of Denmark and Norway
and it quickly became a symbol of
freedom to the isolated Swedish people.
Lars-Erik Larsson was extremely self-
critical and tended to withdraw works
and leave compositions unfinished. Had
it not been for the persistence of conduc-
tor Sten Frykberg his second and third
symphonies might not have been
recorded in their entirety.
The composer’s latter years were
almost completely unproductive. Not
being in the company of creative musi-
cians might have deprived him of the
necessary inspiration and stimulation to
work.
With his music Lars-Erik Larsson
sought to beautify and brighten our daily
lives. And this he surely did.
Listen to Lars-Erik Larsson in memo-
riam on Friday June 19 at 4.30 pm.
Theatre Party
Yes — another theatre party! Tuesday
July 7 at 8.15pm Northside Theatre,
Marian Street, Killara. Australian
premiere of Sir Noel Coward’s In Two
Keys. Ann Ramsay has one hundred
excellent tickets so hurry for your
booking. Send a cheque and stamped
addressed envelope to Mrs A. Ramsay,
PO Box 328, Pymble 2073. Tickets $18
each.
Ù
MiNI
2MBS-FM
THE MUSIC LOVERS’ STATION
PATRONS
FOUNDATION PATRONS:
Sir Francis McLean; Professor Cyril Renwick; The
Late W.A. Dullo.
The following people have allowed us to publish
their names as Patrons of the Music Broadcasting
Society.
HONORARY MUSIC PATRON: Roger
Woodward
BENEFACTORS ($1000 or more): R.O. Albert; B.
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Deutsche Bank Australia Ltd.
PATRONS ($150 or more): R.O. Albert, C.E.
Allingham, J.M.R. Baines, Bayer Aust Ltd, M.H. &
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R. Compton, R. Connors, A.F. Cooper, |. & P.
Davidson, L.J. De Bord, R. Duck-Chong, C.A. Fall,
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Goethe Institute, J. Goldhawk, N. Hinchen, H.S.
Hancock, Dr. L. Hansen, Henkel Ltd, N. Hinchen, D.
Hitchings, R. Holliday, Dr. E.A. Jackson, Sir Keith
Jones, R. Kingcott, H.G. Kippax, Krupp (Aust) Pty
Ltd, Dr. B. Lake, D.G.N. Lake, R.H.Y. Lambert, Dr. R.
Lauenstein, A. Lewis, M.A.N. Automotive Aust Pty
Ltd, M.A.N. Australia, A.W.D. Mcintyre, D. Menzies,
Mercedes Benz Australia, MTU Pty Ltd, B. Newton-
John, The Hon. Justice K.W. Pawley, G.C. Potts, A.
Ramsay, R. Reimer, Prof. C. Renwick, M. Samlowski;
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Siemens Ltd, M.P. Susman; L.L. Tammelo, The Allen
G. Garrett Trust, Dr. J. Thirlwell, C.A. Thorndike, K.
Tribe, Two Seasons Trading Co., X. Voigt, J.H.
Wheeler.
ACKNOWLEDGEMENTS
The assistance of many people and organisations in
the construction of the operation of 2MBS-FM has
made our task infinitely easier. Our particular thanks
for their help and support go to:
Amalgamated Wireless A-Asia; Austen & Butta Ltd;
Australia Music Centre Limited; Belgian Consulate-
General; Black Inc Recorders (cassette recording for
the blind-guide); Brazilian Consul-General; British
Paints (Aust) Pty Ltd; Bulgarian Consulate-General;
Canadian Consulate-General; Consulate General of
the People’s Republic of Poland; The Cultural Affairs
Division of the Premiers Department; Denon;
Deutsche Bank Australia Ltd; Finnish Broadcasting
Company; German Chamber of Commerce &
Industry; Israeli Consulate-General; Italian
Consulate-General; Lebanese Consulate-General;
Lufthansa Airlines; Minitprint Pty. Ltd; Musica Viva
Australia; Norwegian Consulate-General; Nylex
Corporation Ltd; Peoples Republic of Hungary;
Portuguese Consul-General; Radio Deutsche Welle;
Radio 5UV Adelaide; Radio France; Radio Moscow;
Radio Nederland; Radio New Zealand; Reckitt &
Coleman; Romanian Consulate; Schenker & Co;
Spanish Consulate; Spanish Chamber of Commerce;
St Stephens Uniting Church; Swiss Consulate-
General; Sydney Latvian Society; TDK (Australia)
Pty Ltd (cassettes for the blind); Transfield Limited;
The Australian Opera; Tubemakers of Australia (steel
for transmitter room); Turkish Consulate-General;
United States Information Service.
2MBS-FM PROGRAMME GUIDE JUNE 1987
The Huntington
Chamber Orchestra
The above orchestra is featured in a
series of two-hour programmes each
Sunday in June at 9.30am. The follow-
ing article, describing the evolution and
achievements of this remarkable group
of young people, is provided by Felicite
Ross who acts voluntarily as their
manager.
The Huntington Chamber Orchestra
(HCO) is recognised for the vitality and
freshness of its music making. Its
development into a professional group
worthy of regard makes an interesting
story.
As a result of collaboration between
violinist Richard Tognetti and double-
bass player Katie Woods the group was
formed early in 1985 with Richard as
its leader. Their shared aim was to form
an orchestra without conductor, wherein
members might feel free to inject their
ideas into performances, and work as
closely together as might the members
of a string quartet. The original group
also included Karen Segal, Narine
Melconian, Maria Lindsay, Richard
Claxton, Petra Davies, and Lesley
Larkum (violin); Mandy Murphy and
Angela Lindsay (viola); Michael William
and Rosalie Segal (cello).
Since then the membership has
changed, and the orchestra has also
expanded. Rosalie, Lesley, Richard and
Mandy have left for other commitments.
New members are Dimity Hall, Sarah
Dunn, and Dominique Guerbois (violin),
Roger Myer and Colleen Baxter (viola);
Sarah Ingham and Adrian Wallis (cello).
Susan Collins and Amber Davis (violin),
and Andra Ulrichs (viola) have made
significant contributions during the
orchestra’s development.
Most of these young musicians were
previously members of the Sydney
Youth Orchestra Association (SYOA)
Chamber Orchestra, with sound train-
ing in this medium from John Painter
— now director of the Canberra School
of Music — and Lois Simpson.
Their first public performance was on
June 22, 1985 in the Great Hall of Sydney
University as one of the tercentenary
series presented by the Early Music
Association of NSW. Conducted by John
Gray, and with Nicholas Parle (harpsi-
chord), Judith Elliott (oboe), and Stephen
Bennett (bass), they performed works by
J.S. Bach and Handel.
Most of this concert can be heard in
the first programme on Sunday June 7
featuring the HCO. It marked the
beginning of a close collaboration with
Nicholas Parle, one of Australia’s most
accomplished harpsichordists, who is
now developing a fine reputation in
Europe.
The orchestra adopted the name
‘Academy Strings’ for their first perfor-
mance. The group then gave two recitals
for the Australian Opera Auditions
Committee, without yet having a name.
At the threshhold of being a professional
performing group it was imperative to
have a name by which to be recognised
and registered. An alternative to their
first choice, which was not available for
registration, had to be found hastily
before their next engagement could be
publicised.
Suggestions for honouring Australian
musicians were put aside, or modestly
refused. Then, simultaneously Richard
Tognetti and I suggested ‘Huntington’,
in gratitude to and with great respect
for Bob and Wendy Roberts of the
Huntington Estate Winery, Mudgee.
Richard, from Wollongong, and
unable to find accommodation, had been
a guest in the Roberts’ Sydney home
since the orchestra’s formation. They
had also engaged the Orchestra to play
at the annual Winery Concert. Bob
Roberts gave his blessing to the name.
Their first concert as the Huntington
Chamber Orchestra was given in
October 1985. It was a fund-raising
performance for ‘Operation Open Heart
for Tonga’, at Wahroonga. Guest artist
John Harding played J.S. Bach’s Violin
concerto in A minor. Before leaving
Australia he had taught some of the
players, and they were thrilled to have
such an accomplished musician, and a
former leader of the Australian Chamber
Orchestra, contribute his skill, knowl-
edge and support to the event.
The HCO’s first Huntington Estate
Winery Concert will be the second
programme of this month’s series, on
Sunday 14. It included Bach’s Branden-
burg Concerto no 2, with Robert Johnson
(French horn), Anthony Chesterman
(oboe), and Kate Clarke (flute). These
three excellent musicians have willingly
contributed their skills on several occa-
sions. As always, it was a memorable
evening of carefully blended wine, food
and music, all of the highest quality.
4 2MBS-FM PROGRAMME GUIDE JUNE 1987
The Winery has a superb natural
acoustic. In this lofty building and
surrounded by oak barrels, the perfor-
mance was greatly appreciated by the
audience, many of whom return
annually.
Major performances given by the
HCO in 1986 included: one for the
combined Northside Music Clubs at
Willoughby Town Hall in March; one
for Monday Music at St Stephen’s
Church in July; closely followed by a
concert for the Australian Musicians
Academy in the Verbruggen Hall at the
NSW State Conservatorium of Music.
Most of this concert forms the third
programme of the series, on Sunday
June 21. It included the orchestra’s first
performance of the Chamber symphony
for string orchestra, adapted by Rudolf
Barschai, from the String quartet no 8
of Shostakovich. This intensely evoca-
tive work was also recorded later in
Mudgee, and will be broadcast in the last
programme of the series on Sunday June
28.
The orchestra was invited to play at
the Canberra School of Music in October.
Here they were able to pay tribute to one
of their early mentors, Lois Simpson,
who was soloist for the Cello concerto
in C minor by M. Casadesus. The
warmth of the reception given by both
the management and audience, the
meticulous organisation, and the friend-
ship extended by the billets were all
greatly appreciated by the young
musicians.
They returned to Mudgee for their final
concert of 1986, with resounding success.
Richard had been persuaded to direct,
as soloist, the Summer and Winter
concertos from Vivaldi’s Four Seasons.
The HCO was joined by Tommie Anders-
son (lute) and Nicholas Parle (harpsi-
chord, by Rosemary Parle).
Those who had been present in 1985
noticed the maturity of presentation: a
greater attention to detail without any
loss of enthusiasm and vitality.
Richard and Karen were both
members of the ACO and, early in 1986,
they had the possibility to discuss the
possibility of taking part in the next
‘Mostly Mozart’ series with Christopher
Hogwood. As a result the HCO played
in the Northern Foyer of the Opera
House during the 1987 ‘Mostly Mozart’
series. They were introduced by Chris-
topher Hogwood, in his inimitable and
enthusiastic manner, to a large after-
noon audience.
On this occasion there was neither
review nor recording, but the concert was
the culmination of 20 months’ dedica-
tion. It was generally considered that the
2MBS-FM PROGRAMME GUIDE JUNE 1987
exquisite solo violin playing, together
with the beauty and accuracy of the
strings and continuo, would have com-
pared favourably with many existing
recordings of Vivaldi’s Four Seasons.
Their original goal was in sight.
The orchestra was active in assisting
colleagues at the Conservatorium. They
accompanied orchestral members for
their Mozart and Haydn concerto exam-
inations. The winds for these occasions
were provided by staff and students.
They also gave a fund-raising concert
for the Conservatorium Association, a
volunteer group which raises funds to
assist Conservatorium students. From
this source the HCO received a travel
allowance to Canberra.
They performed for the ABC’s ‘In
Tempo’ programme, and for Channel
Nine’s ‘Sunday Show’.
Many of their performances were
reviewed. Roger Covell attended both
Huntington Estate concerts: he com-
pared the HCO favourably with the early
ACO, and suggested that the develop-
ment of this talented young group would
be interesting to follow. A year later the
review was positively glowing: ‘... with
gifted leadership and direction coming
from Richard Tognetti, Handel’s Con-
certo grosso, op 6 no 11 was a most
encouraging start... the high point of
the recital came in the Shostakovich-
Barschai Chamber symphony... mov-
ingly and vividly presented... The
overwhelming impression left was (so)
vital and hopeful, and the pleasure of
attending considerable...’
Fred Blanks was increasingly
impressed by succeeding performances,
particularly noting the assurance, disci-
pline and sonority of their playing: ‘Its
musical discipline is taut, its collective
tone rich and reliable, its attention to
phrasing meticulous, its rhythmic attack
precise’. Other reviews were equally
encouraging and enthusiastic.
Throughout the twenty months of
working together the HCO received
neither Government nor private finan-
cial support, but relied on takings from
their performances. They were sustained
by enjoyment of and dedication to the
music they played, and encouraged by
the support from family, friends and
other musicians. Amongst these were
Alice Waten, teacher of most of the
violinists; Joy Lee, then Musical Director
of SYOA; Rev Graham Hardy, of St
Stephen’s Church; Barbara Glaser,
Orchestral Manager of the ACO; Peter
Grimshaw from Boosey and Hawkes;
Abe Segal, creator of the Australian
Musicians Academy, and Karen Segal
who also acted as librarian and co-
ordinator; Charles Barton and others
from 2MBS-FM.
The HCO is now hibernating. Richard
and Karen are studying in Europe, and
others will soon follow. They plan to re-
form within the next two years. In the
meantime we have the opportunity to
hear and experience the growth of this
group of individually-gifted and dedi-
cated musicians through this month’s
programme series. It is an honour to
have been associated with them.
H
UI
and
2MBS-FM
combine to present
MIGNON
(A. Thomas) `
on WEDNESDAY, June 10 at 8pm
SINCE its inception in 1978, Opera Australia has devoted its centre spread each month to an
in-depth study of an opera being staged somewhere in Australia — more often than not in Sydney.
NOW, this Opera of the Month is broadcast on 2MBS-FM on the second Wednesday of the
relevant month at 8pm, a particular time slot around which you can plan your listening.
MAXIMISE the benefit of this arrangement to you by:
1 Subscribing to Opera Australia (if you aren’t already a reader of this internationally
respected monthly newspaper which reports and comments in detail on the fascinating
Australasian opera scene).
Buying the libretti of the operas to be broadcast in advance of the event, so you can have full
bi-lingual text as well as the detailed stage directions before you as you listen. More than 100
titles are now available, including most of the Operas of the Month. We also stock opera
scores, and the odd record and book as well. Full details are advertised each month in Opera
Australia.
SEND THE COUPON with $2 for a sample copy of Opera Australia, or the coupon plus $22 to
become a subscriber to Opera Australia for the next 12 months.
TO: OPERA AUSTRALIA, P.O. Box R-361, Royal Exchange, N.S.W. 2000
O I enclose $2. Please send me a copy of Opera Australia.
o | enclose $22. Please enrol me as a subscriber to Opera Australia for the next 12 months.
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Address
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OVERSEAS subscriptions by surface mail, $A22 or $US18.35 or £stg16.75, by air, $440 to New Zealand, or Papua New
Guinea, $A44 for the Pacific Islands, Hong Kong, Malaysia and Japan. $A49 or $US39.20 to the United States and $A54 or
stg39.00 to Europe. LONG-TERM subscriptions pro rata to maximum five years. Libretti may also be purchased over the
counter at Level 2, 44 Bridge Street, Sydney. Phone (02) 27 2264 or (02) 27 2269.
2MBS-FM PROGRAMME GUIDE JUNE 1987
THE GLORY OF VENICE
Elaine Hamilton
“If I want to find another word for music,
it is, again and again, Venice.”
Nietzsche.
Friday, June 5 (midday) sees the start
of a 19-part series on the music of Venice
from the time of Adriaan Willaert (c1490-
1562) to the time of Baldassare Galuppi
(1706-1785). Both of these men occupied
the post of maestro di capella at the
Basilica of San Marco, Venice.
Willaert, almost singlehandedly,
turned Venice into one of the great
centres of the world’s music. He dom-
inated the musical life of Italy and his
compositions circulated from one end of
Europe to another. He was acclaimed as
the very best the age had to offer, and
in teaching pupils, such as Cipriano de
Rore and Andrea Gabrieli, he ensured
the continuation of his work.
The series will feature both well-
known and littleknown composers, all
of them studying and working in Venice
in the 250 or so years between Willaert
and Galuppi.
For most of that time, musicians
flocked to Venice from all over Europe,
many making it their permanent home.
Others studied and worked there, and
then left to spread the ‘Venetian style’.
Two important Germans who did this
were Hans Leo Hassler and Heinrich
Schuetz. Others copied from afar but
never actually worked in Venice,
although many had their works per-
formed there, particularly operas. These
composers are not included in the series.
We begin with Adriaan Willaert,
followed by Bartolomeo Tromboncino.
Madrigalists Cipriano de Rore and
Philippe Verdelot share the next pro-
gramme. Then there is Andrea Gabrieli,
who was one of the great teachers, and
whose influence passed on through his
pupils. The next programme contains
the works of seven different composers:
Claudio Merulo, Baldassare Donato,
Cesare Gussago, Giovanni Croce, Bar-
tolomeo de Selma y Salaverde, Giovanni
Grillo and Giovanni Picchi. Then comes
the great Giovanni Gabrieli, who was
a pupil of his uncle, Andrea. Another
pupil of Andrea Gabrieli was Hans Leo
Hassler, followed by the great innovator,
Claudio Monteverdi. Monteverdi is said
to be as important in the development
of music as J.S. Bach, Mozart and
Side view of San Marco Basilica from a window on the courtyard of the Doge’s
Palace.
Beethoven, and he is also credited with
being the ‘father of opera.
Heinrich Schuetz is next. For many
years he was Kapellmeister at the court
of Dresden and the influence of his music
in the Venetian style was quite consid-
erable. After this there will be pro-
grammes on Alessandro Grandi, Biagio
Marini, who was a great instrumental
composer, and then Francesco Cavalli.
Seven Venetians feature in the following
programme: Giovanni Bassano, who
was a trumpet player at San Marco,
Ruggiero Giovanelli, Giovanni Buona-
mente, Francesco Turini, Cherubino
Busatti, Giovanni Legrenzi and Gio-
vanni Rovetta. An important instrumen-
tal composer was Dario Castello, about
whom very little is known. However
many of his works have survived and
show him to be an exceptional musician.
The very well-known Tomaso Albi-
noni, Antonio Vivaldi, and Benedetto
Marcello feature in the next three
programmes. None of these was con-
nected with the Basilica di San Marco.
Albinoni and Marcello were dilettanti —
men of wealth who did not need pay-
ment, but composed for the love of it.
Vivaldi, a priest, was in charge of the
music at the girls’ orphanage.
The last years see fewer composers
making Venice their home, as the
centres of music moved elsewhere, not
because of a decline in the quality of
music in Venice, but because more
opportunities were opening up in other
cities in Italy and in the rest of Europe.
A programme titled The Last Years
introduces the music of Alessandro
Marcello (Benedeito’s brother), Antonio
Lotti and Antonio Sacchini. The final
programme features Baldassare
Galuppi, the last maestro di capella at
San Marco of any significance.
It’s a long journey of 19 weeks, but
I hope you'll take the time at 12 noon
each Friday to listen, and as you listen,
to be aware of the development of music
in style, instrumentation and vocal
characteristics. Anyone who has been to
Venice and stood in the great Basilica
will marvel at the music written for
performances in this wonderful building.
As well, we have madrigals and instru-
mental works, and some amusing songs.
The Venetians always loved to laugh
and sing and dance.
Many think of Venice as a great
trading city, or as a centre of painting
and literature, but to music-lovers, the
Glory of Venice is Music.
2MBS-FM PROGRAMME GUIDE JUNE 1987 7
COMPOSER AND CONCERT PIANIST:
GRANT FOSTER
Lysbeth Cohen
In recent months listeners to 2MBS-FM
have been hearing music by Sydney
composer Grant Foster, a concert pianist
who features as soloist in his own
compositions.
The EMI recording of Grant’s works
was on the short list of Classical Music
for the first Australian Record Industry
Awards held in March this year. On that
glittering evening, attended by about
2000 people, awards were presented for
every kind of music imaginable — pop,
folk, jazz, etc — and for individual artists.
Grant Foster’s major work on the EMI
recording (now also on CD) is his
Rhapsody for piano and orchestra —
War, Peace, Love, in which he was
soloist with the Sydney Symphony
Orchestra. This work has had two live
performances in Sydney, the first (dur-
ing the same week as he made the
recording) at the Conservatorium at a
concert to benefit the Royal Blind Society
and the second at the Peace Concert held
last year at the Sydney Town Hall.
The idea for this work came to him
in London, he said, where he was
conscious on the one hand of world
aggression and international terrorism,
and on the other of the goodness of
people such as Mother Teresa and the
obvious happiness of ordinary young
people walking around holding hands.
The music itself is lush and romantic,
with some reminders for the listener of
Elgar, Chopin and Rachmaninov.
The other works on this recording are
piano solos, including three Poems, two
Voyages — which take us to Buenos
Aires and Marrakesh — and Reflections,
which hark back to Grant’s period in
England working with Robert Help-
mann on his Peter Pan production.
Grant’s commission to write the
incidental music for the play Peter Pan
was quite dramatic, he said. In 1974 he
had composed an Overture and some
‘Fight? music, which he played to
Helpmann at rehearsal. When Help-
mann heard them he threw away the
score he had intended to use and told
Grant to write it all! The other Peter Pan
compositions are for a Mermaid Ballet,
an Indian Ballet and incidental music.
This production of Peter Pan played in
London and toured for seven years, each
year for about three months with well-
known actresses (for example, Dorothy
Tutin) in the title role.
Grant has recently composed an Elegy
in homage to Robert Helpmann and he
came especially into the 2MBS-FM
studio to play it on our piano for future
broadcast. This work and another new
piano solo The Legend will be recorded
for EMI this year.
Grant Foster was away from Austra-
lia for 14 years after he graduated from
the Sydney Conservatorium, studying
further in London, Paris and New York.
He has composed a number of roman-
tic songs. He won the Australian Song
Festival competition in 1974 with Can"
You Hear the Music of My Love Song
(sung by Samantha), and in 1978
represented Australia at the Interna-
tional Song Festival at Vina del Mar,
Chile, where his song Where Is Love?
won first prize in the radio section and
third prize in the judges’ section.
Back in Australia since 1982 he has
continued with song composition. Four
of them were featured in February this
year, sung by Sylvana at the Don
Burrows Supper Club.
He has recently finished a piano
concerto and is working on a concerto
for trombone and orchestra.
Grant says he loves romantic music
and that to him melody is important.
His piano teacher in Paris (Marcel
Ciampi) described him as “a superb
musician and one of a handful of
romantic virtuosos”.
Now becoming better known in Syd-
ney as a pianist, teacher and composer,
he goes overseas each year for two
months, mainly “for stimulation”, he
says.
A quiet modest man, he lives with his
parents at Terrey Hills where the peace
and the bush give him constant
inspiration.
Grant Foster’s music is available on
LP and CD.
8 2MBS-FM PROGRAMME GUIDE JUNE 1987
JAZZ RECORDS
Joya Jenson
I have been waiting a long time for the
ever-popular singer/guitarist, JOHNNY
NICOL, to record the song Emily, and
at last my patience has been rewarded.
On his recently released album, Where
The Love Is (Larrikin LRJ 175), he has
included this lovely Johnny Mandel
ballad among the selections. And what
is more, he has given it the treatment
it deserves. This song is so right for
Nicol’s warm personal style, and besides,
it holds something very special for him.
Daughter Emily plays the enchanting
Chloe in A Country Practice, and, as he
explains, “Emily is dedicated to my
Johnny Nicol
daughter and mother — two Emilys”.
Bob Bertles’ emotive saxophone adds to
the listening pleasure of this stand-out
track. Another film theme, Love Letters,
is also included — an instrumental
version with the composer listed as
‘unknown’. Victor Young, the eminent
composer of this piece, might well turn
over in his grave. Isham Jones might
be equally offended if he were around
today, to discover that his famous There
Is No Greater Love has the composer
listed as unknown, and is titled No
Greater Love, which is the name of
another popular song altogether. Still,
the music more than makes up for these
lapses, as Nicol weaves his magic,
accompanied by musicians who work
very well indeed with him. Apart from
Bertles, there are pianist Col Nolan, Bill
Twyman on bass, Harry Rivers, the
drummer, and Barry Sutton, the percus-
sionist, while drummer Russell Dunlop
and bassist Victor Rounds perform on
the title track. Other highlights include
Mike’s Blues, with its effective unison
scatting from Nicol, and Nolan’s solidly
swinging solo chorus on It’s All In The
Game.
A captivating compilation is available
on BENNY GOODMAN Mostly Sextets
(Axis AX701319 from EMI). Goodman,
the masterful technician of the clarinet
and swingster supreme, needs little
introduction. Here he is heard on 12
tracks from 1947 Hollywood sessions,
presiding over the very best of company.
