3:00 NIGEL WESTLAKE: ACCENT ON RHYTHM
Prepared by Frank Langley
Westlake, N. Omphalo centric lecture (1984). Michael Askill, mar.
Tall Poppies TP 047 9
Moving air (1989). Synergy, perc.
Vox Australis VAST 001-2 5
Malachite glass (1990). Nigel Westlake, bass cl; Synergy, perc.
Tall Poppies TP 047 11
J.S. BACH: THE GREATEST COMPOSER
Bach, J.S. Chaconne, from Partita in D minor, BWV1004 (1720). Nathan Milstein, vn.
DG 457 701-2 14
Symbolum nicenum, from Mass in B minor, BWV232 (c1747-49). Gächinger Kantorei Stuttgart; Bach Collegium Stuttgart/Helmuth Rilling.
CBS M2YK 45615 38
Prelude and fugue in E flat, BWV852, from The well-tempered clavier, bk 1. Rosalyn Tureck, pf.
DG 463 305-2 7
GREAT STRING PLAYERS
Sor, F. Six divertimenti, op 1 (c1810). Norbert Kraft, gui.
Naxos 8.554196 16
Bach, J.S. Suite no 1 in G, BWV1007 (1720). David Pereira, vc.
Tall Poppies TP 144 21
Giuliani, M. Grand sérénade, op 82 (pub. 1817). Nora Schulman, fl; Norbert Kraft, gui.
Naxos 8.55456 18
Albéniz, I. Mallorca, op 202 (pub. 1890; arr. Kraft). Norbert Kraft, gui.
Chandos CHAN 8890 7
Brahms, J. Six songs (1896). David Pereira, VC; David Bollard, pf.
Tall Poppies TP 078 15
Sor, F. Étude, op 6 no 2. Goran Krivokapic, gui.
Naxos 8.570502 1
6:00 SUNDAY MORNING MUSIC
with Robert Small
9:00 THE SYMPHONY
Sydney Symphony Orchestra
Presented by Marilyn Schock
Rachmaninov, S. March, from Five études tableaux (1917; orch. Respighi, 1930). Sydney SO/Vladimir Ashkenazy.
Exton EXCL-00018 4
Berlioz, H. Overture: Roman carnival, op 9 (1844). Sydney Green, cora; San Diego SO/Yoav Talmi.
Naxos 8.550999 9
Gershwin, G. Cuban overture (1932). Sydney SO/Edo de Waart.
ABC 462 013-2 11
Gross, E. Song of the Darling River; The shearers dream; Address to a toothache; Epitaph on holy Willie (1970). Alan LIght, bass; Sydney SO/Eric Gross.
Jade JADCD 1039 12
Fischer, E. South of the Alps suite. Sydney SO/Patrick Thomas.
ABC 476 4565 15
Ippolitov-Ivanov, M. Caucasian sketches, suite no 2, op 42, Iveria (1896). Sydney SO/Christopher Lyndon-Gee.
Marco Polo 8.220369 24
Goossens, E. Symphony no 2, op 62 (1942-4). Sydney SO/Vernon Handley.
ABC 476 7632 38
11:00 THE MAGIC OF STAGE AND SCREEN
Prepared by Sue Jowell
Broadway divas on screen
12:00 SUNDAY SPECIAL
Alma Moodie, Part 1: The lost virtuoso
Prepared by James Nightingale
Bach, J.S. Ciaccona, from Partita no 2 in D minor, BWV1004 (1720). Richard Tognetti, vn.
ABC 476 805-1 14
Hindemith, P. Kammermusik no 4, op 36 no 3 (1925). Dene Olding, vn; Queensland SO/Werner Andreas Albert.
cpo 999 527-2 20
Stravinsky, I. Suite from Pulcinella (1925). Anthony Marwood vn; Thomas Adès, pf.
Hyperion CDA67723 16
Pfitzner, H. Violin concerto in B minor, op 34 (1925). Susanne Lautenbacher, vn; Philharmonia Hungarica/Günther Wich.
LP Candide CE 31026 34
Beethoven, L. Sonata no 5 in F, op 24, Spring (1800-01). Dene Olding, vn; Max Olding, pf.
ABC 432 699-2 23
14:00 AT THE OPERA
Prepared by James Nightingale
Bartók, B. Duke Bluebeard’s castle, op 11. Opera in one act. Libretto by Béla Balázs. First performed Budapest, 1918.
BLUEBEARD: Walter Berry, bass
JUDITH: Christina Ludwig, mezz
London SO/István Kertész.
