3:00 CLASSICAL TILL DAWN
A MUSICAL POTPOURRI
Prepared by Stephen Wilson
Kabalevsky, D. Overture to Colas Breugnon, op 24 (1938). Russian NO/Mikhail Pletnev.
Newton 8802037 6
Clementi, M. Symphony no 3 in G, Great National. Philharmonia O/Francesco d'Avalos.
ASV DCS 247 30
Arensky, A. Piano trio no 1 in D minor, op 32 (1894). Australian Trio.
ABC 476 123-1 32
Brahms, J. Alto rhapsody, op 53 (1869). Janet Baker, mezz; London Symphony Ch; City of London Sinfonia/Richard Hickox.
Virgin VC 7 91123-2 14
Hill, A. Violin concerto (1932). Alwyn Elliott, vn; Sydney SO/Joseph Post.
LP WRC RO 2596 23
Rachmaninov, S. Variations on a theme of Chopin, op 22 (1903). Adam Herd, pf.
Master Performers MP 004 26
Rameau, J-P. Ballet music from Hippolyte et Aricie (1733). Les Arts Florissants/William Christie.
Erato 3984-26129-2 20
Berwald, F. String quartet no 3 in E flat (1849). Yggdrasil Quartet.
BIS CD-759 22
Sor, F. Étude, op 6 no 2. Goran Krinokapic, gui.
Naxos 8.570502 1
6:00 FINE MUSIC BREAKFAST
including Arts Calendar at 7.30am
with Troy Fil
9:00 DIVERSIONS IN FINE MUSIC
Prepared by Jennifer Foong
Gossec, F-J. Symphonie à 17 parties (1809). Swiss-Italian RO/Wolf-Dieter Hauschild.
Naxos 8.554750-51 28
Suite from Sabinus. Les Agrémens/Guy van Waas.
MBF 1108 10
Symphonie concertante in D. Lily Laskine, hp; Odette Le Dentu, hp; Jean-François Paillard CO/Jean-François Paillard.
Erato 0630-13705-2 12
Motet for the feast of St Louis. Kareen Durand, sop; Cyril Auvity, ct; James Oxley, ten; Alain Buet, bar; Namur Chamber Choir; Les Agrémens/Jean-Claude Malgloire.
MBF 1108 16
Sinfonia à più stromenti in C minor, op 6 no 3 (c1762). Concerto Köln/Werner Ehrhardt.
Capriccio C8019 14
10:30 CONCERT HALL
Prepared by Michael Field
Brahms, J. Tragic overture in D minor, op 81 (1881). Royal Concertgebouw O/Nikolaus Harnoncourt.
Radio Nederland RCO11004 14
Czerny, C. Grand concerto in A minor, op 214 (1830). Rosemary Tuck, pf; European CO/Richard Bonynge.
Naxos 8.573417 31
Dvorák, A. Symphony no 7 in D minor, op 70 (1885). Gothenburg SO/Myung-Whun Chung.
BIS CD-452 38
12:00 JAZZ SKETCHES
with Robert Vale
13:00 FLORENCE AUSTRAL
50th anniversary of her death
Prepared by Paul Cooke
Wagner, R. Todesverkundigung, from The Valkyrie, 86b (1854-56). Florence Austral, sop; Walter Widdop, ten; London SO/Albert Coates.
Larrikin LRH 453 13
Hart, F. The bell-bird, from Five songs to text by William Sharp, op 64 (1927). Merlyn Quaife, sop; Michael Kieran Harvey, pf.
Tall Poppies TP155 2
Weber, C.M. Ocean, thou mighty monster, from Oberon (1826). Florence Austral, sop; Royal Opera House O/John Barbirolli.
Larrikin LRH 453 8
Chaminade, C. Concertino in D, op 107 (1902). John Amadio, fl.
ABC 476 3660 5
Spohr, L. Rose softly blooming, from Zemir et Azor (1818-19). Florence Austral, sop.
Larrikin LRH 453 3
Wagner, R. Starke Scheite, from Götterdämmerung (1869-74). Birgit Nilsson, sop; Sydney SO/Charles Mackerras.
ABC 476 595-7 19
14:00 IN CONVERSATION
with Michael Morton-Evans
15:00 RICHARD STRAUSS EXPLORED
Prepared by Michael Morton-Evans
Strauss, R. Death and transfiguration, op 24 (1888-89). Vienna PO/Fritz Reiner.
Decca 480 5006 24
Prelude to Act I of Guntram, op 85 (1893). Berlin Opera O/Christian Thielemann.
DG 449 571-2 12
Till Eulenspiegel’s merry pranks, op 28 (1894-95). Berlin PO/Herbert von Karajan.
DG 474 281-2 16
16:00 FINE MUSIC DRIVE
including Arts Calendar at 5.00pm
with Tom Forrester-Paton
19:00 JAZZ STARS AND STRIPES
with Peter Mitchell
20:00 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.
22:30 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