The personnel varies between certain
tunes, but the quality of the music
remains consistently excellent. They
have to be top musicians to keep up with
The King of Swing. Pianists Mel Powell
and Jimmy Rowles are on six cuts
apiece, vibist Red Norvo plays on nine,
guitarist Al Hendrickson, on seven. Don
Lamond and Louis Bellson are two of
the drummers who drive the action
along. There’s a fast Bannister Slide,
and even a more up-tempo version of The
World Is Waiting For The Sunrise and
Nagasaki. Other offerings include
That’s A Plenty, Henderson Stomp and
The Varsity Drag. Goodman flies high,
wide and handsome, and all in all, this
is great swing from artists who knew
what is was all about.
Three of the most respected musicians
in their fields appear on The Poll
Winners BARNEY KESSEL WITH
SHELLY MANNE AND RAY BROWN
(Contemporary S7535 from Festival
Records). This re-issue is part of the
Original Jazz Classics series, and the trio
won jazz popularity polls in Down Beat,
Playboy and Metronome magazines in
1956 — thus the title of the album,
although it happens that these artists
won many other polls in many other
years as well. Recorded the following
year, the repertoire ranges from Duke
Jordan’s Jordu, through old favourites,
Satin Doll, It Could Happen To You,
Mean To Me, Don’t Worry Bout Me,
Green Dolphin Street, You Go To My
Head, to a Kessel original called Minor
Mood and Harry Warren’s Nagasaki.
These skilful players sound in complete
accord and in their element, which
makes this concept album an absolute
delight.
A mono recording of performances at
the Olympia Theatre in Paris during the
November of 1957 constitutes the mate-
rial on COUNT BASIE AND HIS
ORCHESTRA (Magic AWE13 — Avan-
Guard Music). This was the band that
included trumpeters Thad Jones and Joe
Newman, trombonists Al Grey and
Benny Powell, with Frank Foster, Frank
Wess and Eddie ‘Lockjaw’ Davis in the
saxophone section. The aggregation
may not have been the definitive Basie
band, but my! how they could swing!
Singer Joe Williams delivers several
songs that were popular hits for him
with Basie: Well, Alright, OK, You Win
and Gee, Baby, Ain’t I Good To You
being two of them. Williams is in good
voice, the band supplies punchy accom-
paniment, and there are solo contribu-
tions from the Count himself (The Kid
From Redbank), Lockjaw (Whirlybird),
Foster (Little Pony), et al. The band is
great, so more’s the pity that the uneven
technical quality of the recording doesn’t
match it.
Two more albums in the CBS I Love
Jazz series are of a great gospel singer
and a giant of jazz piano. MAHALIA
JACKSON Newport 58 (CBS LJ-22)
makes it easy to understand why the
lady was given the title of Queen of the
Gospel Singers. Her rich contralto is
heard on hymns, spirituals and popular
themes. The repertoire includes The
Lord’s Prayer, Joshua Fit The Battle Of
Jericho, His Eye Is On The Sparrow and
He’s Got The Whole World In His Hands.
THE EARL HINES TRIO Fatha (LJ-
23) contains 12 cuts put down in 1964
by Hines, accompanied by Ahmed
Abdul Malik on bass and Oliver Jack-
son, drums. Apart from Fatha’s power-
ful, rhythmical piano, his smoky-voiced
vocalising is heard on St James Infir-
mary and the beautiful ballad, Trav’lin’
All Alone. Fatha always had plenty to
say musically, but there are other
recordings of the master musician’s
work of more satisfying worth than this
one.
Joya Jenson is the Herald’s Jazz critic.
2MBS-FM PROGRAMME GUIDE JUNE 1987 9
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2MBS-FM PROGRAMME GUIDE JUNE 1987
Vogels/2MBS-FM
Felicia Meric
Felicia Meric was born in Japan in 1973
and arrived in Australia in 1975.
After successfully passing an audition
for entry to the Junior School at the NSW
State Conservatorium of Music in 1981
she became a pupil of piano teacher Neta
Maughan. In 1984 Felicia commenced
studying cello with Lois Simpson at the
Conservatorium. Presently she learns
from Susan Blake. Now in Year 9 at the
Conservatorium High School she has
taken up pipe organ as her third instru-
ment under the tutelage of David
Rumsey.
In 1984 she performed the Andante
of Mozart’s Piano Concerto no 21, K467,
with the Sydney Youth Symphony
Orchestra at the Sydney Town Hall. In
the same year she won the National
Finals of the Beale Piano Festival. She
has won prizes in the City of Sydney
Eisteddfod and in regional competitions.
Last year she gained her A.Mus.A. in
piano and an AMEB scholarship.
For her 2MBS recital at noon on
Tuesday June 2 Felicia will play works
by J.S. Bach, Beethoven, Chopin,
Brahms, Riccardo Pick-Mangiagelli,
Villa-Lobos and Larry Sitsky.
Europe is at your fingertips!
fancy a trip for two flying business class to Frankfurt PLUS
3,000 km of travel within Europe on the Lufthansa network?
Young Performers Competition
E
Elizabeth Kelvin
Elizabeth Kelvin was born in America
and came to Australia at the age of ten.
Two years later she began clarinet
lessons with Susan Bell. Elizabeth is
currently in her final year of the
Bachelor of Music course at the NSW
State Conservatorium of Music, study-
ing with Gabor Reeves.
While at school, Elizabeth was a
member of the Sydney Combined
Schools Ensembles as well as a partic-
ipant in solo night concerts. For many
years she has been a member of various
orchestras including the Sydney Youth
Orchestra, the Willoughby Symphony
Orchestra, the Hunter Orchestra in
Newcastle and the Sydney Chamber
Ensemble. Elizabeth is now a member
of a clarinet quartet known as the
‘Playmates’, giving regular recitals. She
also enjoys making music with her two
sisters.
Elizabeth hopes to further her music
studies overseas in the near future.
For her 2MBS-FM recital at noon on
Tuesday 16 Elizabeth will play works
by Brahms, Deak, Holford and Kokai.
‘Planning, Finance, Marke
The Volunteer
Scene
Jim Cullen
OK, so you don’t want to be a receptionist
for 2MBS-FM, or an announcer, or a
programmer, or a technician, or a sub-
editor, or any of the other categories you
might imagine that we need. But you’d
like to do something for the cause,
provided you could free-wheel for a while
without getting irrevocably committed to
something you might later regret. Hands
up if you’re like this. Yes, I thought so
— about 5% of you. Well, we have good
news. You can join a committee.
Sure, some require a reasonable grasp
of the technical content, e.g. the Com-
puter, Recordings or Technical commit-
tees, but things begin to open up with
Programming, On-air Standards and
Library committees for those steeped in
music, the Guide Production Committee
if you happen to have a flair for any
of the usual publishing compo; its; and
z and
Publicity for the hot-shots of con. nerce.
Beyond that you could nudge your
way into the Volunteer, Social, Prom and
Book and Record committees simply
because you’re a good organiser, group
leader, leg man (the one who does the
running around, not the fancier of
female underpinnings), morale booster,
minutes secretary, trouble-shooter, etc.
And for the mildly obsessional there
are always the Building Security and
Rules Revision committees.
All meetings are open, are held at the
Station mostly in the evenings and are
monthly. You can always sus out
several, if need be, before deciding where
to make your main thrust. This could
be your opportunity to transmit the skills
and knowledge acquired elsewhere to
your favourite radio station, or perhaps
to do for us what you haven’t had the
chance of doing elsewhere. Ring us on
4394777 for an appointment and we'll
open up a new dimension in your life.
For more
details
see
page 15
2MBS-FM PROGRAMME GUIDE JUNE 1987 11
Beethoven: Symphony no 3 in E flat,
op 55. Coriolan Overture. Vienna Phil-
harmonic Orchestra; Claudio Abbado,
conductor. DG Digital 419 597. Available
CD, LP and MC.
Another Beethoven cycle emerges from
Deutsche Grammophon. It seems that
the record-buying public has an insat-
liable —— petite for them. Any new cycle
has to .ace formidable competition from
both the recent and more distant past.
From Klemperer, Furtwaengler, Tosca-
nini, Karajan, Szell and Boehm to
modern day maestros such as Maazel,
Bernstein, Masur and now Muti and
Guenter Wand, who are both releasing
sets at this time, every major conductor
has his interpretations recorded.
Claudio Abbado is, of course, at the
forefront of his generation. Musical
director of the Vienna State Opera and
therefore the Vienna Philharmonic
Orchestra’s main conductor, he has
waited to record the Beethoven sympho-
nies until his maturity, and his interpre-
tations of these works will be keenly
sought by his many admirers.
This performance of the Eroicais brisk
but not breathless. Abbado brings many
illuminating interpretive ideas to the
score. This is not a heavy Teutonic
reading of the work, but one which does
not lack power or majesty either. He
allows the tempo to broaden occasion-
ally in the first movement, which tends
to impede the symphonic argument.
While one cannot deny the beautiful
expressiveness which Abbado brings to
the second subject and other moments
of repose, some of the climaxes lack real
intensity. Nonetheless, at all times we
can sense the fine control Abbado has
over the performance.
12
HOT OFF THE PRESS
The slow movement also lacks the
weight and intensity of, say, Klemperer
or Karajan, but instead we have beauty
and a flowing tempo. The solo oboe plays
most eloquently; in the old Viennese
tradition it is a quaint, slightly old-
fashioned sound.
The third and fourth movements come
off very well; the Vienna horns in the
trio of the third, and at the end of the
symphony, are simply superb. Abbado’s
reading of the Coriolan overture is very
brisk and intense, but it again lacks real
weight, and the argument is impeded by
the lack of consistency in tempo.
Abbado’s Eroica is lighter and more
lyrical than that of many of his rivals’,
beautifully controlled, and outstand-
ingly well played and recorded. With 60
minutes and 22 seconds playing time,
it is good value for money, too. For those
who like a heavy Germanic style, look
elsewhere — Klemperer, Karajan, or
Masur, are recommendable. Abbado
provides an Italianate antidote, and is
certainly competitive. TD
Fiorillo, F. Violin concerto no 1 in F.
Viotti, G.B. Violin concerto no 13 in
A. Adelina Oprean, violin; European
Community Orchestra; Joerg Faerber,
conductor. Hyperion A66210.
In this case one can judge the cigars
by the picture on the box: a crimson rose
bespattered with pearly dew.
Viotti and his less-known contempor-
ary were violin virtuosi who wrote a
great deal for their instruments. Both,
naturally, pen passages of pyrotechnics;
both, fortunately, have a marked gift for
melody. Both concertos fall gracefully on
the ear without engaging heart or head.
The Rumanian soloist plays with an
easeful charm and Faerber directs his
youthful band with a lightness and
suppleness admirably suited to the
music. A delightful disc, with the Viotti
work being marginally more rewarding
on repeated hearings. BN-J
Bruckner: String Quintet in F. Kocian
Quartet with Lubomir Maly, first viola.
Supraphon 1111 3899 G.
The String Quintet in F, finished in July
1874, between the 5th and 6th sympho-
nies, is Bruckner’s single important
chamber work. It is ironic that the far
better-known Intermezzo and Trio for
String Quintet was written as an alter-
native to the Scherzo of the Quintet in
F, which was found too difficult by
Joseph Hellmesberger and his players.
The first movement is marked Gemaes-
sigt — with constraint — and that is
how it is written and played. The
climaxes never rise beyond forte; when
the first violin begins to soar, it is gently
brought back to the company of its
colleagues. This is pensive music, a not
unhappy self-communing. The Scherzo
is marked Schnell — fast — but it isn’t.
Bruckner ambles his leisurely way, with
a cheerful little skip from time to time,
a pause to look about him to delight in
what he sees.
The Adagio, by far the longest move-
ment of the four, is Bruckner at his
greatest. One feels that this is the music
of a man who, in Bruno Walter’s words,
has found God; it is serenely confident,
touched with a quiet melancholy and for
all its length never flags for a moment.
Though the Finale is marked Lively,
it moves slowly and rather sombrely, of
a piece with the rest of the Quintet. I
think it is no exaggeration to say that
this work can stand comparison with the
late chamber music of Beethoven.
BN-J
2MBS-FM PROGRAMME GUIDE JUNE 1987:
Janacek, L: String Quartet no 1,
Kreutzer Sonata, String Quartet no 2.
Intimate Pages. Smetana Quartet.
Supraphon 1111 3866 9.
‘This must be some of the most original
string quartet writing of our century,
matching Bartok at his most explora-
tory’, wrote John Warrack in his review
of the Talich Quartet’s performance of
those works (Gramophone January
1986). I share his enthusiasm for this
‘marvellous pair’ of quartets.
Tolstoy’s short story Kreutzer Sonata
about an unhappy, tortured, beaten
woman killed by a jealous husband had
already inspired Janacek to write a
piano trio, now lost but for some frag-
ments. The despairing two-bar phrase
with which the work opens occurs again
and again in the first movement and
in the fourth, binding this work together.
The second and third movements share
an eerieness produced by the bows’
playing near the bridge of their instru-
ments, a harsh, unhappy sound. The
final movement harks back to the first,
though now the colours are darker. At
one point it seems that light may appear,
but the lilting tune turns into hopeless-
ness: there is conflict throughout and the
tension is never resolved.
In the second string quartet subtitled
Intimate Pages (originally Love Letters)
Janacek poured out for the last time his
passion for Kamila Stoesslova, a mar-
ried woman 38 years his junior, who
influenced him from their first meeting
in 1917 until his death in 1928.
A confession of love it may be, but,
as he wrote to Kamila, ‘cries of joy, but,
too, strangely enough, cries of horror’:
there is tenderness and distress, playful-
ness and anxiety: indeed, with its
constant changes of mood, of tempo, of
rhythm, the quartet presents formidable
difficulties to its interpreters. The Sme-
tana Quartet, so experienced in Janac-
ek’s music, is equal to them. Its violist,
Milan Skampa, after years of research
has cleansed the scores of layers of
interpretive conventions and editorial
errors and what we hear on this record-
ing, made before an audience in Prague
in 1979, may be taken as authoritative,
if somewhat clinical.
Comparison with the CD version
(Denon 33C37-7545 — and at 41 minutes
playing time an expensive buy) reveals
little difference of tone quality: some-
what less steely perhaps and with a
welcome absence of applause.
The performances by the Janacek
Quartet recorded in the Supraphon
Studios in 1963 (SUAST 50556), while
they may not have had the benefit of
Dr Skampa’s researches, have the
advantage of a loving interpretation.
BN-J
Lutoslawski: Symphony no 3 and Les
Espaces du Sommeil. Berlin Philhar-
monic Orchestra; Dietrich Fischer-
Dieskau (baritone); Witold Lutoslawski,
conductor. Philips 416 387-1.
Only time and history will reveal the full
stature of Lutoslawski’s music. On the
basis of the many works which have
been recorded so far, however, and,
particularly, the two coupled on this new
Philips disc, it’s difficult not to sense that
he is one of the most important figures
of our century.
Both the Symphony no 3 and the
vocal-orchestral work Les Espaces du
Sommeil (The Spaces of Sleep), cata-
logue the most characteristic aspects of
Lutoslawski’s style: an almost breath-
taking economy of language, sureness
of shape and pacing, and, above all,
fantastic use of orchestral colour.
¢ In his own programme note for the
| first performance of the Symphony no
| 3 (in 1983 with the Chicago orchestra
and Sir Georg Solti), Lutoslawski cites
the form of the late Haydn symphonies
as the model for his own work. As one
listens repeatedly to this new piece,
however, its hard to ignore tke
Beethoven-like sense of dramatic propul-
sion or the way in which Lutoslawski,
like Beethoven, is able to generate long
paragraphs of musical argument from
tiny motive cells.
It’s significant that orchestral works
as recent as these two are here receiving
not their premier, but a second recording.
And the difference between this version,
with the composer himself conducting,
and the CBS issue of the same works
with Esa-Pekka Salonen and the Los
Angeles Philharmonic, are revealing.
While the new Philips disc carries
much authority, Salonen’s approach is,
nonetheless, most persuasive and draws
much of the music’s richness and many-
layered qualities. In the Symphony no
3, he emphasises precisely the dramatic
pulse of the score — the way in which
Lutoslawski’s tiny melodic mobiles are
able to energise long stretches of musical
space. The composer, on the other hand,
points to the lyricism of the work to the
lithe and sensual dimension of the
material. In this regard, the playing of |
the Berlin Philharmonic Orchestra is
beyond reproach. Lutoslawski, too, |
allows the material just that extra sense |
of space and breadth; his version evokes |
mystery and tragedy, whereas Salonen |
responds to the sense of urgency which `
the music contains. It is a measure of |
the strength and substance of the |
Symphony no 3 that the two readings |
of the score can be both so different and |
so exceptional. ell
It will be fascinating to hear Lutos-
lawski’s presentation of the work later
this year when he conducts the Sydney
Symphony Orchestra in a whole pro-
gramme of his music.
The second, shorter piece on this disc,
Les Espaces du Sommeil (1975), receives
a truly definitive performance from
Dietrich Fischer-Dieskau, for whom it
was written. Lutoslawski has frequently
chosen French texts for his extended
vocal pieces; predictably and in a
masterful way, Fisher-Dieskau responds
to every nuance and colour of the
surrealist verses of Robert Desnos. The
arching melodic contours of the score are
tailor-made to Fischer-Dieskau’s vocal
powers: that wonderful ringing clarity
of upper register and his infinitely varied
manner of declamation and recitation.
He inhabits the music in a way few
singers are able to achieve. John Shirley-
Quirk on CBS, gives a distinguished and
committed performance. Yet, somehow,
it fails even to approach Fischer-
Dieskau’s bleak, almost tortured evoca-
tion of the images of the text.
An outstanding recording. AF
2MBS-FM PROGRAMME GUIDE JUNE 1987
13
HOT OFF THE PRESS
BEETHOVEN: SYMPHONIE NO9
Beethoven: Symphony no 9 in D
minor, op 125. Gabriela Benackova,
soprano; Marjana Lipovsek, alto; Goesta
Winbergh, tenor; Hermann Prey, bari-
tone; Vienna State Opera Chorus;
Vienna Philharmonic Orchestra; Clau-
dio Abbado, conductor. DG Digital 419
598. Available CD, LP and MC.
In many ways Claudio Abbado’s read-
ing of the ninth symphony is a greater
success than his Eroica. The expectant
atmosphere at the very opening is well
caught. The tempo is steady, and the
music unfolds in a most majestic
fashion. Here and there Abbado’s
penchant for ‘interpretive points’ surfa-
ces, but, on the whole his grip and control
are superb. Perhaps Abbado might have
driven the main climax home more
powerfully, but one can sense that he
is reserving something for later.
The Scherzo also moves strongly and
purposefully. Abbado observes the
correct tempo relationship between
Scherzo and Trio, and his tempo for the
Trio seems faster than usual because of
this. Many conductors apply the brakes
at this point, Abbado is a refreshing
change.
The slow movement has the necessary
poise and restraint with fine woodwind
soloists and beautifully sweet violins.
The somewhat detached manner sets in
relief the mighty explosion that the
finale unleashes. Suddenly the point of
the performance becomes evident.
Abbado has built towards this moment,
and he storms into the Finale with
tremendous power and vigour. The
basses and celli are almost brutal in their
onslaught into the recitative section.
Abbado brings an element of neurosis
that has previously not been in evidence,
and then his tempo for the famous main
theme brings calm and resolve. The rest
of the movement is splendidly judged,
with excellent choral work and good
soloists.
I have heard better assumptions of the
tenor part, but baritone Hermann Prey
delivers his recitative with great author-
ity and excellent diction.
The recording is excellent, although
there is some lack of expansion in the
largest Gutts". The playing is first-rate,
-and, on the whole, this ‘Ninth’ is
eminently recommendable. For those
who buy the black vinyl disc there is
one snag, however. The side break occurs
in the middle of the slow movement. On
CD, of course, this is not a problem. TD
P. Tchaikovsky
@ HIGHLIGHTS FROM TEN YEARS OF MUSIC
This new release from MBS Records presents a
few of the many performing artists who have
generously donated their services to the Station
and graced our broadcasts over the first decade
of our operations. The release is intended as a
lasting expression of gratitude to the performers
and our volunteers
The artists appearing on the discs are
representative of the long line of performers who
Tchaikovsky: Violin concerto in D, op
35. Chausson: Poeme for violin and
orchestra, op 25. Nigel Kennedy, violin;
London Philharmonic Orchestra; Okko
Kamu, conductor. EMI Eminence EMX
2100.
The orchestral introduction, matter-of-
fact, stiff almost, does not prepare one:
for the richly romantic violin playing to
follow. After listening to Mullova last
month and her cool attitude to her fellow
countryman, it was astonishing to hear
a young Englishman get to the heart
of the music as Kennedy does. He gives
us portamenti, tenuti, rallentandi, but
never falls into sentimentality or self-
indulgence.
The first movement he takes at a very
slow speed, spinning out golden threads
of sound: rapturous in the pianissimio
passages, thrilling in the climaxes.
For all its slowness the first movement
never gives the impression of sagging.
The canzonetta is a beautiful pastel, the
finale dashingly played by soloist and
orchestra. On my pressing there were
three short bursts of distortion in the last
movement, not due I think to my
equipment, for they occurred repeatedly
at exactly the same spots.
All that I have said about the Tchai-
kovsky applies to the Chausson. The
sound is spacious and natural. And what
a splendid coupling. BN-J
Reviewers for this month are: Brin NewtonJohn, Tim
Dowling and Anthony Fogg.
have supported 2MBS over the first ten years of
its existence.
This set of discs brings you a microcosm of
2MBS programmes in the classical genre. The
compositions recorded span three centuries
Please send me ___copies of MBS 10
$24.00 each ($18.00 for 2MBS-FM Subscribers)
plus $2.00 postage and packing.
Make cheques payable to Music Broadcasting
Society of NSW.
Name
Address
Postcode
MBS 10 is released by MBS Records. MBS
Records is a function of the Music Broadcasting
Society of NSW Co-operative Ltd, licensee of
the volunteer-operated, listener-funded pioneer
of Australian FM stereo radio, 2MBS-FM.
2MBS-FM, 76 Chandos Street,
St Leonards 2065
Telephone (02) 439 4777
14 2MBS-FM PROGRAMME GUIDE JUNE 1987
Europe is at your fingertips
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3,000 km of travel within Europe on the Lufthansa network?
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2MBS-FM PROGRAMME GUIDE JUNE 1987
Kim Mooney (who is a conductor at
the Klagenfurt Opera) writes from
Klagenfurt that he hopes to be in
Australia in May/June of this year. He
has been very busy: “just had two
premieres together, The Nutcracker
ballet and Lortzing’s opera Zar und
Zimmerman. In the month December/
January I had 24 performances. Both
pieces went well and it’s good to be busy
and doing a lot of conducting.” Kim also
indicates that he “may be doing an opera
in Spoleto in 1988 which would be good,”
and confirmation or otherwise of this
will be known in May when he arrives.
Brian Hanly (violin) writes from
Laramie, Wyoming, where he is on the
staff of the University of Wyoming, that
he has been very busy, but enjoyably
so. His solo concert appearances and
those of the Western Arts Trio, of which
he is a member, have “included appear-
ances in Los Angeles, Houston, Denver,
and Mexico City.” He was also more
than pleased that “one of my former
students was a winner at the Indiana-
polis International Violin Competition
last September”.
Theresa Cameron (ballet, cello) writes
most enthusiastically of the develop-
ment of the joy she is experiencing in
the ‘Dance-Alive’ movement in which
she is involved in Koblenz, “to bring joy
of movement and a physical/mental
well-being to healthy and sick people.
Rhythm is also included. This concept
is in the foreground of Dance Therapy.
The children participating are children
with minimal cerebral dysfunction,
children with deportment and co-
ordination weaknesses and dyslexics.”
Theresa also reports “naturally enough,
I’ve also reapplied for Bayreuth and
keeping my fingers crossed for that. This
year sees a new Lohengrin production
by a German film director, Werner
Herzog. Next year is the new Barenboim
Ring. That will be interesting.”
Karen Segal (violin) is in Vienna where
she will be studying for some months.
She writes that “for the past three and
next five weeks I am undertaking an
intensive German course run by the
Goethe Institute, an excellent but very
time-consuming occupation and requir-
ing every ounce of concentration”.
Karen’s sister, Rosalie (violoncello) is
also studying in Vienna.
Jottings from Betsy Brown
Suzie Barrett (violin) writes from
London that she is very busy “which
is good in these times”. She continues
that she is “in a show in the West End
— Me and My Girl — which is very
successful”. This does not preclude her
doing other concerts as required, but it
does mean that she is “always working,
which is very handy”. Suzie also sees
Maurice Clare, whom many will
remember, and says that “he is very
well”. However, she does not see as much
of Galina Solodchin (violin) as she
would like, or of Dayle Stevens (violin)
and husband David Hume and their
three children.