Decca 478 6420 59
Duke Bluebeard brings his new wife Judith to his deserted castle, and its room with seven locked doors. She begs him for the key of each door in succession, opening them to reveal his torture chamber, armoury, treasury, garden, kingdom, all spattered with blood. Still believing in his love, she opens the seventh door where she finds his three previous wives. Bluebeard exultantly declares they embody morning, afternoon and evening and Judith represents midnight, deep and absolute darkness. The door closes behind her.
Goossens, E. Judith, op 55. Opera in one act. Libretto by Arnold Bennett. First performed London, 1929.
JUDITH: Pearl Berridge, sop
HOLOFERNES: Raymond Myers, bar
BAGOAS: Ronald Dowd, ten
ACHIOR: Grahame McIntosh, bar
HAGGITH: Helen McKinnon, mezz
Sydney SO/Patrick Thomas.
HMV SLS 3002/2 1:13
Outside of the city of Bethulia, the Assyrian army camp besieges the gates. Achior, a captain in Holofernes’ army, warns the general that he should not underestimate the people of Judea and is tied to a stake for his insolence. Judith and Haggith enter the camp of Holofernes. They meet and free Achior before encountering the Chief Eunuch, Bagoas. Judith tells Bagoas that she has a message for Holofernes but will only tell it to him to his face. Suspicious of Judith but intrigued by her beauty, Bagoas attempts to forestall a meeting but Holofernes appears and demands to see the Hebrew woman, the rumour of whose beauty has swept through the camp. At this point Holofernes realises that Achior is gone. Judith admits that she let him go and Holofernes orders her to be bound. But after tying her up, he relents and frees her. Judith tells him she has a message for his ears only. Gradually, Holofernes becomes further intrigued by Judith’s beauty and orders that she be brought to his tent. After he welcomes her to his tent, Holofernes leaves to go to a meeting of his captains. Judith takes this opportunity to go outside and pray to her God. On his return Holofernes demands to know where Judith has gone. Haggith says that she has gone to pray and soon Judith returns. Holofernes orders Bagoas to bring wine and food but Judith will only eat the food she has brought herself. After the meal, Holofernes requests dancers and a slow ballet begins. Holofernes becomes uneasy and orders a wild dance. All this time Judith has been giving him more wine and feigning to drink herself. After the dancers leave, Judith tells Holofernes that God has shown her his victory over the whole of Judea. Pleased at this news, he pledges that Judith will be by his side as they take Jerusalem and that he will convert to Judaism. They kiss and fall onto the bed. Holofernes, however, is now so drunk that he passes out. Judith seizes the knife and kills him, cursing him for defiling Judea and dishonouring her with his kisses. She orders Haggith to place the decapitated head in her bag and they leave as the curtain falls.
16:30 THE SILENCE WITHIN
Prepared by Miranda Luo
Vasks, P. Concerto no 2, Presence (2012). Sol Gabetta, vc; Amsterdam Sinfonietta/Candida Thompson.
Sony 88725423122 35
Ten Holt, S. Tableau IV 140-147, from Incantatie IV (1987-90). Jeroen van Veen, pf; Sandra van Veen, pf; Tamara Rumiantsev, pf.
Brilliant Classics 94918 7
Tavener, J. My gaze is ever upon you. BT Scottish Ensemble/Clio Gould.
Linn CKD 085 19
Messiaen, O. Abîme des oiseaux, from Quartet for the end of time (1939). Paul Meyer, cl.
Denon CO-78917 7
Routley, N. Sanctus (1995). Sydney Chamber Choir; Ian Cleworth, perc; Alison Eddington, perc; Nicholas Routley, cond.
Fine Music concert recording 11
18:00 IN A SENTIMENTAL MOOD
with Maureen Meers
Nostalgic music and artists from the 30s, 40s and 50s and occasionally beyond, in a trip down many memory lanes
19:00 JAZZ IN CONCERT
Diana Krall in Paris
with Jeannie McInnes
20:00 CLASSICAL JUKEBOX
with Randolph Magri-Overend
21:00 SUNDAY NIGHT CONCERT
Prepared by Gerald Holder
Dukas, P. Ballet: La péri (1912). New York PO/Pierre Boulez.
Sony SMK 68 333 19
Sammartini, G. Recorder concerto in F. Conrad Steinmann, rec; Ensemble 415/Chiara Banchini.
Harmonia Mundi HMA 1901245 12
Handel, G. Incidental music from The alchymist, HWV43 (1710). Michael Borgstede, hpd; Musica ad Rhenum/Jed Wentz.
Brilliant Classics 94600 19
Haydn, J. Symphony in D, Hob.I:31, Hornsignal (c1765). Academy of Ancient Music/Christopher Hogwood.
L’Oiseau-Lyre 430 082-2 32
22:30 ULTIMA THULE
Ambient and atmospheric music