Richard Williamson’s (violin, viola)
February letter reports that baby son
Sam had been very ill at Christmas, but
was much better, much to the relief of
his mother, Susan, and father Richard!
Richard goes on, “At the moment I’m
working with the BBC Philharmonic
Orchestra for 2-3 weeks. At the end of
last year I had a tour to Nigeria with
the City of London Sinfonia, and a week
in Salzburg with the New English
Orchestra, with whom I played the
Telemann Concerto. There are future
plans for tours to the Azores and
Portugal, Scandinavia, Hong Kong,
Delhi, Bangkok, and Macao with the
Goldberg Orchestra, as well as Austria
and Switzerland with the New English
Orchestra”.
Tamas Ungar (piano) wrote in
December that he had “concluded two
successful tours of ten days and 14 days”,
and that he was enjoying his teaching
and students were responding to their
challenging programmes. Tamas
expects to “be in England all of Febru-
ary, and one week in the Chicago area
in April”.
Debbie Lander (viola) writes that "fm
really enjoying London, the concerts,
theatre, and general arts scene is
fantastic. I auditioned for the Chamber
Orchestra of Europe... also I’m audition-
ing for St Martin in the Fields later this
month, so I’m practising hard.” Debbie
has met up with “quite a lot of Austral-
ians... most recently with Grey Noble
and Penny Tribe”. She was also inter-
ested in “a book available called Aus-
tralian/English”.
Leslie Somlai (violin) writes from
Hilversum that after the year’s orches-
tral work he “had a marvellous Christ-
mas holiday in Thailand and Burma,
where we spent seven days — a real treat
— and very pleasant. (Compared to
hectic Bangkok, a most enjoyable
holiday.) Now I am back busy with
work”.
In January, Kathy Selby (piano) made
her London debut at the Wigmore Hall.
Since 1978 Kathy has been studying in
America. Her mother writes that they
had “a memorable ten days in London...
despite the terrible January weather...
The concert was a great success and well
received by the crits”, one of whom
described Kathy as “sustaining a big
romantic programme without the least
sign of strain”. Her mother continues
that “Kathy almost took a double leap
when she came out on stage to see
Matthew Lee there from Sydney, as well
as Margaret Powell and Michael Dussek,
and lots of Curtis friends, and also many
Americans who happened to be in
London. We were also amazed by the
number of Australian voices chattering
around us.” Mrs Selby also wrote that
“Margaret Powell looked lovely”, and
that Kathy would be in Sydney later.
Algis Laurinaitis (trumpet, teacher of
music) at the conclusion of his latest
letter wrote: “I have included for your
interest some information about my
school’s planned music tour to England
and France”. The school of which Algis
speaks is Marryatville High School in
Adelaide, South Australia, where a
Special Interest Music Centre was
opened in 1976, and which has become
“the source of highly-gifted young
musicians” who have also “enjoyed a
proud record of success on the academic
front”. In March of this year, 1987, after
two years of planning, Algis writes that
45 people will leave on a tour to visit
and “perform at such specialist music
institutions as the Menuhin School, the
Purcell School, Wells Cathedral School,
and Pimlico Comprehensive School, and
to meet and work with Conservatorium
and High School students in Versailles”.
The itinerary of this music tour is
demanding but very exciting, and gives
very real evidence of two years of careful
planning.
16 2MBS-FM PROGRAMME GUIDE JUNE 1987
Melanie Grant (piano), now in London
to continue her studies writes: “I am
studying at the Guildhall School of
Music doing the Advanced Solo Studies
Course over two years. The school offers
many opportunities for performance and
gives students access to a fully equipped
recording studio, where we can learn all
recording techniques and become accus-
tomed to playing to the microphone. Also
there is instruction in the Alexander
Technique... I am also enjoying all that
London has to offer — concerts, plays
and films.”
Gusztav Fenyo (piano) wrote in Janu-
ary from Glasgow where he is on the
staff of the Royal Academy. He writes
that the concert where he was “soloist
with John Hopkins as conductor, went
very well indeed. The main joy was my
collaboration with Mr Hopkins, and also
the long conversation we had about
music.” Gustav also wrote of his delight
in his visits to Hungary and to London,
and the satisfaction that “our new
Academy building is nearing comple-
tion. The new session will commence
there, and we are looking forward to it,
even though... there will be problems
to be overcome, as always.”
Miss Betsy Brown was formerly Headmistress of the NSW
Conservatorium High School and more recently Student
Adviser.
wu Gg
Deh gi Val d
D
D
2MBS-FM
76 Chandos St, St Leonards 2065
, HERE.
in Australia!
through the services of the French Chamber of
Commerce & Industry in Australia
Import Export information and advice.
Market feasibility studies.
Organisation of promotions.
Translation and interpreter services.
France-Australia Express Courier Services.
French commercial language courses
(basic and advanced levels).
Employment service for bilingual personnel.
Publication of “France-Australia Bulletin”
and Newsletters.
For all enquiries:
French Chamber of Commerce & Industry in Australia
Sth floor, 160 Clarence Street, Sydney NSW 2000
Telephone (02) 29 3320, 29 1059, Telex Chamco AA177663, Fax (02) 2643743
SS SN A TONS SS SN EE EN —
IOHN CALANDRA/CIAG PARIS SYDNEY
2MBS-FM PROGRAMME GUIDE JUNE 1987
17
‘Aria’ Award
Ida Ferson
Barry Conyngham’s Southern Cross on
inaugural classical ‘Aria’ winner
A recording of Barry Conyngham’s
Southern Cross concerto and Ice carving
has recently been awarded an ‘Aria’ as
the best Australian Classical Record for
1987. This was the first classical music
award by the Australian Record Indus-
try Association (ARIA), judged by an
invited panel which included the Chair-
man of Directors of the MBS of NSW,
Belinda Webster.
Barry Conyngham started his musical
career as a jazz pianist, then studied
composition with Peter Sculthorpe at
Sydney University. In 1969 a Churchill
Fellowship took Conyngham to Japan
to study with Toru Takemitsu. Ice
Carving, for amplified solo violin and
four string orchestras, was composed in
Tokyo and bears the stamp of Takemit-
su’s influence.
The work has a clear programme: on
a summer day sculptors carve figures
from ice blocks in the Imperial Gardens
of Tokyo. The amplified violin plays the
sculptor. Four string groups present the
ice blocks: immobile at first, rising to
polyphonic density when the sculptures
are completed, and playing glissandi
and indefinite pitch when the figures
melt in the sun. At the end the solo violin
returns with nostalgic memories of the
past.
After a spell at home Conyngham
went to the USA on a Harkness Fellow-
ship to study and teach, then to France
and England. Since 1975 he has been
reader in Music at Melbourne
University.
His Southern Cross was written in
1981 on commission from the ABC. In
1985 it won the highest recognition ever
accorded to an Australian work in the
Paris Rostrum of Composers.
The concerto’s imagery is of stars and
of the Australian continent; they share
grandeur and timelessness. The second
image is of the ‘crossings of paths’ of
two soloists: Roger Woodward the
pianist, and Wanda Wilkomirska the
Polish violinist. The work is composed
as a double concerto for violin, piano and
orchestra which depicts the soloists’
meeting and its strength, and ultimately,
their separation.
Accepting the ‘Aria’ on behalf of EMI
Records, Mr Henry Pritchett reaffirmed
his company’s commitment to maintain-
ing Australian composition in its
catalogue.
Your Discount
Retailers
The following retailers have
generously offered discounts to
2MBS Subscribers
These establishments offer concessions to 2MBS-
FM subscribers only on presentation of the current
year’s discount card. Concessions are available only
for cash sales — credit card sales are not eligible
for concessions under this scheme. Concessions are
not available on goods which are already
discounted, e.g. during Sales. Where applicable,
normal delivery charges will apply.
APPLIANCE REPAIRS & SERVICES
Francis Services
$/3-5 Schaftesbury St
Carlton 2218
Phone 588 3978
All makes w/machines, dryers, elec. stoves,
dishwashers & waste food disposals. No
warranty calls.
ART SUPPLIERS & PICTURE FRAMERS
Artists Supply Co.
21 Atchison Street
St Leonards Phone 439 4944
83-85 George St
Sydney Phone 27 4505
ANTIQUES
Bortignons
612 Royal Arcade, Sydney
Under the Hilton Hotel
Phone 267 6818
Fine Antiques, objects d'art
and estate jewellery
BOOKS AND MAGAZINES
Aquarian Book Distributors
27 Power Ave, Alexandria
Phone 319 3555
Constant Reader Bookshop
18 Willoughby Rd, Crows Nest
Phone 438 1763
All Arts Bookshop
at Woollahra Galleries (Shop 25)
160 Oxford St Woollahra
Phone 32 9947, a.h. 98 6172
Art & collectors reference books
BOOKS, STATIONERY, ART
MATERIALS
Turramurra Books and Stationery
1299 Pacific Highway,
opp. Kissing Point Road
Turramurra Phone 449 7684
CLASSICAL AND EDUCATION SHEET
MUSIC AND SCORES
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
GOURMETFOOD ` deen
La Maison de France
85 Edinburgh Road
Castlecrag 2028
Phone 95 1871
HEALTH FOODS
Gordon Health & Specialty Foods
6 St Johns Ave, Gordon 2072
Vitamin supplements, nuts, dried fruits,
macrobiotic and Asian foods, Tofu ice cream.
10% discount except discount lines, bread &
eggs.
HI-FI EQUIPMENT AND ACCESSORIES
Audio One
71 Military Road
Neutral Bay 2089 (opposite the Oaks Hotel)
Phone 90 6001
Hi Fi Junction Audio Consultants
324 Oxford St, Bondi Junction
Phone 389 4000
18 2MBS-FM PROGRAMME GUIDE JUNE 1987
INFLATABLE BOATS & WATER SPORTS
ACCESSORIES
PIANOS AND MUSICAL
INSTRUMENTS
Waves Overseas (Metzler Inflatable Boats)
142a Victoria Road
Gladesville
Phone 89 1309 or 89 1333
Associated Electrics
50 York Street
Sydney, NSW 20223
Jens Bagoien
Shop 4, 261 Old Northern Road,
JAPANESE CLOTHING, GIFTS ETC Castle Hill NSW 2154
The KaBuki Shop Phone 634 3952
131 William Street Dicksons Music Complex
East Sydney 486 Victoria Road, Chatswood
Phone 331 2926 Phone 419 2144 or 412 1815
E (5 doors from Pacific Highway)
JEWELLERS Musical instrument specialists and repairers
Madame la Marquise R.H. Elvy Pty Ltd
Shop 2, Cnr. 141 Military Road 205 Clarence St, Sydney
Neutral Bay 2089 Phone 29 7222 or 29 4760
Phone 908 3130 Fiddle Factory
Jacqui Cornelius 151 Sailor’s Bay Road
Estate jewellery — antiques & modern Northbridge 2063
2nd Floor Cornelius Court Phone 958 1423 or 95 3640
147a King Street Hugh Jones
Sydney
Hrs: Mon: 10am to 3pm
Thurs:12.30pm to 5.30pm
& by appointment
Phone 231 2964
Harpsichord maker
112 Crystal Street, Petersham
Phone b.h. 568 2750 or a.h.516 2401
Landis Geary Music
Suite 6, 212 New South Head Road,
LADIES BOUTIQUES AND Edgecliff 2027
ACCESSORIES Phone 328 1400
French Accent Graham McDonald
401 New South Head Road Fretted stringed instruments built, repaired and
Double Bay 2028 restored
Phone 327 1322 280 Victoria Road,
= Gladesville
LEATHER HANDBAGS AND Phone 817 2173
ACCESSORIES Charles Moller
Louis Cardini Lute & Hurdy-Gurdy Maker
Shop 58, Ist Floor
Strand Arcade Sydney
Phone 231 5525
$36 Military Road
Mosman Phone 960 2865
11 Fernbank Street
Marrickville 2204
Phone 558 6348
The Violin Centre
84 Glover St., Mosman 2088
Phone 909 8729 (phone for appt.)
MODEL TRAINS
String specialist, accessories and repairs.
Anton’s Trains
Cnr Mary/Prince Streets
North Parramatta
Woodwind & Brass Musical Instruments
330a Oxford St., Woollahra 2025
Phone 389 0166
GC SS PHOTOGRAPHIC EQUIPMENT
MOTEL Goodman Bros F hotograpiics Pty Ltd
13a Ernest Street, Crows Nest
Ca den Sano Motel Phone 439 3666
Forster NSW 2428
Phone (065) 54 6222 PRINTS =
Antique Engravings
OFFICE FURNITURE Mosman Portobello Antique Arcade
Finley Office Supply Co Pty Ltd
21 Monteith St, Turramurra
Ring first, please, 449 4812
All types furniture and cabinets
742 Military Road
Mosman Phone 960 3427
Open 7 days 10-6pm
Many music prints
PERFUMERY
RECORDS, CASSETTES, CD’S AND
ACCESSORIES
Dans un Jardin
420-422 George Street
Sydney 2000
Phone 221 3541
Associated Electrics
50 York Street
Sydney, NSW 20223
Folkways Music
PHARMACEUTICAL
282 Oxford Street, Paddington
Wall’s Pharmacy
345 Darling Street
Balmain 2041
Phone 810 1290
(No discount on RNS prescriptions)
Phone 33 3980
(open 7 days a week)
Miranda Fair Records
Shop 62, Gallery Level
Westfield — Miranda Fair
Phone 525 6747
Mall Classics
Shop 52 Warringah Mall, Brookvale 2100
Phone 938 6086
New Era Books and Records
Sole distributors of Melodiya Records
425 Pitt Street, Sydney 2000
Phone 211 1607
Oscars Classical Record Lounge
Shop 1, 405 Victoria Avenue
Chatswood, NSW 2067
Phone 411 3858
Rowe Street Records
Mid City Centre, Gallery Level
197 Pitt Street, Sydney.
Phone 231 2099
Tarantella Music
783 Pacific Highway, Gordon
Phone 498 3711
The Compact Disc Centre
25 Anderson Street, Chatswood
Phone 411 6637
Also at:
Cnr Darcy & Church Sts
Phone 891 2221
The Record Collector
Shop 97
Bondi Junction Plaza
Bondi
Phone 387 2284
The Record Collector
84 Pitt Street
City
Phone 221 4288
RESTAURANTS |
The Little Snail
Manuel Damian, proprietor
6 Head Street
Forster NSW 2428
Phone (065) 54 6222
KaBuki Too
Licensed Japanese Seafood Restaurant
98 Bourke Street
Woolloomooloo
Phone 358 2245
KaBuki San
Licensed Japanese Restaurant
373 Pitt Street
City
Phone 264 6668
SOCKS AND UNDIES
Mr Sox
Stall 17B, Village Bazaar,
Paddington. Saturdays only.
2007 saving.
T-SHIRTS, SPORTSWEAR, SCREEN
PRINTING
Screen Machine
36 Parramatta Road
Stanmore 2048
Phone 513227
TRUCK RENTAL Žž č
Ranger Truck Rental & Leasing
30 Parramatta Rd. (Cnr. Ostend St)
Lidcombe 2141
Phone 647 2233
WINE AND SPIRITS
Camperdown Wine Cellars
21 Kingston Road
Camperdown Phone 516 4466
WORD PROCESSING
Precision Word Processing
125 Livingstone Ave
West Pymble Phone 498 8539
Computer labelling, mailing lists, individual
computerised letters
2MBS-FM PROGRAMME GUIDE JUNE 1987 19
Bequests and
Endowments
Many people would like to contribute to
the support of fine music, but find
themselves unable to do so because of
other financial commitments. For those
music lovers a bequest is a way of
making that contribution.
The Music Broadcasting Society of
New South Wales is a young concern.
There are, therefore, no large bequests
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2MBS-FM PROGRAMME GUIDE JUNE 1987 21
COMPOSER LISTING
This listing was compiled by Michael Wyatt & Coates, A. 29 Handel 7, 12, 21, 24, 25, 28, 29
5 Conyngham 1, 15 Hannan 1
Martin Waterworth. Copland 3, 15 H R. 13
Numbers represent dates on which composers may Opanda, ANSON) Re
be heard. Coprario 12, 21 Hartmann 5
` Corelli 2, 24 Hasselmans 28, 29
Crowe 19 Haydn, J. 4, 5, 8, 16, 19, 21, 23, 25
meer Gi Currie 17 Hill, A. 26, 27
mg i Hill, F. 17
Danzi 7, 11 ,
Albert 12 Davie 7 Hiscocks 10
Albinoni 1, 15 l Davis 1, 24 Hoddinott 18
Alfonso el Sabio 5 Deak 16 Holborne 21
Alfven 5 Debussy 10, 14, 15, 17, 26, 30 Holford 16
Allison 21 à Holland 1
Delibes 12, 21
Altenburg 24 $ Holst 3, 22
Antheil 17 Desmarets 21 »
dis Diabelli 1 Honegger 18
Antill 19 Hovland 5
Arnold 7 Dohnanyi 21
A Donizetti 8, 21, 22, 28, 29, 30 Hughes 14
uber 21 Doppler 9 Humble 1
Bach, C.P. E. 7, 18, 21, 26, 28, 29 Douglas 8 Hummel 10, 21, 23
Bach, J.C.F. 1 Dowland 21, 28, 30 Humperdinck 17
Bach, J.S. 4, 5, 6, 7, 11, 14, 15, 16, 17, 19, 21, Drigo 3 Hurst 19
22, 26, 28, 29 Dukas 10 Hutchens 14
Balakirev 24 Durufle 21 Ippolitov-Ivanov 25
Barky 10 Dussek 28 Ireland 3, 25, 27
Bartok 5, 11, 13, 19, 26 Dvorak 4, 6, 13, 16, 18, 24, 25, 28 Irik 24
Bax 3, 18, 22 Elgar 7, 14, 19, 28 Ives, C. 3, 5, 12, 23
Payless:3 Enesco 2 Janacek 4, 28
Beethoven 1, 2, 4, 5, 9, 10, 11, 12, 14, 15, 16, Evano ii badiu A
17, 18, 19, 20, 21, 23, 24, 25, 26, 28, 29, 30 3
Bellini 3, 10, 15, 22 Falla 1, 22, 26, 29 Jones
Benjamin 8, 17 Farquhar 19 Karnaghan 17
Berg 25, 26 Faure 9, 10, 13, 23, 27, 29 Khachaturian 15, 29
Berlioz 3, 10, 11, 17, 19, 24 Fedov 3 Khandoshkin 10
Bernstein 18, 28 Fernstroem 5 Klughardt 18
Besard 28 Field 1, 3, 17, 26 Koch 5
Biber 28 Finzi 25 Kodaly 7, 12
Bizet 3, 15, 26, 29 Foster, G. 22 Kokai 16
Bliss 9 Francaix 12 Kolb 17
Bloch, E. 14 Franck 13, 22, 24 Korngold 5, 22
Boccherini 8, 9, 13 Froberger 21 Kraus 20
Boito 22 Fryklof 5 Krumpholz 28
i Kuffner 20
Séien St 29 Gabrieli, A. 26
ee Gabrieli, G. 18 Lalo 9, 14
Se 1 Gade 5 Langford 1
= Galilei 14, 19 Larsson 19
sharon Galindo 1 Lassus 15
a 1,5, 10, 11, 15, 16, 19, 22, 23, 24, 25, Galuppi 3 Lawes, H. 12
Britten 1, 2, 7, 12, 14, 16, 19, 26, 28 Gershwiñ 8,14 pees ; ie Ge
Brixi 21 Gervaise 7
Bruch 15 Gethen 27 Lehmann 19
ug Gibbons 11 Leoncavallo 26
Bruckner 15 : ;
Giles 21 Liadov 13
Brumby 15 s z
Bull, O. 1. 15 Ginastera 4 Lilburn 19
Bull S. 24 Giuliani 14, 18 Linger 26
Gë. Glazunov 13, 16 Liszt 1, 9, 14, 17, 22, 29
Burian 28 ; , g
Byrd 21 Gliere 5 Lithgow 3
y Glinka 3, 10, 16, 24, 30 Lovelock 27
Cage 8 Gluck 3 Lutoslawski 4
Cambini 11 Goodman 18
Cara 19 Goossens 1 Mahler 4, 10, 11, 27, 29
Carissimi 18 Gounod 10, 17, 22, 29 Marcello, A. 17
Chabrier 10 Grainger 1, 8 Marenzio 15
Charpentier 21 Granados 7, 8 Martinu 22
Chavez 15 Greene 14 Massenet 3
Cherubini 17 Grieg 3, 27 Mendelssohn, Fanny 16
Chin 3, 10 Griffes 14 Mendelssohn, Felix 2, 9, 10, 11, 13, 16, 21,
Chopin 3, 5, 9, 16, 17, 18 22, 24, 25, 27
Ciardi 4 Hadjidakis 20 Messager 8
Cimarosa 17 Hahn, G. 5 Messiaen 18
Clementi 3 Halvorsen 7 Meyerbeer 5
22 2MBS-FM PROGRAMME GUIDE JUNE 1987
Milhaud 26
Mills 3, 12
Minkus 5
Moeran 1
Moncayo 15
Mont 7, 21
Monteverdi 15, 21
Morley 21
Mozart, W. 2, 3, 5, 6, 8, 9, 11, 12, 13, 14, 15,
16, 18, 19, 20, 21, 22, 23, 24, 25, 26, 28, 29, 30
Mussorgsky 3, 26, 29
Nielsen 5
Novak 4
Offenbach 3, 6, 10, 12, 21, 24
Orff 3, 7, 24
Paganini 9, 19, 20, 27
Palestrina 7
Parry 21
Pesenti 21
Pierne 10
Pilkington 21
Ponce, M. 29
Ponchielli 8
Prokofiev 3, 4, 11, 15, 16, 18, 22, 24, 30
Puccini 8, 12, 17, 26, 29
Pugni 24
Purcell 11
Rachmaninov 1, 3, 9, 17, 18, 19, 24, 29
Raff 12
Ravel 5, 7, 14, 15, 17, 30
Reger 12, 18
Reich 8
Respighi 2, 3, 12, 24, 25, 26
Rimmer 19
Rimsky-Korsakov 2
Ritchie 19
Rodgers 4
Rodrigo 18
Romberg 28
Romero 18
Rore 19
Rossini 1, 2, 9, 14, 17, 21
Roussel 7, 12
Rubinstein 17, 24
Saeverud 24
Saint-Saens 24, 29
Salieri 16
Satie 8, 14
Scarlatti, A. 22
Scarlatii, D. 7, 26, 28
Schubert 1, 2, 4, 13, 15, 20, 21, 22, 23, 25, 26,
27, 28, 29, 30
Schuetz 7
Schumann, C. 11, 30
Schumann, R. 3, 4, 6, 7, 11, 13, 19, 26, 27, 30
Scriabin 15, 17, 23, 30
Sculthorpe 8, 29, 30
Shostakovich 1, 3, 9, 10, 15, 17, 18, 22, 24,
28, 29
Sibelius 1,5, 10, 12, 24, 26
Sitskv 1
Sjoegren 5
Smetana 9, 17, 22
Sor 14, 20
Sousa 5
Soutullo 3
Spohr 10
Stanford 21
Stanley 24
Stolz 8, 11
Strauss, J. jr 3, 4, 8, 17, 18, 24, 25
Strauss, Josef 17
Strauss, R. 1, 2, 9, 22, 23, 24, 25, 29
Stravinsky 14, 23 Weelkes 11, 28
Suk 28 Weill 29
Sullivan 5, 6, 27 Wesley-Smith 8
Suppe 5, 10, 29 Wieniawski 30
Sutherland 1, 8 Wilbye 11
Taira 22 Wilkynson 26
Tallis 21 Willaert 5, 19
Taverner 7 Williamson, M. 8, 28
Tchaikovsky 2, 5, 8, 9, 10, 12, 14, 15, 16, 26, Wiren:5
30 Wolf 2, 13
Telemann 30 Zelenka 21
Thomas 10, 28 Ziehrer 11
Thorn 3, 10, 24
Thuille 18
Tippett 2, 11, 17, 25
Tomasi 18
Torroba 18, 25
Tromboncino 12, 19
Tubin 24
Turina 1,15, 29
Valentino 24
Vanhal 30
Vaughan Williams 2, 3, 4, 21, 24, 30
Vecchi 15, 19
Verdelot 19
Verdi 1, 8, 11, 12, 14, 17, 18, 22, 23, 24, 26
Viadana 21
Vierne 13
Vieuxtemps 14, 16
Villa-Lobos 4, 29
Vivaldi 14, 16, 21, 27, 28
Wagner 8, 12, 17, 22, 23, 28
Walton 10, 27
Webern 4, 27
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23
PROGRAMMES FOR
JUNE
Symphony Orchestra so
Philharmonic Orchestra PO
Radio Orchestra RO
Festival Orchestra FO
Chamber Orchestra co
National Orchestra NO
Theatre Orchestra TO
Promenade Orchestra Prom O
Chorus and Orchestra Chao
Music duration is shown after the record identification.
20 o COO
Monday 1
MIDNIGHT
12.00 ALL THROUGH THE NIGHT
A programme of classical music to bring you
pleasure from midnight to the first of
Monday’s programmes
6.00 EARLY MORNING MUSIC
Shorter works from the classical repertoire
with time calls in between
9.00 AUSTRALIAN COMPOSERS
Prepared by John Staats
Conyngham, B. (b1944). Five windows.
Sydney SO; John Hopkins, conductor.
ABC RRCS 384 17
Holland, D. (61913). Symphony for pleasure.
South Australian SO; Henry Krips, conductor.
ABC AC 1002 22
Humble, K. A music for baroque ensemble.
Vernon Hill, flute; Jindrich Degan, oboe; John
Mowson, double bass; Sergio de Pieri,
harpsichord.
ABC AC 1011 10
10.00 TWO GENTLEMEN OF VIENNA
Prepared by Barrie Marchant
Diabelli, A. (1781-1858). Grande sonate
brillante, op 102. Pepe Romero, guitar;
Wilhelm Hellweg, piano.
Philips 410 396-1 14
Beethoven, L. (1770-1827). Piano trio no 10 in
E flat, op 44. Trio Vidom.
Pavane ADW 7049 13
10.30 CONCERT HALL
Prepared by Di Cox
Rossini, G. (1782-1868). Il signor Bruschino,
overture. Orpheus C Ensemble.
DG 415 363-1 5
Field, J. (1782-1837). Piano concerto no 4 in E
flat (1812-15). John O'Conor, piano; New Irish
CO; Janos Fuerst, conductor.
Fidelio SPH 9942 28
Shostakovich, D. (1906-1975). Symphony no 5
in D minor, op 47 (1937). Concertgebouw O;
Bernard Haitink, conductor.
CD London 410 017-2 50
12.00 A JAZZ SANDWICH
Prepared and presented by Derrick Davey
A pair of guitarists, Tal Farlow and Attila
Zoller, gain some of the spotlight during this
hour of jazz. Also pianist Pete Jolly and the
gig band of Jimmy Lunceford.
1.00 MONDAY MUSIC
RECORDED BY
2MBS-FM S
Recorded at St Stephen’s Uniting Church,
Macquarie St on May 25.
2.00 AUSTRALIA WIDE
From the National Programme Service of the
PBAA
3.30 OLE BULL
Prepared by Bob Goodnow
Bull, O. (1810-1880). Visit to a summer farm. 9
Polacca guerriera. 14
Nocturne. 4
Arve Tellefsen, violin; Bergen SO; Karsten
Andersen, conductor. (all above)
NKF 30041
4.00 MUSIC WITH A LATIN FLAVOUR
Prepared by Mary Ludlow
de Falla, M. (1876-1946). The ritual fire dance
(1915). Boston Pops O; Arthur Fiedler,
conductor.
RCA LSC 3279 4
Trad. Flamenco music: Tanguillas. Los
Romeros, guitars.
Philips 6599 434 4
Turina, J. (1882-1949). Rapsodia sinfonica
(1931). Alicia de Larrocha, piano; London PO;
Rafael Fruehbeck de Burgos, conductor.
Decca 410 289-1 9
Galindo, B. (b1910). The vow (1950-51).
Mexico PO; Fernando Lozano, conductor.
Forlane UM 3552 15
Liszt-Busoni. Rhapsodie espagnole (1863).
Felicja Blumental, piano; Prague CO;
Hellmuth Froschauer, conductor.
Turnabout TV 34372 S 17
5.00 WORK’S DONE FOR TODAY
Prepared by Michael Sheehan
Britten, B. (1913-1976). Serenade, op 31
(1943). Peter Pears, tenor; Dennis Brain, horn;
New SO of London; Eugene Goossens,
conductor.
WRC 3144 25
Rachmaninov, S. (1873-1943). Piano concerto
no 1 in F sharp minor, op 1 (1892). Tamas
Vasary, piano; London SO; Yuri Ahronovitch,
conductor.
DG 2530 717 29
Strauss, R. (1864-1949). Don Quixote, op 35
(1897). Paul Tortelier, cello; Dresden State O;
Rudolf Kempe, conductor.
HMV 88002 42
Verdi, G. (1813-1901). Odabella’s recitative
and romance, from Attilo (1846). Joan
Sutherland, soprano; Welsh N Opera O;
Richard Bonynge, conductor.
Decca 417 253-1 5
Albinoni, T. (1671-1750). Concerto no 3 in F
(1722). Heinz Holliger, Maurice Bourgue,
oboes; Maria Teresa Garatti, harpsichord; |
Musici.
Philips 9502 042 12
7.00 YOUR MONDAY DATE
Prepared and presented by Geoff Gilbert
Jazz from Bunk to The Bird
8.00 MUSIC THATS BAND (56)
Prepared and presented by Owen Fisher
In this series of monthly programmes of band
music, the accent is on variety. Famous bands
play marches, waltzes, hymns, tone poems,
transcriptions of classical works, musical
comedy, film music, and sometimes even
feature a novelty number, too.
Brahms, J. (1833-1897). Academic festival
overture (arr. Wright). Black Dyke Mills Band;
Geoffrey Brand, conductor.
Astor GGS 1361 10
Barough-Lai. A man and a woman (arr.
Reese). St Mary’s District Brass Band; Cliff
Reese, conductor.
Troubador TCS 037 3
Sibelius, J. (1865-1957). Finlandia. Hammonds
Sauce Works Band; Geoffrey Whitham,
conductor.
Astor GGS 1086 8
Lowe, J. Traffic tangle. City of Coventry Band;
Peter Parkes, conductor.
Polyphonic PRL 014 2
Davis, R. Jenny Wren. Phillip McCann, cornet;
Fairey Band; Harry Mortimer, conductor.
EMI DUO 130
Moss. March: Royal tiger. Leyland Motors
Band; Michael Cotter, conductor.
Decca SB 326 2
Helyer, J. Tricky trombones. Nine trombones
from bands of Fairey Aviation, Foden Motor
Works and City of Coventry Bands; Harry
Mortimer, conductor.
EMI EMS 1058181 3
Sullivan. Hymn: Onward Christian soldiers
(arr. Boddington). GUS Footwear Band;
Stanley Boddington, conductor.
Columbia SCX 3455 2
Miller. Miller magic; Little brown jug; String of
pearls; Moonlight serenade; St Louis blues
(arr. Stevens). Hammonds Sauce Works
Band; Geoffrey Whitham, conductor.
Astor GGS 1411 6
Sherman. Selection from the film Mary
Poppins (arr. Wright). GUS Footwear Band;
Stanley Boddington, conductor.
Columbia TWO 282 5
Langford, C. Fantasy on British sea songs.
Black Dyke Mills Band; Geoffrey Brand,
conductor.
RCA PL 25025 6
24 2MBS-FM PROGRAMME GUIDE JUNE 1987
IR
9.00 STORMY MONDAY
Two hours of the best in blues, R’n’ B, soul,
gospel, cajun and zydeco, with regular
specials on artists, bands and musical styles.
There’s a weekly guide to the local blues and
R’n’B scene, and features on new releases, as
well as occasional live broadcasts from our
Studio C.
11.00 CROSSING THE DIVIDE
Moeran, E. (1894-1950). Violin sonata in E
minor (1922). Donald Scotts, violin; John
Talbot, piano.
Chandos ABR 1168
Goossens, E. (1893-1962). Fantasy for nine
wind instruments (1926). Sydney Wind
Soloists.
ABC AC 1050 9
Sutherland, M. (1897-1984). Divertimento for
string trio (1958). Andrew Lorenz, violin;
Robert Harris, viola; Janis Laurs, cello.
Cherry Pie/Festival LA 07723 Ti
Grainger, P. (1882-1961). Walking tune (1905).
Adelaide Wind Quintet.
HMV OASD 7607
Brahms, J. (1833-1897). Violin sonata no 3 in
D minor, op 108 (1888). Jean-Pierre Wallez,
violin; Bruno Rigutto, piano.
2MBS-FM recording
Schubert, F. (1797-1828). Piano sonata in F
sharp minor, D571/D604/D570 (completed
and ed. W. Dullo). Romola Costantino, piano.
MBS 4 2
Sitsky, L. (61934). Sonata (1959). Margaret
Crawford, flute.
Festival SFC 80022 15
Hannan, M. (b1949). Callisto (1984). Realised
by the composer on the Fairlight CMI.
MBS 9
18
A
20
Tuesday 2
1.00 POOR WHITE TRASH
Parts 1 and 2
Presented by lan Hartley and Marc Dekenzo
Transit music, pop montage, movie music,
performance radio, sound performance and
radio theatre
3.00 TILL DAWN
Classical music to dispel the darkness
6.00 EARLY MORNING MUSIC
Shorter works from the classical repertoire
with time calls in between
9.00 SONGS OF TCHAIKOVSKY
Prepared by David Tucker
Tchaikovsky, P. (1840-1893). Why; To forget
so soon; | should like in a single word.
Don Juan's serenade: It was in the early
spring; Mid the din of the ball; O! if thou
could’st for one moment.
Sleep my poor friend; | bless you forests; We
sat together; Nigh.
Vadim Laptev, bass; John Martin, piano. (all
above)
2MBS-FM recording
67
9.30 SCORE READING
Romantic music
Prepared by Meg Matthews
The more you see, the more you hear, the
more you hear, the more you understand the
composer's craft.
These score reading programmes this month
move through music of the Romantic era,
observing period characteristics,
instrumentation, notation, textures and styles
particularly as they occur in the score.
Texts to be used: The Norton Scores (ed.
Roger Kamien 1984) 4th edition Volume II.
In today’s programme:
Schubert. Erikoenig. Fourth movement (theme
and variations) from Quintet in A, Trout. First
movement from Symphony no 8 in B minor,
Unfinished.
10.30 THE PHILADELPHIA ORCHESTRA
Prepared by Bob Goodnow
Enesco, G. (1881-1955). Rumanian rhapsody
no 1, op 15 (1907).
CBS SBR 235636 12
Respighi, O. (1879-1936). Church windows
(1927).
CBS GM 521 25
Strauss, R. (1864-1949). Alpine symphony, o
64 (1915). WEE
HMV ASD 1435771 49
Philadelphia O; Eugene Ormandy, conductor.
(all above)
12.00 YOUNG PERFORMERS
Felicia Meric, piano
Eligible for Vogel’s-2MBS-FM Young
Performers’ Award
LIVE FROM 2MBS-FM
1.00 FANTASY — FANTASIA
Prepared by Ruth Warren
Mozart, W. (1756-1791). Fantasy in D minor,
K397 (71782). Walter Klien, piano.
Turnabout TV 34194 6
Rimsky-Korsakov, N. (1844-1908). Fantasy for
violin and orchestra, op 33 (1886). Aaron
Rosand, violin; R Luxembourg O; Louis de
Froment, conductor.
Turnabout QTV S 34629 12
~~ Mendelssohn, F. (1809-1847). Fantasia, op 28
(1833). Laura de Fusco, piano.
Dischi Ricordi RCL 27096 13
Beethoven, L. (1770-1827). Choral fantasia in
C minor, op 80 (1811). John Alldis Choir;
Daniel Barenboim, piano; New Philharmonia
O; Otto Klemperer, conductor.
HMV SLS 5180 20
2.00 MUSIC WEEKLY
2MBS-FM PRODUCTION
A repeat of last Sunday's programme of
interviews with people in and behind the
music
HREE ENGLISH COMPOSERS
Prepared by Sofia Boniecki
ippett, M. (b1905). Ritual dances from The
midsummer marriage (1955). Bournemouth
SO; Rudolf Barshai, conductor.
CD EMI 7 47330-2 29
ritten, B. (1913-1976). Variations on a theme
of Frank Bridge, op 10 (1937). English String
O; William Boughton, conductor. g
CD Nimbus NIM 5025_;
Vaughan Williams, R. (1872-1958). Symphony
9 in E minor (1957). London PO; Adrian
ult, conductor.
CD EMI 7 47217-2 35
ett, M. Concerto for double string
rchestra (1939). Bournemouth SO; Rudolf
Barshai, conductor.
CD EMI 7 47330-2 23
5.00 TUESDAY CONCERT
Prepared and presented by David Worobin
Mendelssohn, F. (1809-1847). Violin concerto
in E minor, op 64 (1845). Kyung Wha Chung,
violin; Montreal SO; Charles Dutoit,
conductor.
Decca SXDL 7558 26
Schubert, F. (1797-1828). Arpeggione sonata,
D821 (1824). Paul Tortelier, cello; Maria de la
Pau, piano.
HMV ASD 4075 23
Symphony no 9 in C, D944, Great. Vienna PO;
Georg Solti, conductor.
Decca SXDL 7557 55
7.00 ROBIN’S NEST OF JAZZ
Prepared and presented by Robin Forsaith
One hour of mainstream to modern jazz.
Tonight we have Great Moments with McCoy
Tyner, an Impulse recording with Jimmy
Garrison playing the bass, and on some
tracks, Elvin Jones the drummer. Some of the
tunes being played are Old Devil Moon, Have
you met Miss Jones? and Duke's Place.
8.00 NEW RELEASES
Our weekly survey of the latest releases and
re-releases from the overseas and local
catalogues features both compact discs and
$
10.00 HAAKAN HAGEGAARD SINGS
Prepared by Annie Schweitzer
Strauss, R. (1864-1949). Dedication, op 10. 2
Schubert, F. (1797-1828). To Mignon, op 19;
To death. 5
Gounod, C. (1818-1893). To you my heart. 2
Foerster, J. (1859-1951). To the lute, op 60. 2
Schubert, F. To the moon, op 57; To the lyre,
op 56.
Brahms, J. (1833-1897). To the nightingale, o
46
Hahn, R. (1875-1947). To Chloris.
Schubert, F. To music, op 88.
Brahms, J. To the moon, op 71.
Mozart, W. (1756-1791). To Chloe.
Schubert, F. To my heart.
Brahms, J. To a small violet, op 49.
Wolf, H. (1860-1903). To an Aeolian harp.
Haakan Hagegaard, baritone; Thomas
Schuback, piano. (all above)
BIS LP 54
NWOWWWWWW WT œ
11.00 CHAMBER MUSIC
Prepared by Gerda Hoffmann
Corelli, A. (1653-1713). Sonata op 5 no 7
(1700; arr.). Frans Brueggen, recorder; Anner
Bijlsma, cello; Gustav Leonhardt, harpsichord.
RCA RL 30393 9
Rossini, G. (1792-1868). Quartet no 1 in F
(1804; arr.). Canberra Wind Soloists.
Abel YPRX 2123 11
Mendelssohn, F. (1809-1847). Piano trio no 2
in C minor, op 66 (1845). Borodin Trio.
Chandos ABRD 1141 33
2MBS-FM PROGRAMME GUIDE JUNE 1987
Se eee
Wednesday 3
MIDNIGHT
12.00 JAZZ: ANOMIE
Prepared by Alessio Cavallaro
Film jazz cool jazz free jazz punk jazz fake jazz
be-bop!!
1.00 BALLISTIC AFFAIR
Music of the Caribbean, focusing on
Jamaican reggae. Other featured styles
include calypso, soca and Martiloupe.
3.00 NEW RELEASES
A repeat of last night’s survey of the latest LPs
and compact discs from the overseas and
local record catalogues
5.00 MUSIC WEEKLY
2MBS-FM PRODUCTION
A repeat of last Sunday's magazine
programme of interviews with people who
write, play, conduct, produce, teach, review
and enjoy music, to keep you up-to-date
about people, places, performances, previews
and postscripts.
6.00 EARLY MORNING MUSIC
Shorter works from the classical repertoire
with time calls in between
9.00 FARAWAY PLACES
Prepared by Mary Ludlow
Ireland, J. (1879-1962). A London overture
(1936). London SO; John Barbirolli,
conductor.
HMV ESD 7092 12
Holst, G. (1874-1934). Egdon Heath, op 47
(1927). London PO; Adrian Boult, conductor.
Decca JB 49 13
Copland, A. (b1900). Danzon Cubano (1942).
London SO; Aaron Copland, conductor.
CBS 73451 7
Vaughan Williams, R. (1872-1958). Norfolk
rhapsody no 1 (1906). City of Birmingham
SO; Norman del Mar, conductor.
HMV ASD 4089 10
Ives, C. (1874-1954). Three places in New
England (1903-1914). Boston SO; Michael
Tilson Thomas, conductor.
DG 410 933-1 17
Bax, A. (1883-1953). Tintagel (1917). London
SO; John Barbirolli, conductor.
HMV ESD 7092 16
10.30 CONCERT HALL
Prepared by Gerda Hoffmann
Berlioz, H. (1803-1869). King Lear overture, op
4. Scottish NO; Alexander Gibson, conductor.
Chandos ABRD 1067 14
Mozart, W. (1756-1791). Flute concerto no 1,
K313. Mozarteum O, Salzburg; Wolfgang
Schulz, flute; Leopold Hager, conductor.
Telefunken 6.42185 26
Respighi, O. (1879-1936). Roman festivals. Los
Angeles PO; Michael Tilson Thomas,
conductor.
CBS 76920 16
Schumann, R. (1810-1856). Cello concerto in
A minor, op 129. Lynn Harrell, cello; Cleveland
O; Neville Marriner, conductor.
Decca SXDL 7568 26
12.00 THE SOUND OF JAZZ
Prepared and presented by Kevin Jones
A magnificent album that deserves to become
a Classic in its own right finds Mel Torme in
great voice with that superb Canadian big
band led by Rob McConnell, The Boss Brass
(Mel Torme with Rob McConnell and the Big
Brass, Concord CJ 306). The highlight is an
exquisite performance of September song.
This is the fourth and last week of some
vintage Jazz at the Philharmonic, from 1946,
with Charlie Parker, Lester Young and
Coleman Hawkins all jamming on / got
rhythm (Jazz at the Philharmonic 1946,
Volume 2, Verve 2610 024).
Lewis-Klenner. Just friends (1986).
Anderson-Weill. September song.
Stillman-Mundy-Jacquet. Dont’cha go way
mad.
Bacharach- David. A house is not a home.
Hammerstein Il-Kern. The song is you.
Mel Torme; Rob McConnell; The Boss Brass.
(5 above)
Concord CJ 306
Gershwin, G. & I. | got rhythm (1946).
Barris-Clifford. | surrender dear.
Jazz at the Philharmonic. (2 above)
Verve 2610 024 (mono)
1.00 WEDNESDAY MATINEE
From the S
Prepared and presented by Audrey Manning
Galuppi, B. (1706-1785). Magnificat in G. Ann
Maria Miranda, soprano; Berne C Choir;
Southwest German CO; Joerg Ewald Daehler,
conductor.
Claves D 801 21
Glinka, M. (1804-1857). Grand sextet in E flat
(1832). Capricorn Quartet; Barry Guy, double
bass; Julian Jacobson, piano.
Hyperion A 66163 25
Bortnyansky, D. (1751-1825). Concerto no 15.
Moscow Conservatoire C Ch; Valeri
Poliansky, conductor.
Melodiya C 10 11485-6 Tá
Field, J. (1782-1837). Piano concerto no 2 in A
flat (c1811). John O'Conor, piano; New Irish
CO; Janos Fuerst, conductor.
Fidelio CSM 56 34
Clementi, M. (1752-1832). Symphony no 2 in
D. Philharmonia O; Claudio Scimone,
conductor.
Erato STU 71174 24
3.00 HEARING THE DOTS
Music from workshops of Sydney Composers
Collective ‘Music Performed’.
Chin, S. Kyrie (1984). Rowena Cowley,
soprano; Mark McGee, piano. 5
Mills, J. (b1963). Untitled (1983). Geoffrey
Burgess, oboe; Michael Harvey, piano; Ron
Reeves, percussion.
Jones, M. (b1961). Moments of repose (1984).
Synergy. 5
Thorn, B. (b1961). Pink! (1984). Brooke Green,
violin. £
Jarvesalu, A. (b1955). Untitled (1984). Mark
McGee, piano.
Private recordings (all above)
3.30 FOUR PLAY MOZART
Mozart, W. (1756-1791). Piano quartet_no 2 in
E flat, K493. Dezso Ranki, piano; sr Quartet
members.
Telefunken 6.42523 27
4.00 THE PRO ARTE HOUR
By courtesy of Avan-Guard Music
Berlioz, H. (1803-1869). Overture: Le Corsair,
op 21 (1844). Moscow Radio SO7Gennady
Rozhdestvensky, conductor /
Quintessence PMC 7190
Bayless, J. (20th C). Four improvisations on
Happy birthday in the style of Bach. John
Bayless, piano.
Pro Arte PAD 210 15
Orff, C. (1895-1982). Street song excerpts
(1930-31). Instrumental Ensemble; Carl Orff,
conductor.
Quintessence PMC 7127 29
5.00 EARLY EVENING CONCERT
Prepared and presented by Brendan Walsh
Bizet, G. (1838-1875). Carmen suite no 1.
Berlin PO; Herbert von Karajan, conductor
DG 413 983-1 9
Fedov, D. Moldavia suite. Graunke SO;
Richard Mueller-Lampertz, conductor.
EMI 1C 062-28 489 14
Bellini, V. (1801-1835). A te o cara, from |
Puritani. Joan Sutherland, soprano; Luciano
Pavarotti, tenor; Royal Opera House Ch;
London SO; Richard Bonynge, conductor.
Decca D236D2 7
Lithgow. The Aboriginal. Massed bands of
Royal Australian Navy; G. Hooker, conductor.
HMV SOEX 9563
Mussorgsky, M. (1839-1881). Dawn on the
Moscow River. Osipov Balalaika O
WRC R 05837 3
Holzmann. Blaze away, march.
Heeresmusikkorps 3; Werner Gummelt,
conductor.
Telefunken TST 77907 3
Prokofiev, S. (1891-1953). Romeo at Jules
grave, from Romeo and Juliet. Philadelphia O;
Riccardo Muti, conductor.
CD EMI CDC 7 47004-2 6
Rachmaninov, S. (1873-1943). Theme from
the film Brief encounter. Jacques Klein, piano;
Europa O; Hain Jordans, conductor
Fontana 6535 015 11
Soutullo, R. (1884-1932). Amor me raza sabe
conquistar, from La leyanda del beso. Pilar
Lorengar, soprano; Placido Domingo, tenor;
French National Radio SO; Garcia Navarro,
conductor.
CBS IM 39210 6
Chopin, F. (1810-1849). Mazurkas: in C minor
op 30 no 1; in B minor, op 30 no 2; in D flat,
op 30 no 3. Vladimir Ashkenazy, piano
CD Decca 410 122-2 5
Offenbach, J. (1819-1880). Overture to La
belle Helene. Berlin PO; Herbert von Karajan,
conductor. LE e
CD DG 400 044.6 S OY
Drigo, R. (1846-1930). Serenade, from
Harlequin’s millions. Boston Pops O; Arthur
Fiedler, conductor.
Time-Life STLF 0021 5
26 2MBS-FM PROGRAMME GUIDE JUNE 1987
Sh
D
Shostakovich, D. (1906-1975). Romance from
the film Gadfly. Bolshoi TO violins; Yuli
Reyentovitch, conductor.
HMV SOXLP 30188 3
Massenet, J. (1842-1912). Meditation, from
Thais. New SO; Raymond Agoult, conductor.
Decca VIV 19
Strauss, J. (1825-1899). Blue Danube wal
Vienna State Opera Ch; Vienna PO; Willi
Boskovsky, conductor.
CD Decca 411 932-2 8
Grieg, E. (1843-1907). Solveig’s song, from
Peer Gynt. Joan Sutherland, soprano; New
Philharmonia O; Richard Bonynge, conductor.
Decca DTS 572 5
7.00 THE JOY-A-JAZZ
Dave digs Disney
Prepared and presented by Joya Jenson
In the 1950s the Dave Brubeck Quartet
recorded an album of songs which were
specially written for Walt Disney full-length
cartoon features. Now, in the 1980s, the
recording Dave digs Disney (CBS LJ25) has
been re-issued in the CBS / love Jazz series.
Tonight, selections include Alice in
Wonderland, the title theme of the cartoon
feature of that name, and When you wish
upon a star from Pinocchio. Artists from that
1957 session are Dave Brubeck, piano; Paul
Desmond, alto saxophone; Norman Bates,
bass; and Joe Morello, drums.
8.00 FROM THE GREEK MYTHS
Paris and Helen
By courtesy of The Argus Music Company
E ARGUS}
The second programme in a series of Gluck’s
‘reform’ operas celebrating the bicentenary of
his death.
Gluck, C. (1714-1787). Paride ed Elena (1770),
opera in five acts. Text by Raniero de
Calzabigi.
PARIS, son of King Priam of Troy: Franco
Bonisolli, tenor
EROS, as Erasto: Sylvia Greenberg, soprano
HELEN, Queen of Sparta: lleana Cotrubas,
soprano
PALLAS ATHENE: Gabriele Fontana, soprano
A VOICE: Anne Tedards, soprano
A VOICE: Peter Jelosits, tenor
SPARTANS, TROJANS, PALLAS’S
ATTENDANTS
Arnold Schoenberg Ch; Austrian Radio Choir
and O; Anthony Spiri, harpsichord; Lothar
Zagrosek, conductor.
Orfeo S 118843 F 141
Don Juan, ballet (1761). English Baroque
Soloists; John Eliot Gardiner, conductor.
Erato STU 71449 23
Synopsis
Act I. A seashore, with the city of Sparta in
the distance. Small boats at the waters edge,
and distant ships at anchor. Scene 7. On the
strand, Paris and the Trojans offer sacrifice to
Aphrodite, at a garlanded shrine, with dance
and song (Non sdegnare, o bella Venere). Paris
wants to carry off Helen, Queen of Sparta, in
which venture the Trojans pray for support from
the goddess (Non negargli, o bella Venere).
Paris had chosen Aphrodite as the fairest of
the goddesses, in preference to Hera and Pallas
Athene, with Aphrodite’s promise of Helen as
his reward. The Trojans continue to invoke
Aphrodite while Paris declares his (abstract,
since he has never seen her) passion for Helen
(O del mio dolce ardor bramato oggetto). He
is interrupted by the arrival of a messenger from
Sparta.
Scene 2. Unknown to anyone the messenger
(Stranier, la mia regina a te m’invia) is Eros,
in the guise of Erasto, confidante of Helen. It
is his wish, and his mother Aphrodite’s also,
to unite Paris and Helen. He is accompanied
by Spartans who remain in the background.
On Helen's instructions he enquires Paris's
intentions. Paris pretends that he has come to
Greece to see whether it may be true that Helen
is even more beautiful than Aphrodite, and
whether his ‘judgment of Paris’ may have been
wrong. Erasto confuses him (Ma, chi sei?) by
intimating that he knows that Paris’s true
intention is to win Helen. However, Erasto
promises his help in the quest (Fida in me gli
affetti tuoi).
Scene 3. Alone, Erasto muses that all the gods
are conspiring to help Paris (Felice te, che
possessor sarai di si rara belta). Meanwhile the
Spartans marvel at the richness of the gifts,
now spread upon the shore, brought by the
Phrygians for Helen. Some of the Spartan girls,
delighted by gifts from the Trojans, begin to
dance with them. Paris prepares to be received
by Helen.
Act Il. A throne room in the royal palace of
Sparta. Scene 1. As Helen waits for him Erasto
describes the dark-eyed, fair-haired Paris to
Helen (Un cosi bel sembiante fra noi von ve),
adding that thus might a painter depict the god
of love himself. Helen tells Erasto (Troppo sei
pronto, Erasto) that he is altogether too eager
to extol Paris, but he persists until she bids
silence at the approach of Paris (Ei vien.
Taccheta.)
Scene 2. Paris enters with his retinue. Helen
and he are both, at first, speechless at the sight
of each other (Che miro!/Che belta!/Che
sembiante!/Ah! qual m’assale). He is seized with
ardent love for her whom he has known until
now only as ‘the loveliest of women’ promised
to him by Aphrodite. He thinks that he sees,
united in Sparta’s Queen, beauty surpassing
that of all the goddesses (Errai, lo so. Non mi
discolpo, imploro). Helen is also astonished,
and impressed, by the beauty and behaviour
of this man. Having accepted his gifts and
offered him her hospitality in Sparta, she
recovers her poise enough to remind him of
the admirers in Troy who must be concerned
about his fidelity to them.
Scene 3. Paris, alone, is unsettled and ill-at-
ease. Perplexed and melancholy at this
reception (Tutto qui mi sorprende), he believes
that only Aphrodite can bolster his courage for
the quest.
KO
URRIER
AUSTRALIEN
Act Ill. The galleried courtyard of the royal
palace of Sparta, with a throne to one side.
To a warlike march enter Spartan and Trojan
nobles, guards, and male and female
contenders in the games about to take place
in honour of the Trojan visitors (Prence, la tua
presenza). Paris, who nonetheless can see only
Helen (Il piu vago, o Regina), is to judge the
games by her side. A Spartan chorus begs for
the favour of the gods (Dalla reggia, rilucente
scendi a noi). The games are accompanied by
instruments. Helen calls a halt to the games
(Non piu! L’eroe trojano...) and asks Paris to
award the prizes. After the awards and chorus
to Apollo (Lodi al Nume nell’arco) the athletes
withdraw.
Helen asks Paris to sing a Phrygian song. He
directs it to her (Quegli occhi belli). Disturbed,
she three times tries to interrupt him, and then
rises to withdraw (Non piu!). He faints. Erasto
hurries off as if for help. Helen recognises that
her feelings are changing (Che fo! Che penso?
A quale di sconosciuti affetti). As Paris appears
to be about to regain consciousness she makes
to leave, but he rises and once more importunes
her (Ah ferma! Ah senti! Fingere piu non so).
He is again rebuffed (Da me che vuoi?) as Helen
departs indignantly.
Paris now believes himself to have been
abandoned by both Helen and Aphrodite (Mi
fugge spietata), with death his only solace.
Act IV. Helen's apartments in the palace. Scene
1. Helen is affronted that Paris continues his
suit by letter (Temerario! E non basta il rigore,
il rifiuto). She writes her rejection (Ignoto qui
giungesti, ospito accolto).
Scene 2. Erasto enters (Vengo, o © gina, a’
cenni tuoi) and is given the letter ‘ake to
Paris. He delays taking it until Parise: s, and
then gives it to him (Elena scrisse a te. Leggi,
rispondi!). Neither Helen’s rejection, nor Paris's
despair upon reading the letter, shakes Erasto’s
certainty that Helen’s defences are in vain (Vane
sono e l'arti e l'armi).
Scene 3. Paris begs Helen, if she will not love
him, to put an end to him (Si, spietata, s'accende
gia fulmine). She re-iterates that she is
promised to another (A un altro, il sai, promessa
io son), Menelaus. When Paris claims that his
suit has the approval and help of the gods (Si,
"amor che m’accende opra e d'un Nume) she
can only beg him to forget her (Per pieta!
Scordami e vivi). He answers that he cannot
(Di te scordarmi, e vivere!), and goes off in
despair.
Scene 4. Left alone, Helen expresses her own
irresolution: imminent capitulation, and
resolution not to succumb (Le femei: non mi
sento in faccia a lui). f
THE FRENCH MONTHLY NEWSPAPER
396 Kent St, Sydney 2000. Tel (02) 267 6930
2MBS-FM PROGRAMME GUIDE JUNE 1987 i 27
Act V. The gardens of the palace. Scene 1.
Erasto plans a ruse (L’inganno ch’a lei preparo).
To Helen, when she comes in, he pretends that
Paris has already left Sparta as a result of so
many rejections. Helen, dismayed, calls Paris
a faithless wretch (Come! Parti l'indegno!) who
only feigned to love her. She warns all maidens
of men’s deceit (Donzelle semplici, no, non
credete), and determines that Paris shall be
followed and punished.
Scene 2. Paris arrives, and is told by Erasto
that Helen indeed loves him. Upbraided by
Helen for conspiring against her, Erasto reveals
that he is Eros (Chi dunque?/Amore). Paris now
perceives the hand of Aphrodite in all that has
happened (Ah! ti conosco a questo sovrumano
soccorso), and Helen yields (Ah! vincesti. Son
tua). As she gives Paris her hand thunder is
heard; Pallas Athene appears on a cloud, and
her attendants crowd the scene.
Scene 3. The enraged Pallas repeats the
auguries (Tinganni, il tuo destino) for Paris's
fate and her vengeance for his choice of
Aphrodite: the avenging Greek fleet and the
sack of Troy.
Scene 4. Both Helen and Paris now understand
earlier predictions about them, but they will not
part (E seco, a qualunque cimento). Eros,
however, assures them of his continued support
(Le vostre gioie, avventurosi amanti) and joins
their hands. They put their trust in him and
in their own love (Quella face, che nell'anima).
Scene 5. A bay near the palace, at night.
Preparations are being made for embarkation.
A chorus for the lovers (Vieni al mar) precedes
Eros’s reflection on the transience of beauty
and yc th (Presto fugge la belta), and
declare: “ns of fidelity by Helen and Paris (Mia
speran a, idolo mio). They go aboard ship to
the chorus ending `. e nocchier vien teco
Amor’ (...and Love comes with you as
pilot). DE
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1 ART REDS TANET
769-3238)
=
L
11.00 WOODWARD PLAYS SHOSTAKOVICH
Prepared by Bruce Roberts
Shostakovich, D. (1906-1975). 24 preludes and
fugues, op 87: nos 17 to 21 (1950-51). Roger
Woodward, piano.
RCA CRL2 5100 45
F
S
3
Le
N
MIDNIGHT
12.00 PROPAGATION DISTURBANCE
Prepared by Paul Hurst and Mark O’Brien
Explores the many facets of radio
broadcasting with emphasis on experimental
radio compositions from Australia and around
the world...
1.00 POINT BLANK
Live contemporary performances by fresh
= young bands are a highlight of this
| programme. It also features guest artists
357-2490 ATP d Gen
selecting and discussing music ranging
through the 60s and 70s to the innovative and
shaking sounds of now.
3.00 TILL DAWN
Classical music to dispel the darkness
6.00 EARLY MORNING MUSIC Ginastera, A. (1916-1983). Sonata, op 47
: ; (1976). 14
Shorter works from the classical repertoire Villa-Lobos, H. Etude no 12 (1925-29) 2
with time calls in between ee ` g
Eduardo Fernandez, guitar. (2 above)
9.00 PIANO AND STRINGS Decca 414 387-1
Prepared by Annie Schweitzer
Janacek, L. (1854-1928). On the Overgrown 3.00 FLUTE AND OBOE
path, set 2 (1901-08). Ivan Klansky, piano.
Supraphon 111 2976
Dvorak, A. (1841-1904). Trio in F minor, op 65
(1883). Raphael Trio.
Nonesuch H 71397
Prokofiev, S. (1891-1953). Sonata, op 119
(1949). Yuli Turovsky, cello; Luba Edlina,
Prepared by Barrie Marchant
rdi, C. (1818-1877). Russian carnival. Karl-
rnhard Sebon, flute; Berlin Radio SO; Uros
Lajovic, conductor.
CD Schwann 11608 7
dert, A. (1750-1825). Concerto in C for flute,
piano. oboe and orchestra. Maxence Larrieu, flute;
x d O; Loui
Chandos ABRD 1072 Luxembourg R & TV Grand O; Louis de
Froment, conductor. E i
$ llaphon EA ty 19
10.30 CONCERT HALL SOTO EA- AAI V gis 2 ERLE
Prepared by Ruth Warren AUTUMN
Novak, V. (1870-1949). Slovak suite, op 32 FAUN of the Spirit
(1903). Czech PO; Frantisek Vajnar,
conductor. Mahler, G. (1860-1911). Three Rueckert
Supraphon 1110 3406 30 keng rk midnight Do not try to reac MY
; ongs; | have become a stranger to :
Villa-Lobos, H. (1887-1959). Piano concerto 4 Gees von Stade, mezzo-soprano; London
no 1 (1945). Arthur Moreira-Lima, piano; PO: Andrew Davis, conductor.
Moscow R Large SO; Vladimir Fedosyeyev, CBS SBR 235980 | 14
conductor.
song of the earth (1908). Jessye Norman,
Melodiya C10 08167 39 Ke Vickers, tenor, London SO
S ` London ;
Vaughan Williams, R. (1872-1958). Five Edin e ap a dead
variants of Dives and Lazarus (1939). Iona ili 69
Brown, violin; Kenneth Heath, cello; Skaila FRËSST
Kanga, harp; Academy of St Martin in the
Fields; Neville Marriner, conductor. 5.00 SOUNDS DELIGHTFUL
Argo ZRG 696 Bach
rgo 13 Prepared and presented by Ann Ramsay
12.00 MASTERWORKS Bach, J. S. (1685-1750). Brandenburg
By courtesy of CBS Records concerto no 1 in F. Berlin PO; Herbert von
Karajan, conductor.
DG 644001 26
Schatten, Weichet nur, betruebte, BWV202,
Wedding. Edith Mathis, soprano; Berlin CO;
Peter Schreier, conductor.
CBS
©
Archiv 2533 363 23
Haydn, J. (1732-1809). Symphony no 63 in C Organ sonata, BWV526. Marie-Claire Alain,
La Roxelane. L'Estro Armonico; Derek organ.
Solomons, director. Erato STU 70030 , 12
CBS M3 42157 22
Beethoven, L. (1770-1827). 12 variations in G
on See the conquering hero comes, WoO45.
Yo Yo Ma, cello; Emanuel Ax, piano.
CBS IM 42121 13
Schumann, R. (1810-1856). Fantasia in C, op
17. Murray Perahia, piano.
Overture-suite no 4 in D, BWV1069.
Concentus Musicus, Vienna; Nikolaus
Harnoncourt, director.
Telefunken 6.41229 25
Ich habe genug, BWV82 (1713). Knut Skram,
baritone; Brynjar Hoff, oboe; Canticum
Novum CO; Alf Ardal, conductor.
CBS IM 42124 30 BISLP 101 23
Beethoven, L. 12 variations in F, op 66, on
theme from Mozart’s The magic flute. 7.00 MONK MYSTERIES
Emanuel Ax, piano.
CBS IM 42121 11
Haydn, J. Symphony no 60 in C, // Distratto.
L’Estro Armonico; Derek Solomons, director.
CBS M3 42157
Prepared and presented by Martin Davidson
Monk, T. (1917-1982). Rhythm-a-ning (1957).
Art Blakey, Thelonious Monk, Bill Hardman,
Johnny Griffin, Spanky de Brest.
Atlantic 1278 7
Rhythm-a-ning (1941). Joe Guy, Kermit Scott,
Charlie Christian, Nick Fenton, Kenny Clarke
and others.
Xanadu 107 (mono) 3
Williams, M. (1910-1981). Walking and
swinging (1936). Mary Lou Williams, Dick
Wilson; Andy Kirk and his Twelve Clouds of
Joy.
Parlophone PMC 7156 (mono) 3
Gershwin, G. (1898-1937). Lady be good
(1944). Mary Lou Williams, Bill Coleman,
Coleman Hawkins, Eddie Robinson, Denzil
Best.
30 Asch/Folkways FA 2966 (mono) 4
2.00 CLASSICS OF OUR TIME
By courtesy of PolyGram Records
/Poysram
Villa-Lobos, H. (1887-1959). Prelude no 1 in E
minor (1940). Eduardo Fernandez, guitar.
CD Decca 414 616-2 4
Lutoslawski, W. (b1913). Symphony no 3
(1983). Berlin PO; Witold Lutoslawski,
conductor.
Philips 416 387-1
a Anac-
2MBS-FM PROGRAMME GUIDE JUNE 1987 yy )
HONS LOY
Hawkins, C. (c1901-1969). Rifftide (1945).
Coleman Hawkins, Howard McGhee, Charles
Thompson, Allen Reuss, Oscar Pettiford,
Denzil Best.
Capitol 5C 052-80 802 3
Monk, T. Hackensack (1954). Thelonious
Monk, Ray Copeland, Frank Foster, Curley
Russell, Art Blakey.
Prestige 7848 (mono) 5
Navarro, T. (1923-1950). Fats blows (1947).
Fats Navarro, Charlie Rouse, Tadd Dameron,
Nelson Boyd, Art Blakey.
Savoy SJL 2216 (mono)
Hawkins, C. Stuffy (1945). Coleman Hawkins,
Howard McGhee, Charles Thompson, Allan
Reuss, Oscar Pettiford, Denzil Best.
Capitol 5C 052-80 802 (mono) 3
Monk, T. Stuffy turkey (1964). Charlie Rouse,
Butch Warren, Ben Riley.
Columbia CS 8984 8
Sulieman, I.-Hakim, S.-Monk, T. Eronel (1951).
Sahib Shihab, Milt Jackson, Al McKibbon, Art
Blakey. 3
Monk, T. Sixteen (2 takes) (1952). Kenny
Dorham, Lou Donaldson, Lucky Thompson,
Nelson Boyd, Max Roach.
Blue Note/Mosaic MR4 101 (mono)
(2 above) 7
Thelonious Monk. (3 above)
8.00 SCHUBERT AND WEBERN
Prepared and presented by Martin Davidson
Schubert, F. (1797-1828). String quintet in C,
D956 (c1828). Harry Curby, Dorel Tincu,
violins; Alexandru Todicescu, viola; Janos
Starker, Nathan Waks, cellos.
7 Records MLF 350 48
Webern, A. (1882-1945). Rondo for string
quartet (1906). La Salle Quartet.
CD DG 415 982-2 7
9.00 INDIAN CHINA
Prepared and presented by Martin Davidson
The jaltarang or jaltharangam comprises
between ten and twenty porcelain bowls
arranged in one or two semi-circles on the
floor in front of the player. The bowls are
tuned with water, and played with a pair of
bamboo sticks. Similar instruments are used
in Burma, Indonesia, Japan and Thailand. The
tabla is a pair of North Indian hand drums.
The mridangam is a South Indian double-
headed hand drum. The ghattam is a pottery
jar pressed against the stomach and played
with the fingers. The drone on all
performances is provided by anonymously
played four-string tamburas.
Trad. Raga bhupali. Chintamani Jain,
jaltarang; Hidayat Khan, tabla.
Nonesuch H 72014 5
Trad. Raga durga. Himangshu Biswas, flute;
Dulal Roy, jaltarang.
HMV ECSD 2361 20
Trad. Bhavanutha; Siva siva; Thillana; Nadhu
bindu. Anayampaiti Dnandapani,
jalatharangam; Anayampatti Ganesan, violin;
Thinniam Krishnan, mridangam; K. M.
Vaidyanathan, ghattam.
Oriental BGRP 1036/37 28
e
2MBS-FM
THE MUSIC LOVERS’ STATION
2MBS-FM PROGRAMME GUIDE JUNE 1987
10.00 THANKS FOR THE MEMORY
Prepared and presented by Joe Neustatl
Temple. Trooper Johnny Ludlow. Peter
Dawson, baritone.
Pearl GEMM 200 4
de Caro, F. Flores negras tango. | Salonisti.
Harmonia Mundi 1C 016-95 311
Poterat-Alstone. Quai de Bercy. Maurice
Chevalier.
WRC SH 120 3
Kem, J. (1885-1945). The night was made for
love, from The cat and the fiddle. Peggy
Wood, soprano; unnamed O; Carroll Gibbons,
conductor.
WRC SH 171
Strauss, J. (1825-1899). Roses from the South.
Vienna SO; Robert Stolz, conductor.
Olympic 8132 ih
Wemer. Think of the world as if it were a
bouquet of flowers. Erich Kunz, baritone.
Philips 6464 505 4
Stelzmueller, V. Stelzmueller Tanz. Boskovsky
Ensemble.
Vanguard VSD 2096 7
Friml, R. (1879-1972). The donkey serenade.
Comedy Harmonists.
Odeon 1C 148-32 474 5
Rodgers, R. (1902-1979). Excerpts from The
girlfriend. Savoy Orpheans.
WRC SH 355 7
dEsposito-Manlio. Anima e core. Tito Schipa,
tenor; unnamed O; D. Olivieri, conductor.
HMV OALP 7533
Rezso. Sad Sunday. Georges Boulanger
Ensemble.
Kristall 1C 046-28 541 4
11.00 3.9.1 CANNIBALE
20th-century classical/electronic musics, tape
c[ut]ollage, musique concrete, environmental/
industrial/other soundscapes, improvisation,
voice, text-sound poetry, experimental radio
plays/soundtracks, the interface of recent
sound/visual/performance art histories, and
occasional mal/practices in radio...
incl.
Avant-derniers pensees with Commando
Bruno: Valor collaborative works of ‘power
electronics’ and musique concrete.
PEE ni ee eee ee
Friday 5
MIDNIGHT
12.00 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 fourth dimension to the final frontier;
from the inner mind to the outer limits.
GOUNOD
FAUST
Te Kanawa • Araiza
Nesterenko * Schmidt
Bavarian RSO & Chorus
Colin Davis
30420 164-2
3© 420 164-1 3 i= 420 164-4
FAVOURITE CLASSICS
POPS IN LOVE
FAURE: DEBUSSY + ALBINONI
SATIE +» PACHELBEL
Boston Pops
John Williams
(D416 361-2
416 361-1 52416 361-4 _
HOLST g
THE PLANETS
Montreal Symphony
Charles Dutoit
CD 417 553-2
© 417 553-1 5 417 553-
MOZART
PIANO CONCERTI 8&9
K246/“Jeunhomme” K271
Vladimir Ashkenazy
Philharmonia Orchestra
CD 414 543-1
© 414 543-1 1414 543-4
VIVALDI CONCERTI
“LAMOROSO”
English Concert
Trevor Pinnock
CD419 615-2
© 419 615-1 I= 419 615-4
BEETHOVEN g
FIDELIO
(DDD)
(DDD)
(DDD)
Janowitz * Popp ° Kollo
Sotin ° Jungwirth • Dallapozza
Vienna State Opera Chorus
Vienna Philharmonic
Leonard Bernstein
2CD 419 436-2
BRAHMS
PIANO QUINTET OP.34
Maurizio Pollini
Quartetto Italiano
D419 673-2
BEETHOVEN
THE CREATURES OF
PROMETHEUS
COMPLETE BALLET MUSIC
Orpheus Chamber Orchestra
CD 419 608-2
© 419 608-1 |) 419 608-4
MAHLER
SYMPHONY No. 2
“RESURRECTION”
Ileana Cotrubas + Christa Ludwig
Vienna Philharmonic
Zubin Mehta
200414 538-2
(DDD)
(ADD)
Marketed in Australia by
PolyGram Records.
3.00 TILL DAWN
Classical music to dispel the darkness
6.00 EARLY MORNING MUSIC
Shorter works from the classical repertoire
with time calls in between
9.00 THE JUILLIARD QUARTET (1)
Prepared by Bob Goodnow
Mozart, W. (1756-1791). Quartet no 14 in G,
K387 (1785).
CBS M 337856 29
Ives, C. (1874-1954). Quartet no 1 (1896).
CBS MP 39752 24
Bartok, B. (1881-1945). Quartet no 1 in A
minor, op 7 (1908).
CBS D3 37857 30
Juilliard Quartet. (all above)
10.30 AUSTRALIAN CONCERT HALL
Prepared by Jack Adams
Beethoven, L. (1770-1827). Coriolan overture,
op 62 (1807). Sydney SO; Willem van
Otterloo, conductor.
RCA VRL4 0190 8
Mozart, W. (1756-1791). Sinfonia concertante
in E flat, K297b (1778). Guy Henderson, oboe;
Donald Westlake, clarinet; John Cran,
bassoon; Clarence Mellor, horn; Sydney SO;
Robert Pikler, conductor.
RCA VRL1 0073 32
Ravel, M. (1875-1937). Pavane pour une
Infante defunte (1905). Sydney SO; Stuart
Challender, conductor.
Possum 3 6
Beethoven, L. Symphony no 7 in A, op 92
(1812). Sydney SO; Willem van Otterloo,
conductor.
RCA VRL1 0130 36
12.00 THE GLORY OF VENICE
Adriaan Willaert
Prepared and presented by Elaine Hamilton
Willaert, A. (c1490-1562). Salute te, sancta
virgo Maria (c1518). Boston Camerata Motet
Choir; Joshua Rifkin, conductor.
Nonesuch H 71345 7
O bene mio fam’uno favore (1545). Glenda
Simpson, mezzo-soprano; London Early
Music Group; James Tyler, director.
Nonesuch D 79029 2
Magnum hereditatis misterium (1528-34).
Boston Camerata Motet Choir; Joshua Rifkin,
conductor.
Nonesuch H 71345 4
Amor mi fa morire. Collegium Vocale,
Cologne; Wolfgang Fromme, director.
CBS 79333 3
Ricercare. Hesperion XX.
Telefunken 6.42362 3
Quem terra, ponthus, ethera (1528-34).
Boston Camerata Motet Choir; Joshua Rifkin,
conductor.
Nonesuch H 71345 vA
Vecchie letrose. Montserrat Figueras, soprano;
Hesperion XX.
HMV ASD 143629-1 2
Faulte d'argent (1544). King’s Singers; Consort
of Musicke; Anthony Rooley, director.
HMV SLS 1078393 2
Pater noster (1528-34). Boston Camerata
Motet Choir; Joshua Rifkin, conductor.
Nonesuch H 71345 8
O dolce vita mia (1545). Glenda Simpson,
mezzo-soprano; London Early Music Group;
James Tyler, director.
Nonesuch D 79029 6
1.00 MUSIC FOR THE DANCE
Prepared by Barrie Marchant
Meyerbeer, G. (1791-1864). Les patineurs,
suite (arr. Lambert). Philharmonia O; Nicolai
Malko, conductor.
HMV ESD 7115 13
Komgold, E. (1897-1957). Suite from
incidental music for Much ado about nothing.
Westphalian SO; Siegfried Landau, conductor.
Candide QCE 31091 17
Gliere, R. (1874-1956). Red poppy, ballet suite,
op 70. Henry Siegel, violin; Seattle SO; Milton
Katims, conductor.
Turnabout TV S 34644 24
2.00 CLASSIC PROPORTIONS
Prepared and presented by Tom Bridges `
Brahms, J. (1833-1897). Violin sonata no 1 in
G, op 78 (1878). Arthur Grumiaux, violin;
Gyorgy Sebok, piano.
Philips 9500 161 25
Bach, J. S. (1685-1750). Passacaglia and fugue
in C minor, BWV582 (1717). Anton Heiller,
organ.
Vanguard BGS 70674 13
Mozart, W. (1756-1791). Piano concerto no 25
in C, K503 (1786). English CO; Murray
Perahia, piano and director.
CBS D 37267 32
Schubert, F. (1797-1828). String quartet no 14
in D minor, D810, Death and the maiden
(1826). Melos Quartet.
DG 2530 533 40
4.00 THE HAPPY HOUR
Prepared by Ross Norton
Suppe, F. (1819-1895). Jolly robbers, overture
(1882). Montreal SO; Charles Dutoit,
conductor.
CD Decca 414 408-2 7
Gilbert-Sullivan. Pirates’ chorus; Ruth’s song,
from Pirates of Penzance. Monica Sinclair,
contralto; John Cameron, baritone;
Glyndebourne F Ch; Pro Arte O; Malcolm
Sargent, conductor.
HMV OASD 381 4
Sousa, J. (1854-1932). Stars and Stripes
forever. Philadelphia O; Eugene Ormandy,
conductor.
RCA ARL1 0415 4
Chopin, F. (1810-1849). Scherzo no 3 in C
sharp minor (1839). Vladimir Ashkenazy,
piano.
CD Decca 410 180-2 7
Tchaikovsky, P. (1840-1893). Waltz from The
sleeping beauty (1888). Moscow SO; Vladimir
Fedosyeyev, conductor.
CD Melodiya VDC 518 5
Haydn, J. (1732-1809). Symphony no 88 in G
(1791). Vienna PO; Leonard Bernstein,
conductor.
CD DG 413 777-2 24
5.00 SCANDINAVIAN ORGAN MUSIC
Prepared by Sofia Boniecki
Fryklof, H. (1882-1919). Symphonic poem for
organ. Hans Fagius, organ.
Grammofon 191 14
Hovland, E. (b1924). Four interludes for Missa
Vigilate, op 67 (1970). Kjell Johnsen, organ.
Polyhymnia PRC 7811 12
: Nielsen, C. (1865-1931). Commotio, op 58
(1931). Elisabeth Westenholz, organ.
Grammofon 131 21
Sibelius, J. (1865-1957). Funeral march;
Impromptu, op 5 no 1. Matti Vainio, organ.
Finlandia FA 318 T
6.00 MUSIC OF MINKUS
Prepared by Pat Bell
Minkus, L. (1826-1917). Don Quixote, ballet
suite (1869; arr. Lanchbery). Elizabethan Trust
Melbourne O; John Lanchbery, conductor.
EMI/WRC R 03711 56
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. In this week’s
programme we are featuring some of the
rarely heard compositions of that prodigious
writer Duke Ellington.
Among the artists to present them will be
Johnny Hodges, Metronome All Stars, Monty
Alexander Trio, singers Peggy Lee, Johnny
Hartman and others. Hope you can join me.
8.00 NORTHERN NATIONAL DAYS
Prepared by Marie-Louise Stenstroem and
Max Keogh
Denmark and Sweden are celebrating their
respective National Days: Denmark today,
Sweden tomorrow. Marie-Louise and Max
combined their resources to prepare this two-
hour sampling of the music of these northern
nations.
SWEDEN
Bellman, C. (1740-1795). Song 64: O’er the
misty park of Haga. Martin Best, guitar.
Nimbus 45019
Fernstroem, J. (1897-1961). The capricious
troubadour (1931). Helsingborg SO; Janos
Fuerst, conductor.
Caprice CAP 1238 13
Koch, E. (b1910). Dances 1 and 2. David
Bartow, violin; Inger Wikstrom, piano.
Swedish Society SLT 33251 6
Sjoegren, E. (1853-1918). Two songs: Agnes
my lovely summerbird; | give my poem to the
spring. Nicolai Gedda, tenor; Jan Eyron,
piano.
Bell 141 3
Alfven, H. (1872-1960). Elegy, from Gustav II
Adolf suite. Bournemouth SO; Paavo
Berglund, conductor.
HMV OASD 2952 5
Wiren, D. (1905-1986). Little serenade, op 39
(1964). Per-Olof Hedlund, guitar.
Caprice CAP 1235 10
Hahn, G. (b1908). Gothic suite (c1930).
Stockholm Sinfonietta; Jan Olav Wedin,
conductor.
Caprice CAP 1254 14
DENMARK
Hartmann, J. (1805-1900). Overture: Little
Christina (1846). Royal Danish O; Johan Hye-
Knudsen, conductor.
Turnabout TV S 34308 9
Gade, N. (1817-1890). Novelette for strings, op
53 no 1 (1874). RIAS Sinfonietta; Jiri Starek,
conductor.
Schwann VMS 2081 7
Symphony no 1 in C minor, op 5 (1842).
Royal Danish O; John Hye-Knudsen,
conductor.
Turnabout TV S 34052 36
30 2MBS-FM PROGRAMME GUIDE JUNE 1987
10.00 MUSICKE OF SUNDRIE KINDES
The Road to Santiago
Alfonso X, El Sabio. (1231-1284). Cantiga 103:
Quen a virgen.
Electrola 1C 063-30 107 9
Anon. Estampie.
Telefunken 6.35412 5
Studio for Early Music; Thomas Binkley,
director. (2 above)
Alfonso X. Cantigas 384 and 159. Esther
Lamandier, voice, harp and organ.
Astree AS 59 9
Anon. Sol eclysim. Studio for Early Music;
Thomas Binkley, director.
Electrola 1C 063-30 108 5
Anon. Beneyto foi o dia. Renaissance Players;
Winsome Evans, director.
Cherry Pie CPF 1036 4
Alfonso X. Cantiga 253: De grad. Studio for
Early Music; Thomas Binkley, director.
Electrola 1C 063-30 108 10
11.00 MUSIC AMONGST FRIENDS
Beethoven, L. (1770-1827). Sonata no 7 in C
minor, op 30 no 2 (1802). Pinchas Zukerman,
violin; Daniel Barenboim, piano.
HMV/WRC R 02564 29
String quartet no 3 in D, op 18 no 3 (1800).
Italian Quartet.
Philips 6500 181 26
city
Saturday 6
MIDNIGHT
12.00 ALL THROUGH THE NIGHT
A programme of classical music to bring you
pleasure from midnight to the first of
Saturday's programmes
6.00 SATURDAY MORNING MUSIC
Prepared and presented by Jean Reisner
A varied programme of classical music for
relaxed weekend listening.
9.00 WHATS 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.
MONTHLY REVIEW
10.00 ENJOYABLE HOUR
Prepared by Gerda Hoffmann
Sullivan, A. (1842-1900). Overture to The
pirates of Penzance. Adelaide SO; James
Christiansen, conductor.
RCA VRL1 0325 6
Offenbach, J. (1819-1880). Excerpts from the
ballet, Gaite Parisienne (1860). Cincinnati SO;
Erich Kunzel, conductor.
Vox D VCL 9006 23
Dvorak, A. (1841-1904). Serenade in E, op 22
(1875). Ferenc Liszt CO; Janos Rolla,
conductor.
Hungaroton SLPD 12351 25
11.00 PARTLY PARTISAN
Mozart
Prepared by Rosemary Catts
Mozart, W. (1756-1791). Divertimento no 3 in
F, K138 (1772). Sydney SO; Robert Pikler,
conductor.
RCA VRL1 0135 10
Concert aria, K383: Nehmt meinen Dank.
Joan Carden, soprano; Orchestra of Sydney;
John Harding, conductor.
BHP A 04 4
Three arias from The magic flute. Isobel
Buchanan, soprano; John Pringle, baritone;
Queensland SO; Richard Bonynge,
conductor.
ABC A 03
Violin concerto no 3 in G, K216. Felix Ayo,
violin; Australian CO; John Harding,
conductor.
7 Records MLF 429 25
Ke
Box C344, Clarence St Post Office, Sydney NSW 2000
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2MBS-FM PROGRAMME GUIDE JUNE 1987 3]
12.00 NEW RELEASES
Our weekly survey of the latest releases and
re-releases from the overseas and local
catalogues features both compact discs and
LPs.
2.00 JAZZ, FROM TRADITIONAL TO
MODERN
Prepared and presented by Bruce Johnson
A programme that ranges over the whole
history of jazz, venturing into blues and
gospel, experimental and avant-garde, and
beyond the confines of America. Today’s
programme includes the music of Ted
Curson, Nancy Stuart, Warwick ‘Wocka’ Dyer,
Jimmy Lunceford, Jerry Wesley, Gary
Costello, Tal Farlow.
3.00 MUSICA VIVA
Graeme Skinner presents music by artists
currently visiting or touring in Australia for
Musica Viva in 1987.
4.00 LISTENERS’ CHOICE
Prepared and presented by Barbara Hallett
Listeners to 2MBS-FM may make a request by
phoning 439 4777. Barbara will arrange for its
inclusion in the programme as soon as
possible. You will be advised of this by phone
or by letter, in advance.
6.00 RYDER ROUND FOLK
A weekly magazine of folk music and events
prepared and presented by Dermott Ryder.
Every week at this time, Ryder Round Folk
looks at different aspects of traditional and
contemporary folk music at home and abroad,
examines influences and attitudes and
presents ‘live’ music, interviews, news, and up-
to-the-minute details of folk action Sydney,
state and nationwide.
8.00 BACH ON COMPACT DISC (7)
Prepared and presented by Richard Gaze
Bach, J. S. (1685-1750). St Matthew Passion,
BWV244. EVANGELIST: Howard Crook,
tenor; JESUS: Ulrik Cold, bass;
HANDMAIDENS: Barbara Schlick, Catherine
Bignalet, sopranos; P/LATE: Peter Kooy, bass;
PETER: Marc Meersman, baritone; JUDAS:
Renaud Machart, baritone; Chapelle Royale
Vocal Ensemble; Collegium Vocale, Ghent;
Philippe Herreweghe, conductor.
CD Harmonia Mundi 901155/57 172
11.00 CHAMBER CONCERT
Prepared by Ruth Warren
Schumann, R. (1810-1856). Sonata in F minor,
op 14 (1835). Jerome Rose, piano.
Turnabout TV S 34533 28
Fantasiestuecke, op 12 (1837). Murray
Perahia, piano.
CBS/Sony SOCO 153 26
Eed
Sunday 7
MIDNIGHT
12.00 ALL THROUGH THE NIGHT
A programme of classical music to bring you
pleasure from midnight to the first of
Saturday's programmes
6.00 SUNDAY MORNING MUSIC
Prepared and presented by Mike Phillips
A varied programme of classical music for
relaxed weekend listening.
9.00 ALBERT ROUSSEL
Prepared by Bob Goodnow
Roussel, A. (1869-1937). Divertissement, op 6.
Delores Stevens, piano; Los Angeles Wind
Quintet.
Orion ORS 7263 6
Impromptu (1919). Ann Mason Stockton,
h
arp.
Crystal S 107 T
Petite suite, op 39. French National RO; Jean
Martinon, conductor.
Erato EPR 15540 13
9.30 THE HUNTINGTON CHAMBER
ORCHESTRA (1)
2MBS-FM PRODUCTION
Handel, G. (1685-1759). Concerto grosso in G
minor, op 6 no 6 (1739).
Bach, J. S. (1685-1750). Cantata: Ich habe
genug, BWV82 (1727). Stephen Bennett, bass;
Judith Elliott, oboe. 22
Handel, G. Oboe concerto in G minor (1703).
Judith Elliott, oboe. 10
The oak that for a thousand years; Peace
crown’d with roses, from Susanna (1748). 7
With rage | shall burst, from Saul (1738).
Stephen Bennett, bass. (3 above) 2
Concerto grosso in D minor, op 6 no 10
(1739). 15
Huntington CO; Richard Tognetti, leader;
John Gray, conductor. (all above)
11.00 HENRI du MONT
The Complete Harpsichord Music
2MBS-FM PRODUCTION
du Mont, H. (1610-1686). Three allemandes in
D minor.
Two allemandes in C. 6
Suite in D minor. 10
Two allemandes in A minor. 4
Two allemandes in C. 5
David Kinsela, harpsichord. (all above)
2MBS-FM recording
11.30 OPERA BUFFET
A weekly operatic smorgasbord, featuring
stars of Australian Opera, as well as news,
views, ‘what's on’ and reviews. A painless way
of keeping up to date with all things operatic.
12.00 AMERICAN BANDS OF THE 1920s
AND EARLY 30s
Fred ‘Sugar’ Hali: 1925-1931
Prepared and presented by Alexander Craig
New York bandleader, pianist, occasional
singer, arranger and band-contractor Fred
‘Sugar Hall directed literally hundreds of 78
rpm performances, mainly for the OKeh
Record Company and its overseas
Parlophone-Odeon affiliates, as well as for the
Boston Grey Gull group and several of the
cheaper labels such as Sears-Roebuck’s
Silvertone. Hall's ‘Sugar Babies’ unit — never
varying from a septet or an octet — readily
changed its name to his ‘Jazz Band’ for
Banner, ‘Tin Pan Paraders’ for Silvertone, or
adopted any one of Grey Gull’s colourful
pseudonyms. This Hall group frequently offers
a humorous or novelty-type treatment but
almost always containing some good jazz
music. In April 1928 Hall made a series of fine,
straight ‘hot dance’ records, leading a typical
1920s big band (ten pieces), the Southern
Melody Syncopators/Serenaders: most were
mislaid in a warehouse and never put on sale!
We can listen to a couple from a handful
recovered in recent years.
Only two of Hall's ‘sidemen’ are at all well
known — trumpeters Leo McConville and
Mike Mosiello — but he had an excellent
Clarinettist and alto saxophonist in Eddie
Grosso; a very able rhythm-section consisting
of himself, banjoist-guitarist Albert Russo,
tuba-player Al Morse and Joseph Mayo at the
drums. Hall also included the eccentric Philip
d'Arcy who played fiddle, harmonica, piccolo
or anything else that was handy.
Relax for an hour, today, with items like Fred
‘Sugar’ Hall's comic mini-masterpieces, / lift
up my finger and | say ‘Tweet tweet’, The
night we did the boom boom by the sea, and
his restrained, serious handling of King
Oliver's composition West End blues. You're
not likely to have heard many (or any) Hall
discs, before, on air and certainly not sixteen
of them all together.
Various (1925-30). Fred ‘Sugar’ Hall’s Sugar
Babies; Fred ‘Sugar Hall and his Sugar
Babies.
OKeh 40437, 41112, 41152, 41183, 41239,
41310, 41369 25
Donaldson. Because my baby don’t mean
‘maybe’ now (1928). Southern Melody
Syncopators. (Never released.)
Ponce-Dougherty. Oh! You have no idea!
(1928). Southern Melody Serenaders.
Goodson 113 3
Various (1928-30). Fred Hall’s Jazz Band; Tin
Pan Paraders.
Harrison LP i 16
Unidentified. Red-headed baby (1931). Arthur
Rivers’ Novelty Orchestra.
Sunbeam MFC 17
1.00 THE FLUTE SOCIETY PROGRAMME
Malcolm Amold
Prepared and presented by Belinda Webster
RN M. (b1921). Fantasy for flute, op 89
Hyperion A 66172 4
Divertimento for flute, oboe and clarinet, op 37
(1952). 8
Duo for flute and viola, op 10 (1946). 10
Hyperion A 66173 (2 above)
Trio for flute, viola and bassoon, op 6.
Hyperion A 66172 4
32 2MBS-FM PROGRAMME GUIDE JUNE 1987
Quintet for flute, violin, viola, horn and
bassoon, op 7 (1944). 12
Three shanties for wind quintet (1943). 74
Hyperion A 66173 (2 above)
Nash Ensemble. (all above)
2.00 PHILHARMONIA IN CONCERT:
A series of programmes in which we hear
performances from the Subscription Concerts
of the Sydney Philharmonia Society
Schuetz, H. (1585-1672). Die Himmel erzehlen;
Ich hebe meine Augen; Das Wort ward
Fleisch; Heute ist Christus der Herr geboren.
The Song Company; Sydney Philharmonia
Motet Choir; Susan Blake, cello; John Gray,
double bass; Peter Kneeshaw, organ; Charles
Colman, conductor. 1
Scarlatti, D. (1685-1757). Stabat Mater (1707).
Margaret Schindler, Rowena Cowley, Lyn
Moorfoot, sopranos; Narelle Tapping, Dorothy
Williams, Maria Guthrie, mezzo-sopranos;
James Bonnefin, John Purnell, tenors; William
Moxey, Michael Hissey, basses; Sydney
Philharmonia Motet Choir; Susan Blake, cello;
John Gray, double bass; Peter Kneeshaw,
organ; Charles Colman, conductor. 25
Bach, J. S. (1685-1750). Suite no 3 in D,
BWV 1068. Australian CO; Carl Pini,
conductor. 19
Bach, C. P. E. (1714-1788). Magnificat (1749).
Glenys Fowles, soprano; Patricia Price,
mezzo-soprano; Anson Austin, tenor; Michael
Lewis, baritone; Sydney Philharmonia Motet
Choir; Australian CO; Peter Seymour,
conductor.
Sydney Philharmonia Society recordings. (all
above)
4.00 BENJAMIN BRITTEN’S CONCERT
Prepared by Ida Ferson
Britten, B. (1913-1976). Prelude and fugue, op
29 (1942). English CO; Benjamin Britten,
conductor.
London Enterprise 417 312-1 9
Piano concerto, op 13 (1938). Sviatoslav
Richter, piano; English CO; Benjamin Britten,
conductor.
London Enterprise 417 308-1 34
Hymn to St Cecilia, op 27 (1942). King’s
College Choir, Cambridge; David Willcocks,
conductor.
HMV HOF 1285 11
5.00 EVENSONG FOR PENTECOST
WHITSUNDAY
Prepared and presented by Ann Ramsay
Tallis, T. (1505-1585). If ye love me. Hampton
Court Palace Choir; Gordon Reynolds,
director.
Alpha ACA 545 2
Elgar, E. (1857-1934). The spirit of the Lord,
from The apostles (1903). Wells Cathedral
Choir; Anthony Crossland, organ and director.
Abbey ACA 535 7
Tallis, T. Come Holy Ghost our souls inspire.
King’s College Choir, Cambridge; David
Willcocks, director.
HMV CSD 3739 2
Bach, J. S. (1685-1750). Cantata: O ewige
Feuer, o Ursprung der Liebe, BWV34,
Pentecost (1742). Vienna Boys Choir soloists;
Paul Esswood, tenor; Siegmund Nimsgern,
bass; Concentus Musicus, Vienna; Nikolaus
Harnoncourt, director.
Telefunken 6.35035 18
Anon. Psalm 104. King’s College Choir,
Cambridge; David Willcocks, director.
HMV/WRC R 02803 8
Davie, C. (61913). Come Holy Ghost the
Maker. Paisley Abbey Choir; John Langdon,
organ; George McPhee, director.
Abbey LPB 789 5
Webbe, S. Spirit of mercy, truth and love. St
John’s College Choir, Cambridge; George
Guest, director.
Argo ZRG 5405 2
da Palestrina, G. (1525-1594). Dum
complerentur dies Pentecostes.
Dalby, M. (b1942). O be joyful in the Lord.
Paisley Abbey Choir; John Langdon, organ;
George McPhee, director. (2 above)
Abbey LPB 789 3
Bach, J.S. Komm heiliger Geist; Three choral
preludes. Alban Singers; Peter Hurford, organ.
Argo ZRG 843 28
Tavemer, J. (1495-1545). Mass The western
wind. New College Choir, Oxford; Edward
Higginbottom, director.
CRD 1072 29
7.00 MUSIC WEEKLY
2MBS-FM PRODUCTION
A magazine programme bringing you
interviews with people who write, play,
conduct, produce, teach, review and enjoy
music; notable excerpts from our disc and
tape recordings; notice of events, passings,
forthcomings and retrospects, to help in
keeping you up-to-date about people, places,
performances, previews and postscripts.
8.00 TRIONFI
Prepared by Bob Goodnow
Orff, C. (1895-1982). Catulli carmina. 25th
Intervarsity Ch, Adelaide.
BRE 009 38
Trionfo di Afrodite. Bavarian Radio Ch & O;
Eugen Jochum, conductor.
Decca DL 9826 56
9.00 VERSIONS AND VARIATIONS
Bach, J. S. (1685-1750). Trio sonata no 3 in D
minor, BWV527. Marie-Claire Alain, organ.
Erato/Record Society RS 6166
Triple concerto in A minor, BWV 1044. Lisa
Beznosiuk, flute; David Reichenberg, oboe;
Simon Standage, violin; English Concert;
Trevor Pinnock, harpsichord and director.
Archiv 413 731-1
Handel, G. (1685-1759). Suite no 7 in G minor.
Kenneth Gilbert, harpsichord.
Harmonia Mundi HM 447 13
Halvorsen, J. (1864-1935). Passacaglia on a
theme of Handel. Jascha Heifetz, violin; Grigor
Piatigorsky, cello.
CBS 60264 6
10.00 INTIMATE SCHUMANN
Prepared by Elaine Hamilton
Schumann, R. (1810-1856). Abends am
Strand, op 45 no 3 (1840); Lehn deine Wang’
an meine Wang’, op 142 no 2 (1852); Mein
Wagen rollet langsam, op 142 no 4 (1852).
Brigitte Fassbaender, mezzo-soprano; Irwin
Gage, piano.
DG 415 519-1 8
Fantasiestuecke, op 73. Friedrich-Juergen
Sellheim, cello; Eckart Sellheim, piano.
CBS SBR 235946 11
Was will die einsame Traene, op 25 no 21; Du
bist wie eine Blume, op 25 no 24; Dein ,
Angesicht, op 127 no 2. Peter Schreier, tenor;
Norman Shetler, piano.
Eurodisc 88 313 KK 6
10.30 WIND QUINTETS
Prepared by Bob Goodnow
Danz, F. (1763-1826). Quintets: in E minor, op
67 no 2; in G minor, op 56 no 2. New York
Woodwind Quintet.
Nonesuch H 71108 28
11.00 IN-BETWEEN...
Kodaly, Z. (1882-1967). Organaeida ad
missam lectam (1942). Hans Fagius, organ.
BIS LP 199 28
11.30 EVENING MINIATURES
Prepared by Elaine Hamilton
Granados, E. (1867-1916). Goyescas;
Intermezzo (arr. Pujol). Julian Bream, John
Williams, guitars.
RCA GSC 3257 5
Gervaise, C. (16th C). Dances nos 1, 2 and 3.
Anon. Bransle de Bourgogne.
Gervaise, C. Bransle de Champagne; Bransle
gai; Dance no 6 (arr. Andre and Alain).
Maurice Andre, trumpet; Marie-Claire Alain,
organ. (7 above)
WRC R 02970 5
Schumann, R. (1810-1856). Traeumerei.
Sebastiano Gianni, cello; Felix Schroeder,
piano.
WRC R 02210 3
Handel, G. (1685-1759). Air; Rondo. Jiri
Tancibudek, oboe; John Champ, piano.
WRC R 02421
Ravel, M. (1875-1937). Pavane for a dead
princess (arr. Bream), Julian Bream, John
Williams, guitars.
RCA LSC 3257 6
aa
Monday 8
MIDNIGHT
12.00 ALL THROUGH THE NIGHT
A programme of classical music to bring you
pleasure from midnight to the first of
Monday’s programmes
6.00 EARLY MORNING MUSIC
Shorter works from the classical repertoire
with time calls in between
9.00 AUSTRALIAN PIANO MUSIC
Prepared by Sofia Boniecki
Sutherland, M. (b1897). Sonatina (1956). 7
Benjamin, A. (1893-1960). Siciliana; Scherzino
(1936). 6
Williamson, M. (b1931). Five preludes for
piano (1966). 12
Penelope Thwaites, piano. (all above)
Discourses ABM30
Sculthorpe, P. (b1929). Sonatina; Two easy
pieces (1954); Night pieces (1971). Peter
Sculthorpe, piano.
Move MS 3031 22
Grainger, P. (1882-1961). Mock Morris (1911);
Gay but wistful, from In a nutshell (1916).
Percy Grainger, piano.
Philips 6514 294 6
2MBS-FM PROGRAMME GUIDE JUNE 1987
BEE EE EE
10.00 STRAUSS’ BALLET CINDERELLA
Prepared by Sofia Boniecki
Strauss, J. (1825-1899). Cinderella, ballet
(posth.; arr. Bayer). National PO; Richard
Bonynge, conductor.
Decca D225D2 90
11.35 MESSAGER’S THE TWO PIGEONS
BALLET
` Prepared by Sofia Boniecki
Messager, A. (1853-1929). Excerpts from The
two pigeons (1886). Paris O; Jean-Pierre
Jacquillat, conductor.
WRC R 05472 23
12.00 A JAZZ SANDWICH
Prepared and presented by Derrick Davey
Today's programme will delight all lovers of
big band jazz. All the bands are outside the
USA. We shall hear recordings by bands from
France, New Zealand, Sweden, Japan,
Czechoslovakia, Australia, Italy, Britain,
Finland and Canada.
1.00 MONDAY MUSIC
RECORDED BY 2MBS-FM
Recorded at St Stephen's Uniting Church,
Macquarie Street on June 1.
2.00 AUSTRALIA WIDE
From the National Programme Service of the
PBAA
3.30 18TH-CENTURY CONCERT
Prepared by Barrie Marchant
Boccherini, L. (1743-1805). String quintet in A
minor, op 74 no 1 (c1798). Guenther Kehr,
Wolfgang Bartels, violins; Erich Sichermann,
Volke Kirchner, violas; Bernhard Braunhoilz,
cello.
Vox Turnabout TV 334094 18
Haydn, J. (1732-1809). Cello concerto in D,
Hob.VIib:2 (1783). Hidden Valley Opera O;
Terry King, cello and director.
TR Records TRC 104 24
Mozart, W. (1756-1791). Symphony no 41 in
C, K551 (1788). Concertgebouw O,
Amsterdam; Nikolaus Harnoncourt,
conductor.
Telefunken 6.42846 EN
5.00 WORK’S DONE FOR TODAY
Prepared by Michael Sheehan
Granados, E. (1867-1916). Goyescas (1916).
Alicia de Larrocha, piano.
London CS 7009 52
Rossini, G. (1792-1868). Desdemona’s
canzona, from Otello (1816). Frederica von
Stade, soprano; Rotterdam PO; Edo de Waart,
conductor.
Philips 9500 098 14
Mozart, W. (1756-1791). Flute concerto no 1 in
G, K313 (1778). James Galway, flute; Lucerne
F Strings; Rudolf Baumgartner, conductor.
RCA LRL1 5109 27
Gershwin, G. (1898-1937). An American in
Paris (1928). London SO; Andre Previn, piano
and conductor.
HMV ASD 2754 18
7.00 YOUR MONDAY DATE
Prepared and presented by Geoff Gilbert
Jazz from Bunk to The Bird KR
8.00 KNOW YOUR TENORS!
Prepared and presented by Max Krumbeck
Verdi, G. (1813-1901). Celeste Aida, from Aida
(1871).
Decca 417 232-1 5
Donizetti, G. (1797-1848). Una furtiva lagrima,
from Elixir of love (1822)
Ariola Eurodise SQ 25 163 KR 4
Verdi, G. (1813-1901). Niun me tema, from
Otello (197).
Rubini GV85 4
Mozart, W. (1756-1791). Dalla sua pace, from
Don Giovanni (1787).
Swedish Society SLT 33275/76 5
Ponchielli, A. (1834-1886). Cielo e mar, from
La Gioconda (1876).
Bongiovanni GB 1007/8 6
Beethoven, L. (1770-1827). O Mary, at thy
window be.
RCA RL 13417 2
Strauss, J. (1825-1899). Komm in die Gondel,
from Eine Nacht in Venedig.
DG 2721 212 3
Tchaikovsky, P. (1840-1893). Lensky’s aria,
from Eugen Onegin (1879).
Preiser PR 135003 7
Puccini, G. (1858-1924). Nessun dorma, from
Turandot.
EMI C065 00215 3
Stolz, R. Ob blond, oh braun, ich liebe alle
Frau’n.
EMI Electrola 1 C1 47-29 135/36 3
Wagner, R. (1813-1883). Da voi lontano, from
Lohengrin (1850).
Fonit Cetra LMR 5017 6
Sjoeberg, C. Tonerna.
Swedish Society SLT 33275/76 3
9.00 STORMY MONDAY
Two hours of the best in blues, R’n’B, soul,
gospel, cajun and zydeco, with regular
specials on artists, bands and musical styles.
There’s a weekly guide to the local blues and
R’n’B scene, and features on new releases, as
well as occasional live broadcasts from our
Studio C.
11.00 CROSSING THE DIVIDE
Wesley-Smith, M. (b1945). Who killed Cock
Robin? (1979). Felicity Lowe, soprano; Hartley
Newnham, counter-tenor, Ben Macpherson,
baritone; Chamber Choir of Sydney
University; Nicholas Routley, conductor.
HMV OASD 7629 17
For marimba and tape (1982). Graeme Leak,
marimba; Tape realised by the composer.
Larrikin LRF 156
Douglas, R. (01952). Homage to Bessemer
(1984). Realised by the composer on the
Fairlight CMI.
MBS 9 13
Isoprisms (1982). Flederman.
Larrikin LRF 156 5
Cage, J. (b1912). String quartet in four parts
(1949-50). LaSalle Quartet.
DG 2530 735 21
Second construction for four players (1940).
Kroumata Percussion Ensemble.
CD BIS CD 232 7
Satie, E. (1866-1925). Musique d'ameublement
(1920). Ensemble Ars Nova; Marius Constant,
conductor.
Erato STU 71336 12
Reich, S. (b1936). Music for a large ensemble
(1978). Steve Reich and Musicians.
ECM 1186 16
Suppliers of fine and commercial
ART MATERIALS
to the Australian Market
since 1954 and for
PROFESSIONAL
CUSTOM FRAMING
Artists Supply Co
21 Atchison Street, St. Leonards, 2065
Telephone 439 4944
83-85 George Street, Sydney 2000
Telephone 27 4505
34 2MBS-FM PROGRAMME GUIDE JUNE 1987
Sydney Symphony Orchestra
“THERE’S NOTHING LIKE BEING THERE”
JUNE DIARY
MONDAY JUNE 1, TUESDAY JUNE 2,
8 pm — CONCERT HALL
4TH EPSON MASTER SERIES
Conductor
Flute
BRITTEN
MOZART
ELGAR
JOHN HOPKINS
JEAN-PIERRE RAMPAL
A time there was
Flute Concerto No. 1
Symphony No. 1
SATURDAY JUNE 13, 2.30 pm — CONCERT HALL
3RD GREAT CLASSICS SERIES
Conductor
Violin
Cello
VERDI
BRAHMS
SCULTHORPE
STRAVINSKY
EVELINO PIDO
GYORGY PAUK
RALPH KIRSHBAUM
The Force of Destiny: Overture
Concerto for violin, cello and orchestra
Sun Music I
The Firebird — Suite
TUESDAY JUNE 16, WEDNESDAY JUNE 17,
6.30 pm — CONCERT HALL
3RD MEET THE MUSIC SERIES
Conductor
Piano
G. GABRIELI
SCULTHORPE
RAVEL
STUART CHALLENDER
ANTHONY FOGG
Sonata pian’ e forte
Piano concerto
Mother Goose — Ballet
FRIDAY JUNE 19, 7.00 pm — CONCERT HALL
1ST FAMILY CONCERT — MEET THE
Conductor
Soloists
BACH
BRITTEN
MUSSORGSKY/
RAVEL
BORODIN
Trad/Arr. Hurst
WILLIAMS
ORCHESTRA
BRIAN BUGGY
THE LANGSHAW BALLET
Toccata (From Toccata & Fugue in D minor)
Young Persons Guide to the Orchestra
Pictures at an Exhibition (excerpts)
“Prince Igor”: Polovtsian Dances
Green Grow the Rushes Oh!
“An Orchestral Jigsaw Puzzle”
WEDNESDAY JUNE 24, THURSDAY JUNE 25,
8.00 pm — CONCERT HALL
5TH EPSON MASTER SERIES
Conductor
Piano
R. STRAUSS
SAINT-SAENS
BEETHOVEN
STUART CHALLENDER
SHURA CHERKASSKY
Death and Transfiguration
Piano concerto No. 2
Symphony No. 5
SATURDAY JUNE 27, MONDAY JUNE 29, TUESDAY
JUNE 30, 8 pm — CONCERT HALL
5TH EPSON MASTER SERIES
Conductor
Piano
Soprano
RICHARD MEALE
LISZT
FALLA
STUART CHALLENDER
SHURA CHERKASSKY
PATRICIA PRICE
Very High Kings
Piano concerto No. |
The Three-cormered Hat
Albert Walk (1st flr) Queen Victoria Building, Phone 264 9466
and Sydney Opera House Box Office, Phone 2 0525
ALL BOOKINGS AT ABC BOX OFFICE
2MBS-FM PROGRAMME GUIDE JUNE 1987
ABC
CONCERT
MUSIC
ee
Tuesday 9
1.00 BUSH BAROQUE
Presented by Penny Davies and Roger Ilott
3.00 TILL DAWN
Classical music to dispel the darkness
6.00 EARLY MORNING MUSIC
Shorter works from the classical repertoire
with time calls in between
9.00 THE FLUTE
Prepared by Barrie Marchant
Doppler, A. (1821-1883). Fantasie pastorale,
op 26. Karl-Bernhard Sebon, flute; Berlin
Radio SO; Uros Lajovic, conductor.
CD Schwann 11608 11
Mozart, W. (1756-1791). Quartet in D, K285.
Barthold Kuijken, flute; Sigiswald Kuijken,
violin; Lucy van Dael, viola; Wieland Kuijken,
cello.
CD Accent ACC 48225D 1
>
9.30 SCORE READING:
Romantic Music
Prepared and presented by Meg Matthews
The more you see, the more you hear, the
more you hear, the more you understand the
composer's craft.
These score reading programmes this month
move through music of the Romantic era,
observing period characteristics,
instrumentation, notation textures and styles
particularly as they occur in the score.
Text to be used: The Norton Scores (ed.
Roger Kamien 1984) 4th edition Volume II.
In today’s programme: Mendelssohn First
movement from Violin concerto; Overture to A
midsummer night's dream. Brahms Fourth
movement from Symphony no 2 in D.
10.30 THE PHILADELPHIA ORCHESTRA
Prepared by Bob Goodnow
Liszt, F. (1811-1886). Hungarian rhapsody no
1
CBS SBR 235636 1
Rachmaninov, S. (1873-1943). Concerto no 2
in C minor, op 18 (1900). Artur Rubinstein,
piano.
RCA ARL1 0031 33
Lalo, E. (1823-1892). Symphonie espagnole,
op 21. Isaac Stern, violin.
RCA LS 3065 33
Faure, G. (1845-1924). Pavane.
CBS SBR 235547 6
Philadelphia O; Eugene Ormandy, conductor.
(all above)
12.00 A CONCERT IN LONDON
Prepared and presented by Elaine Hamilton
Rossini, G. (1792-1868). Overture to An Italian
girl in Algiers (1813). Colin Davis, conductor.
HMV FC 153
Tchaikovksy, P. (1840-1893). Francesca da
Rimini. Charles Muench, conductor.
RCA RDM 13 2 23
Paganini, N. (1782-1840). Violin concerto no 1
in D, op 6 (c1811). Itzhak Periman, violin;
Lawrence Foster, conductor.
HMV/WRC R 06324 33
Strauss, R. (1864-1949). Ein Heldenleben
(1895-98). Thomas Beecham, conductor.
HMV/WRC R 06364 41
Royal PO. (all above)
2.00 MUSIC WEEKLY
2MBS-FM PRODUCTION
A repeat of last Sunday’s programme of
interviews with people in and behind the
music
3.00 CONTEMPORARIES
Prepared by Ruth Warren
Mendelssohn, F. (1809-1847). A midsummer
night's dream, overture, op 121 (1826).
CBS GM 520
Chopin, F. (1810-1849). Piano concerto no 2
in F minor, op 21 (1829). Artur Rubinstein,
piano.
Philadelphia O; Eugene Ormandy, conductor.
(2 above)
RCA LSC 3055 32
Liszt, F. (1811-1886). A Faust symphony
(1854). Alexander Young, tenor, Beecham
Choral Society; Royal PO; Thomas Beecham,
conductor.
HMV SXWD 3022 70
German Wine
and
Good Music
go together
GERMAN WINE
INFORMATION SERVICE
represented by
GERMAN-AUSTRALIAN CHAMBER
OF INDUSTRY & COMMERCE
Sydney
GPO Box 4247
Melbourne
5th Floor
Tel: (02) 29 3998, 293999 606 St Kilda Road
Tx: AA25987
Telefax: (02) 290 1323
Tel: (03) 51 5826
Telefax: (03) 51 1835
—— AT YOUR SERVICE ———
36 2MBS-FM PROGRAMME GUIDE JUNE 1987
5.00 TUESDAY CONCERT
Prepared and presented by David Worobin
Mozart, W. (1756-1791). Piano concerto in C,
K503 (1786). Michel Dalberto, piano;
Lausanne CO; Armin Jordan, conductor.
Erato STU 71421 31
Beethoven, L. (1770-1827). Symphony no 5 in
C minor, op 67 (1805-07). Philharmonia O;
Vladimir Ashkenazy, conductor.
Decca SXDL 7540 35
Tchaikovsky, P. (1840-1893). Piano trio in A
minor, op 50 (1882). Elmar Oliveira, violin;
Nathaniel Rosen, cello; Mikhail Pletnyov,
piano.
CBS M 35855 47
7.00 ROBIN’S NEST OF JAZZ
Prepared and presented by Robin Forsaith
One hour of mainstream to modern jazz. ‘I
play a little of this and a little of that and some
of this and some of that’, said tenor
saxophonist Stanley Turrentine, the featured
musician this evening.
8.00 NEW RELEASES
Our weekly survey of the latest releases and
re-releases from the overseas and local
catalogues features both compact discs and
LPs.
10.00 CHAMBER MUSIC
Mozart to Bartok
Prepared and presented by Ray Byron
Mozart, W. (1756-1791). Trio in E flat, K498
(1786). Gidon Kremer, violin; Kim
Kashkashian, viola; Valery Afanassiev, piano.
CD DG 415 483-2 21
Boccherini, L. (1743-1805). Quintet in F, op 20
no 15 (c1780). Quintetto Boccherini.
CD Ensayo 3403 18
Smetana, B. (1824-1884). String quartet no 1
in E minor, From my life (1876). Amadeus
DG 2530 994 28
Bliss, A. (1891-1975). Rhapsody for flute, cor
anglais, string quartet, double bass and two
voices (1919). Elizabeth Gale, soprano;
Anthony Rolfe Johnson, tenor; Nash
Ensemble; Lionel Friend, conductor.
Hyperion A 66137 8
Shostakovich, D. (1906-1975). Piano quintet in
G minor, op 57 (1940). Sviatoslav Richter,
piano; Borodin String Quartet.
EMI EL 270338-1 36
Wednesday 10
MIDNIGHT
12.00 EARDRUM
An African music allsorts from bush ballads to
electric dance in a thousand styles (including
certain hybrids: salsa, merengue, Afro-
Arab...).
In resisting the rock-funk crossover, 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, and so on. Forgotten classics are a
specialty...
1.00 THE POUNDING SYSTEM
Prepared by Ossie Borthwick, Clay Caplice
and Richard Fielding
The island of Jamaica is the birthplace of
what is perhaps the most influential
contemporary Afro-Caribbean music, reggae.
Owing much to American rhythm and blues,
jazz, and soul, reggae’s antecedents ska and
rocksteady developed unique form through
the musicians’ increased African
consciousness and the influence of the
Rastafarian religion.
Since the late 50s the lifeblood of the music
has been the mobile discotheques, known as
sound systems, that travel the playing dance
halls and yards and introduce various sub-
genres such as dub (re-mixed instrumentals
powered by hard bass and drum rhythms).
The associated DJ style (talking over dub
tracks) and lovers rock (softer, romantic
moods) appeal to enthusiastic young
audiences. The programme attempts to cover
the main innovations in reggae from the early
days of ska to the latest lethal sounds. Killer...
3.00 NEW RELEASES
A repeat of last night’s survey of the latest LPs
and compact discs from the overseas and
local record catalogues
5.00 MUSIC WEEKLY
2MBS-FM PRODUCTION
A repeat of last Sunday’s magazine
programme of interviews with people who
write, play, conduct, produce, teach, review
and enjoy music, to keep you up-to-date
about people, places, performances, previews
and postscripts.
6.00 EARLY MORNING MUSIC
Shorter works from the classical repertoire
with time calls in between
9.00 THE SONG OF MOURNING
Prepared by Annie Schweitzer
Mahler, G. (1860-1911). Piano quartet in A
minor (1876). Idil Biret, piano; London String
Quartet members.
Finnadar SR 9035 11
The song of mourning (1878). Helena Dose,
soprano; Alfreda Hodgson, mezzo-soprano;
Robert Tear, tenor; Sean Rae, baritone; City of
Birmingham Ch A O; Simon Rattle, conductor.
CD EMI CDC 7 47089-2 65
10.30 CONCERT HALL
Prepared by Joan Nalder
Suppe, F. (1819-1895). Overture: Light Cavalry
(1866). Montreal SO; Charles Dutoit,
conductor.
Decca 414 408-1 7
Tchaikovsky, P. (1840-1893). Suite from The
sleeping beauty, ballet op 66 (1888-89).
Philadelphia O; Riccardo Muti, conductor.
HMV 27 0113-1 21
Mendelssohn, F. (1809-1847). Violin concerto
in E minor, op 64 (1844). Itzhak Perlman,
violin; Concertgebouw O; Bernard Haitink,
conductor.
HMV 27 0105-1 27
Beethoven, L. (1770-1827). Symphony no 2 in
D, op 36 (1801-02). Berlin PO; Herbert von
Karajan, conductor.
CD DG 415 505-2 31
12.00 THE SOUND OF JAZZ
Prepared and presented by Kevin Jones
More music beyond reproach from Mel Torme
and Rob McConnell and The Boss Brass
including a salute to a post-war ‘hit’ Cow cow
boogie, two ballads cleverly interwoven — A
handful of stars and Stars fell on Alabama —
and an Ellington medley (Mel Torme with Rob
McConnell and The Boss Brass, Concord
CJ306).
The Duke at Carnegie Hall from December 27,
1947 with then new material (The new look
later to be commercially recorded as Snibor)
and reworkings of such Ellington classics as
Blue serge and Harlem airshaft (The Duke
Ellington Carnegie Hall Concerts, Volume 4,
December 1947, Prestige P24075).
Carter-de Paull-Ray. Cow cow boogie (1986).
Lawrence-Shapiro. A handful of stars.
Parish-Perkins. Stars fell on Alabama.
Ellington-Mills. It don’t mean a thing if it ain't
got that swing.
Ellington-Russell. Do nothing till you hear
from me.
Ellington-Milis-Bigard. Mood indigo.
Strayhor, B. Take the A train.
Ellington-Mills-Parish. Sophisticated lady.
Ellington-Mercer-Strayhom. Satin doll.
Mel Torme; Rob McConnell; The Boss Brass.
(9 above)
Concord CJ 306
Strayhom, B. The new look (Snibor) (1947).
Ellington, M. Blue serge.
Ellington, D. Triple play; Harlem airshaft.
Ellington-Hodges. Wanderlust.
Ellington, D. Junior hop.
Ellington-Hodges. Jeep's blues.
Hodges, J. Squatty roo.
Ellington-Hodges. The mood to be wooed.
Duke Ellington and his Orchestra. (8 above)
Prestige P24075 (mono)
1.00 WEDNESDAY MATINEE
From the Steppes
Prepared and presented by Audrey Manning
Trad. The twelve robbers; In the dark forest;
Barynya. Glinka Academic Choir; Vladislav
Cherunshenko, conductor.
Melodiya C10 12051-2 12
Khandoshkin, L (1747-1804). Sonata no 3 in D
for solo violin (c1790). Grigori Feighin, violin.
Melodiya C10 08483-4 1
Glinka, M. (1804-1857). Variations on his own
theme (1824). Valery Kamyshov, piano.
Melodiya C10 08031-2
Hummel, J. (1778-1837). Piano concerto in C,
op 44. Pavel Kovac, piano; Bratislav CO;
Vlastimil Horak, director.
Schwann VMS 2098 42
Spohr, L. (1784-1859). Symphony no 3 in C
minor, op 78 (1828). Berlin Radio SO; Gerd
Albrecht, conductor.
Schwann VMS 1620 30
2MBS-FM PROGRAMME GUIDE JUNE 1987 37
3.00 HEARING THE DOTS
2MBS-FM PRODUCTION
Music from workshops of Sydney composers’
collective ‘Music Performed’.
Hiscocks, W. Toccata (1983). Mark McGee,
piano.
Barkl, M. (61958). Night words: The ravishing
(1984). Barbara Tree, contralto; Mark McGee,
piano. 5
Chin, S. (b1959). Letting Jesus in (1983). Mark
McGee, piano. 10
Thorn, B
Synergy.
. (61961). Esparto grass (1984).
3.30 A GERMAN REQUIEM
Prepared by Annie Schweitzer
Brahms, J. (1833-1897). A German requiem,
op 45. Jessye Norman, soprano; Jorma
Hynninen, baritone; London P Choir & O;
Klaus Tennstedt, conductor.
EMI 27 0313-1 81
5.00 EARLY EVENING CONCERT
Prepared and presented by Brendan Walsh
This programme is sponsored by UAP,
France’s national insurer, in the interests of
tosteving the diffusion of French language and
arts in Australia.
UAP
Offenbach, J. (1819-1880). Overture: Orpheus
in the Underworld. Berlin PO; Herbert von
Karajan, conductor.
CD Philips 400 044-2 10
Debussy, C. (1862-1918). Prelude to the
afternoon of a faun. Boston SO; Charles
Munch, conductor.
Time-Life STL 548 9
Faure, G. (1845-1924). Berceuse, from Dolly
suite. James Galway, flute; National PO;
Charlies Gerhardt, conductor.
RCA VRL1 7189 5
Berlioz, H. (1803-1869). A ball, from
Symphonie fantastique. Boston SO; Charles
Munch, conductor.
Time-Life STL 545 6
Sibelius, J. (1865-1957). Finlandia. Musique
Municipale de Compiegne; Guy Magny,
conductor.
Calliope CAL 1503 10
Dukas, P. (1865-1935). The sorcerers
apprentice. Swiss Romande O; Ernest
Ansermet, conductor.
Decca VIV 34 11
Offenbach, J. Overture on themes by
Offenbach: La vie Parisienne. Sydney SO;
Patrick Thomas, conductor.
Philips 410 377-1 5
Chabrier, E. (1841-1894). Fete polonaise, from
Le roi malgre iui. Swiss Romande O; Ernest
Ansermet, conductor.
Decca JB 10 9
Courtade, A. Le fanion de la victoire. Band of
First infantry Regiment of Republican Guard.
Barclay BA 215 3
Gounod, C. (1818-1893). Funeral march of a
marionette. Royal Opera House O; Alexander
Gibson, conductor.
Decca VIV 69 5
Walton, W. (1902-1983). Overture; Battle of
Agincourt, from the film Henry V. London FO;
Stanley Black, conductor.
Decca VIV 64 7
Bellini, V. (1801-1835). Casta diva, from
Norma. Joan Sutherland, soprano; Royal
Opera House Ch & O; Francesco Molinari-
Pradelli, conductor.
Decca SPA 598 5
Berlioz, H. Ballet music from The Trojans.
National PO; Richard Bonynge, conductor.
Decca 411898 10
Pierne, G. (1863-1937). March of the little
leaden soldiers. Paris O; Jean-Pierre
Jacquillat, conductor.
EMI 2C 069-12 848 3
Gounod, C. Waltz from Faust. Vienna GC.
Willi Boskovsky, conductor.
HMV ESD 1431721
7.00 THE JOY-A-JAZZ
Prepared and presented by Joya Jenson
Tenor Madness
The result of a meeting of two tenor titans is
heard tonight on the title cut from the Prestige
album Tenor madness (P7047). This extended
reading of the Sonny Rollins tune came into
being when Rollins was recording with pianist
Red Garland, bassist Paul Chambers and
drummer Philly Joe Jones, and in walked
John Coltrane, just to pay a visit. It was
decided that Trane should join Sonny for a
tenor battle, and the outcome is the 12-
minute-plus track from that historic 1950s
date.
8.00 OPERA OF THE MONTH
Prepared and presented by Audrey Manning
Thomas, A. (1811-1896). Mignon, opera in
three acts. Libretto by Michel Carre and Jules
Barbier, based on Goethe’s Wilhelm Meister's
Lehrjahr. First performed in Paris, Opera-
Comique, November 1866.
MIGNON: Marilyn Horne, mezzo-soprano
PHILINE: Ruth Welting, soprano
WILHELM: Alain Vanzo, tenor
LOTHARIO: Nicolai Zaccaria, bass
LAERTE: Andre Battedou, tenor
JARNO: Claude Meloni
FREDERIC: Frederica von Stade, mezzo-
soprano
ANTONIO: Paul Hudson
Ambrosian Opera Ch; Philharmonia O;
Antonio de Almeida, conductor.
CBS 79401
Synopsis
The action takes place in the late 18th
century, first in Germany, then in Italy.
Act I. The courtyard of a German inn. From a
balcony Philine and Laerte, members of a
troupe of itinerant thespians, watch a tribe of
gypsies in the courtyard. When Mignon
refuses to dance, Jarno — the gypsy chief —
beats her. Lothario, a wandering harpist
whose mind has been deranged by the loss of
his daughter, comes to her aid, as does
Wilhelm, a travelling student, who threatens
Jarno with a pistol. Jarno releases Mignon,
who presents flowers to her champions, at the
same time conceiving an ardent and
irresistible affection for Wilhelm.
Wilhelm describes to Laerte his carefree life
(Oui, je veux par la monde promener
librement). They are joined by Philine who
sets her cap at the carefree young student
(Essayons de nos charmes), then departs with
Laerte. Mignon reappears to thank Wilhelm
again. She tells him that she remembers
179
nothing of her childhood except that she was
abducted by gypsies, but dreams of a sunny
land where orange trees grow (Connais-tu le
pays?). Wilhelm pays Jarno for her freedom.
Lothario bids Mignon farewell. His reason has
gone, but instinctively he knows that his castle
is in Italy. He goes, he says, to the land
whither the swallows migrate. Mignon too,
would fly to the sunshine of the south
(Legeres hirondelles, oiseaux benis de Dieu).
Philine reappears with Frederic, her current
swain, whose uncle requests the artists to
perform in a grand celebration at his castle.
Philine invites Wilhelm to join them. Mignon
begs Wilhelm to let her accompany him as his
servant. Only when she threatens to travel
south with the near demented Lothario does
Wilhelm reluctantly agree. She dons boy’s
attire, and all depart for the festivities at the
neighbouring castle.
Act Il. Scene 1. An elegant boudoir in the
castle of Baron Rosenburg. Philine is
preparing for the performance of ‘A
Midsummer Nights Dream’. Mignon watches
with silent grief Wilhelm’s infatuation for
Philine. When they leaves she moves to the
dressing-table. Appalled at her drab
appearance, she applies Philine’s cosmetics
and dons one of her gowns. She too can be a
lady for Wilhelm (Je connais un pauvre
enfant). Struck by her beauty, Wilhelm realises
that he can no longer allow her to travel with
him and bids her a fond adieu (Adieu,
Mignon! Courage).
Scene 2. The grounds of the castle.
Desperately unhappy and unable to endure
the jealousy gnawing at her heart, Mignon
contemplates throwing herself into the nearby
lake. Lothario mistakes her for his long-lost
daughter. Mignon throws herself into his arms
in a transport of grief.
The performance ends and the assembly all
extols Philine who responds with the ever
popular polonaise ‘Je suis Titania’. Suddenly a
lurid glare illumines the scene. The half-
crazed Lothario has taken Mignon’s rash
imprecation seriously and set fire to the castle.
In the terrible confusion which follows,
Mignon is nowhere to be found. She had been
sent by Philine to fetch the flowers that
Wilhelm had given her (Mignon’s own
flowers!) Realising that it is Mignon he loves,
Wilhelm rushes wildly into the blazing
building. He reappears with Mignon in his
arms: she carries the faded flowers.
Act Ill. A gallery in the Cipriani castle on the
banks of an Italian lake. Here Lothario, whose
footsteps have somehow led him instinctively
to his old castle, has brought Wilhelm and the
desperately-ill Mignon. A barcarolle wafts up
from the lake as Lothario prays for Mignon’s
recovery (De son coeur, j'ai calme la fievre!).
Wilheim, while watching over the sick girl,
hears her call to him and realises that she
loves him. He reflects on his love for her (Elle
ne croyait pas). Mignon appears, finding the
castle vaguely familiar. She speaks of a feeling
of re-awakening. Wilhelm declares his love
(Ah! Que ton ame enfin), but at the sound of
Philine approaching, Mignon rejects him,
calling for Lothario in whom she can trust.
Lothario enters, dressed in magnificent
clothes, his reason restored in his own familiar
surroundings. He hands Mignon a box, telling
her the contents belonged to his daughter.
Mignon reads from the prayer book, but drops
the book and continues the prayer. Her
memory is awakened. Father and daughter
are re-united. Wilhelm is happy too, as he and
Mignon marry and live in the land where the
orange trees grow.
38 2MBS-FM PROGRAMME GUIDE JUNE 1987
11.30 WOODWARD PLAYS
SHOSTAKOVICH
Prepared by Bruce Roberts
Shostakovich, D. (1906-1975). 24 Preludes
and fugues, op 87 nos 8 to 12 (1950-51).
Roger Woodward, piano.
RCA CRL2 5100 28
Thursday 11
MIDNIGHT
12.00 STOPS/GAPS/MEASURES
Prepared and presented by Rik Rue
A programme which spans a wide range of
music and sounds, from regional
environmental works, text-sound and sound
experimentation to local and international new
music.
1.00 THE GARDEN OF ALLAH
A handful of bongos and a slice of bread? In
search of the lost treasures of the Garden of
Allah.
3.00 TILL DAWN
Classical music to dispel the darkness
6.00 EARLY MORNING MUSIC
Shorter works from the classical repertoire
with time calls in between
9.00 DINU LIPATTI
Prepared and presented by Bob Goodnow
These two recordings were made from radio
broadcasts in 1950. They are the last public
performances of this gifted Rumanian pianist.
These monaural recordings are remarkable in
quality, given that they were made by
amateurs who taped from their home radio
receivers.
Mozart, W. (1756-1791). Piano concerto no 21
in C, K467. Lucerne Festival O; Herbert von
Karajan, conductor.
Angel 35931 (mono) 29
Schumann, R. (1810-1856). Concerto in A
minor, op 54. Suisse Romande O; Ernest
Ansermet, conductor.
London STS 15176 (mono) 31
Dinu Lipatti, piano. (2 above)
10.00 CLARA
Prepared and presented by Bob Goodnow
Schumann, C. (1819-1896). First concerto in A
minor, op 7. Michael Ponti, piano; Berlin SO;
Hans Schmidt-Gertenbach, conductor.
Vox TV 331038 22
10.30 CONCERT HALL
Prepared by Jack Adams
Bach, J. S. (1685-1750). Brandenburg
concerto no 4 in G, BWV1049 (1718-20).
Academy of Ancient Music; Christopher
Hogwood, harpsichord and director.
CD L’Oiseau-Lyre 414 187-2 15
Mahler, G. (1860-1911). The song of the earth
(1911). Jessye Norman, soprano; Jon Vickers,
tenor, London SO; Colin Davis, conductor.
Philips 6514 112 68
12.00 WIND QUINTETS
Prepared by Bob Goodnow
Cambini, G. (1746-1825). Wind quintet no 3 in
F. Philadelphia Wind Quintet.
CBS AMS 6799 15
Danzi, F. (1763-1826). Quintet in B flat, op 56
no 1. Dorian Quintet.
Nonesuch H 71108 14
12.30 BRAHMS
Keyboard and choral
Prepared by Annie Schweitzer
Brahms, J. (1833-1897). 16 waltzes, op 39
(1866). Jean-Claude Pennetier, piano.
Harmonia Mundi HM 1093 20
Alto rhapsody, op 53 (1869). Waltraud Meier,
mezzo-soprano; London P Choir & O; Klaus
Tennstedt, conductor.
HMV 27 0313-3 15
Four Ballads, op 10: no 1 in D minor; no 2 in
D; no 3 in B minor; Ballad no 4 in B (1854).
Jean-Claude Pennetier, piano.
Harmonia Mundi HM 1093 29
Song of destiny, op 54 (1871). London P
Choir & O; Klaus Tennstedt, conductor.
HMV 27 0313-3 18
2.00 EIGHTEENTH-CENTURY ROOM
MUSIC
By courtesy of The Argus Music Company
{ARGUS}
Mozart, W. (1756-1791). Divertimento in C,
K188 (1776). Frantisek Cech, Lutobor Hlavsa,
flutes; Jiri Horak, Vaclav Junek, Josef Stuchly,
Stanislav Sejpal, Rudolf Lisy, trumpets; Petr
Sprunk, tympani.
Supraphon 1 11 1081/82 10
Piano trio in G, K564 (1788). Monica Huggett,
violin; Timothy Mason, cello; Linda Nicholson,
fortepiano.
Hyperion A 66125 19
Serenade no 10 in B flat, K361 (1781). Czech
Philharmonic Wind Ensemble.
Supraphon 1 11 1081/82 38
Divertimento in B flat, K254 (1776). Monica
Huggett, violin; Timothy Mason, cello; Linda
Nicholson, fortepiano.
Hyperion A 66093 26
Excerpts from The marriage of Figaro, K492
(1786; arr J. Wendt). Collegium Musicum
Pragense.
Supraphon 1111 3426 15
4.00 AUTUMN
A Season of the Spirit
Prepared by John O'Connor
Prokofiev, S. (1891-1953). Violin concerto no 2
in G minor, op 63 (1935). Kyung-Wha Chung,
violin; London SO; Andre Previn, conductor.
Decca/WRC R 06065
Bartok, B. (1881-1945). Piano concerto no 3 in
E (1945). Claude Helffer, piano; Monte Carlo
NO; Bruno Maderna, conductor.
Concert Hall SMS 2661 24
5.00 SOUNDS DELIGHTFUL
Prepared and presented by Ann Ramsay
Beethoven, L. (1770-1827). Symphony no 1 in
C, op 21 (1799-1800). Vienna PO; Leonard
Bernstein, conductor.
DG 410 836-1 27
Piano concerto no 1 in C, op 15 (1795-98).
Alfred Brendel, piano; London PO; Bernard
Haitink, conductor.
Philips 9500 252 39
The creatures of Prometheus, ballet music, op
43 (1802). New Philharmonia O; Otto
Klemperer, conductor.
EMI 29 0401-1 24
Ode to joy, from Symphony no 9 in D minor,
Choral (1817-23). Aase Nordmo Loevberg,
soprano; Christa Ludwig, mezzo-soprano;
Waldemar Kmentt, tenor; Hans Hotter,
baritone; Philharmonia Ch & O; Otto
Klemperer, conductor.
Angel S 36815 24
7.00 THE CLIFFORD BROWN ALL STARS
Prepared and presented by Martin Davidson
Coles. Coronado (1954).
Emarcy 32JD 90 18
Tizol, J. (1900-1984). Perdido (1954).
Emarcy 32JD 95 15
Coles. Coronade (1954).
Emarcy 32JD 94 20
Clifford Brown, trumpet; Herb Geller, Joe
Maini, alto saxophones; Walter Benton, tenor
saxophone; Kenny Drew, piano; Curtis
Counce, double bass; Max Roach, drums. (3
above)
8.00 THE TIPPETT PROJECT (3)
A Matter of Form
2MBS-FM Workshop
Tippett, M. (b1905). String quartet no 1 in A
(rev. 1943). Edinburgh Quartet.
EMI 1C 157-29 0228-3 21
Beethoven, L. (1770-1827). First movement of
Piano sonata in C sharp minor, op 27 no 2
Moonlight (1800-01). Daniel Barenboim,
piano.
HMV SMP PP47
Tippett, M. Piano sonata no 1 (rev. 1942).
John Ogdon, piano.
EMI EX 29 0228-3 21
Purcell, H. (1659-1695). Fantasias for viol
consort: no 8, Z739; no 9, Z740; no 10, Z741
(1680). London Baroque Ensemble.
EMI 1C 067-14 363-1 11
Beethoven, L. Grosse Fuge in B flat, op 133
(1825). Vermeer Quartet.
Telefunken 6.42982 17
Gibbons, O. (1583-1625). The silver swan
(1612). Consort of Musicke; Anthony Rooley,
director.
L’Oiseau-Lyre DSLO 512 1
Weelkes, T. (1575-1623). Cold winter's ice is
fled (1600).
Wilbye, J. (1574-1638). Adieu sweet Amaryllis
(1598).
Ambrosian Consort. (2 above)
HMV HQS 1080 4
Gibbons, O. How art thou thralled? (1612).
Consort of Musicke; Anthony Rooley, director.
L’Ciseau-Lyre DSLO 512 5
Tippett, M. String quartet no 2 (1941-42).
Amadeus Quartet.
N
Argo DA 34 (mono) 21
Iil
UI
2MBS-FM
THE MUSIC LOVERS’ STATION
2MBS-FM PROGRAMME GUIDE JUNE 1987 39
10.00 THANKS FOR THE MEMORY
Prepared and presented by Joe Neustatl
Lehar, F. (1870-1919). Gold and silver waltz.
Tonhalle O, Zurich; Franz Lehar, conductor.
Telefunken 6.42085 12
Steinbrecher, A. Under an umbrella at night.
Willi Forst; unnamed O; Michael Jary,
conductor.
Electrola 1C 178-31 408/09 3
Lohmann. Bavarian polka. Barnabas von
Geczy O.
Electrola 1C 134-32 423/24 5
Berlioz, H. (1803-1869). Song of the flea, from
The damnation of Faust. Tito Gobbi, baritone;
unnamed O; Oliviero di Fabritiis, conductor.
HMV RLS 738 5
Porter, C. (1891-1964). Night and day. Yehudi
Menuhin, Stephane Grappelli, violins; Alan
Clare Trio.
HMV OCSD 7708 4
Verdi, G. (1813-1901). In vano Alvaro, from La
Forza del Destino. Richard Tucker, tenor;
Robert Merrill, baritone; George Schick, piano.
Decca SKLA 7517/18 9
Stolz, R. (1880-1975). Schlaf ein, mein kleines
Sonnenkind. Richard Tauber, tenor.
Marcato 30612 3
Mendelssohn, F. (1809-1847). On wings of
song, op 34 no 2. Jascha Heifetz, violin;
Emanuel Bay, piano.
RCA 7863 54875 4
Ziehrer, C. (1843-1922). Echt Wienerisch.
Erich Kunz, baritone; Spilar Schrammein.
Philips 7186 036 3
Weiss-Sherman. Mother of the bride. Bette
Davis; unnamed O; Roger Webb, conductor.
EMI EMA 778 4
Lopez, F. Chic a chiquito, from Le cavalier
nor. Georges Guetary; unnamed O; M. van
Hoorebeke, conductor.
Pathe Marconi 2C 178 15414/15 4
11.00 3.9.1 CANNIBALE
20th-century classical/electronic musics, tape
c[ut]ollage, musique concrete, environmental/
industrial/other soundscapes, improvisation,
voice, text-sound poetry, experimental radio
plays/soundtracks, the interface of recent
sound/visual/performance art histories, and
occasional mal/practices in radio...
Un Poco Loco!: John Zorn
‘In [Zorn’s] performances and recorded works
can be found both the theories and practices
of his own highly anarchistic sense of musical
organisation.
‘A classically trained musician, his is still very
much the mind of the inquisitive child who
incorporates what he knows about the big
people into the world of imaginative games. In
his musical reality, battle tactics, popular
sports, and logical connectives are
transformed into practicable working
methods... Zorn’s idiomatic style of
saxophone, reed and bird-call playing has as
much to do with the blackout-sequence
structures of Road Runner cartoons as much
as it does with anything else. ..,
Carl Howard. Unsound Vol 2 No 3/4
V
2MBS-FM
THE MUSIC LOVERS’ STATION
hene = a hal
Friday 12
MIDNIGHT
12.00 PHRASEOLOGY
Prepared by Simon Hayman
An eclectic vision of aural space which
explores through individual musics and
soundscapes the world’s myths. This
discourse is offered as a point of departure for
the re-creation of an aural tradition and for the
pure enjoyment of the ever-changing acoustic
landscape.
1.00 NO SILENCE
An audio collage
Prepared by Chris Wade
Environmental recordings — here defined as
untreated recordings of locations in real time
— from the sound library of the Environment
Tape Exchange are combined with associated
musics, industrial and otherwise... real
sounds in an artificial context.
3.00 TILL DAWN
Classical music to dispel the darkness
6.00 EARLY MORNING MUSIC
Shorter works from the classical repertoire
with time calls in between
9.00 THE JUILLIARD QUARTET (2)
Prepared by Bob Goodnow
Mozart, W. (1756-1791). Quartet no 15 in D
minor, K421.
CBS M 337856 31
Beethoven, L. (1770-1827). Quartet no 1 in F,
op 18 no 1 (1801).
CBS D 37868 24
Ives, C. (1874-1954). Quartet no 2 (1913).
CBS MP 39752
Puccini, G. (1858-1924). | cristantemi.
CBS MP 39553 6
Juilliard Quartet (all above)
10.30 AUSTRALIAN CONCERT HALL
Prepared by Jack Adams
Mills, R. (b1949). Overture with fanfare (1981).
West Australian SO; Richard Mills, conductor.
ABC L 38547 11
Wagner, R. (1813-1873). Prelude to Act | and
Liebestod from Tristan and Isolde (1865).
Marilyn Richardson, soprano; Queensland
SO; Werner Andreas Albert, conductor.
ABC L 38640 17
Kodaly, Z. (1882-1967). Hary Janos suite, op
15 (1939-40). Melbourne SO; Hiroyuki Iwaki,
conductor.
ABC AO 7058 23
Wagner, R. Dich teure Halle from Tannhauser
(1845); Einsam in trueben Tagen from
Lohengrin (1850). Marilyn Richardson,
soprano; Queensland SO; Werner Andreas
Albert, conductor.
ABC L 38640 12
Respighi, O. (1879-1936). Brazilian
impressions (1928). Philharmonia O; Geoffrey
Simon, conductor.
CD Chandos CHAN 8317 19
12.00 THE GLORY OF VENICE
Bartolomeo Tromboncino
Prepared and presented by Elaine Hamilton
Tromboncino, B. (c1470-c1535). Non val aqua
al mio gran foco. 5
Ite in pace suspir fieri. 7
Alla guerra; Si e debile il filo. 6
Consort of Musicke; Anthony Rooley, lute and
director. (3 above)
L’Oiseau-Lyre DSLO 593
Ostinato vo seguire. Waverley Consort;
Michael Jaffee, director.
CBS M 36664
Ave Maria gratia plena; Se ben hor non
scopra el foco; Che debo far. Consort of
Musicke; Anthony Rooley, lute and director.
L’Oiseau-Lyre DSLO 593
Virgine bella. Waverley Consort; Michael
Jaffee, director.
CBS M 36664 3
Ave Maria regina; Deh si deh non deh si.
Consort of Musicke; Anthony Rooley, director.
L’Oiseau-Lyre DSLO 593 6
lo son l’occello. Musica Reservata; John
Becket, conductor.
N
Argo ZRG 602 3
Hor chel ciel e la terra; Stavasi amor. 3
Vale diva, vale in pace. 5
Consort of Musicke; Anthony Rooley, lute and
director. (2 above)
L’Oiseau-Lyre DSLO 593
1.00 GREAT BRITTEN
Prepared by Nicole Aristidis
Britten, B. (1913-1976). Seven sonnets of
Michelangelo, op 22 (1940). Michael Sells,
tenor; Evan Solomon, piano.
TR TRC 117 18
Young Apollo, op 16 (1939). Felix Kok,
Jeremy Ballard, violins; Peter Cole, viola;
Michal Kaznowski, cello; Peter Donohue,
piano; City of Birmingham SO; Simon Rattle,
conductor.
HMV ASD 4177
Serenade, op 31 (1943). Peter Pears, tenor;
Barry Tuckwell, horn; London SO; Benjamin
Britten, conductor.
Decca SXL 6449 23
The sycamore tree (1930). Wilbye Consort;
Peter Pears, director.
Decca SXL 6847
œ
N
2.00 DAVIS CONDUCTS SIBELIUS
Prepared and presented by Ray Byron
Sibelius, J. (1865-1957). Finlandia, op 26
(1899). 8
Symphony no 3 in C, op 52 (1907). 29
Tapiola, op 112 (1925). 18
Symphony no 6 in D minor, op 104 (1923). 24
Philips 6709 011
Boston SO; Colin Davis, conductor. (all
above)
3.30 HALF AN HOUR WITH JOAN
SUTHERLAND
Prepared and presented by Ray Byron
Verdi, G. (1813-1901). Gualtier Malde... caro
nome from Rigoletto (1851). Royal Opera
House Ch & O; Francesco Molinari-Pradelli,
conductor. 6
Merce, diletti amiche from | Vespri Siciliani
(1854). Paris Conservatoire O; Nello Santi,
conductor.
2MBS-FM PROGRAMME GUIDE JUNE 1987
Delibes, L. (1836-1891). Ou va la jeune
indoue? from Lakme (1883). Royal Opera
House Ch & O; Francesco Molinari-Pradelli,
conductor. D
Decca DTS 571/2 (3 above).
Handel, G. (1685-1759). With plaintive note
from Samson (1743). Hubert Dawkes,
harpsichord; New SO of London; Richard
Bonynge, conductor.
Decca SDDA 317 5
Offenbach, J. (1819-1880). Barcarolle from
The tales of Hoffmann (1881). Huguette
Tourangeau, contralto; Swiss Romande
Ch & O; Richard Bonynge, conductor.
Decca DTS 571/2 4
Joan Sutherland, soprano (all above)
4.00 SWAN LAKE
Prepared by Jeff Scholer
Tchaikovsky, P. (1840-1893). Swan lake, ballet.
Boston SO; Seiji Ozawa, conductor.
DG 2531 179/81 144
6.30 WIND QUINTETS
Prepared by Bob Goodnow
Roussel, A. (1869-1937). Divertissement. Los
Angeles Wind Quintet.
Orion ORS 7263 6
Francaix, J. (b1912). Quintet (1948). Dorian
Quintet.
Turnabout 34507 20
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.
Organist, Richard ‘Groove’ Holmes, violinist,
Stephane Grappelli with vibist, Gary Burton,
‘Philly’ Jo Jones Quartet, and singer, Maree
Montgomery.
8.00 REMOTE ROMANTICS
Prepared and presented by Max Keogh
Reger, M. (1873-1916). Ballet suite, op 130.
Bavarian Radio SO; Colin Davis, conductor.
Orfeo 5090 841A
d'Albert, E. (1864-1932). Cello concerto in C,
op 20. Christoph Henkel, cello; Berlin Radio
SO; Jiri Starek, conductor.
CD Schwann 11628 23
Raff, J. (1822-1882). Symphony no 5 in E, op
177 Lenore. London PO; Bernard Herrmann,
conductor.
Unicorn 209 56
10.00 MUSICKE OF SUNDRIE KINDES
The Lawes Brothers
Lawes, W. (1602-1645). Sett no 3 in F.
L’Oiseau-Lyre DSLO 560 13
Lawes, H. (1596-1662). Sweet, stay awhile;
Amintor’s welladay.
Hyperion A 66135 5
Consort of Musicke; Anthony Rooley, director.
(2 above)
Lawes, W. Triumph of peace. 1
Coperario, G. (1575-1626). Grayes Inn. 2
Linde Consort.
EMI/Reflexe IC 063-30 105. (2 above)
Lawes, H. The anglers song: Man’s life is but
vain; Ha
…[truncated]