Christopher Stone presents the opera Simon Boccanegra by Verdi. This opera underwent many revisions because of its convoluted plot, which was difficult to follow. But that is beside the point, for the music is all-important. The highlights include Il lacerato spirito, Sento avvampar nell’anima, Come in quest’ora bruna and Plebe! Patrizi!, among many others. The plot concerns love, loss and reconciliation, serving as an allegory for a divided Italy longing for unity. Peace can be achieved when broken bonds are mended. Piero Cappuccilli – baritone Mirella Freni – soprano Nicolai Ghiaurov – bass José Carreras – tenor Chorus and Orchestra of La Scala, Milan Claudio Abbado – conductor

Christopher Stone’s first offering is one of Bartók’s least characteristic works. Two Pictures, Op. 10, is an early work that shows Bartók’s absorption in the French Impressionistic idiom typical of Debussy, revealing a temporary wavering of the composer’s own powerful Hungarian instincts. Still, this is a very interesting diptych, presented by the Detroit Symphony Orchestra conducted by Antal Doráti. Within Benjamin Britten’s Symphony for Cello and Orchestra, there is a democratic sharing of musical material between the orchestra and the soloist, rather than the conflict implied by the traditional concerto. Mstislav Rostropovich and the English Chamber Orchestra, conducted by the composer, give an overwhelming performance of one of Britten’s finest scores. Stravinsky’s ballet The Rite of Spring represents a significant departure from the musical conventions that had existed since the seventeenth century. It is a savage exultation of welcome to the season of spring by a brutal primitive society. It broke all the rules at its premiere but today is considered a foundational example of musical modernism. Georg Solti conducts the Chicago Symphony Orchestra in the performance we will hear. Since Prokofiev’s Scythian Suite, which originated as music for a prehistoric ballet, was rejected by Nijinsky, Prokofiev thought the music was worth saving and reworked it as a concert suite. It scandalised and delighted audiences when it was premiered in 1916. This final musical offering will be presented by the London Philharmonic Orchestra, conducted by Walter Weller.

Keith Hempton begins with Sir Arthur Sullivan’s overture to his incidental music for Shakespeare’s Macbeth. Sullivan is not usually known for tragedy in his music, but there is a barbaric ring to this overture that convincingly transports the listener to a bleak landscape and a warlike, brutal age. Charles Mackerras conducts the BBC Symphony Orchestra. Works by the thoughtful, introspective Erik Satie in the hands of pianist Philippe Entremont are sublime. Entremont plays two Sarabandes and a Nocturne by Satie. The Hilliard Ensemble presents Veni Creator Spiritus, a hymn set to a Gregorian chant by the revolutionary twelfth-century pioneer of polyphony, Pérotin. The famous Chaconne is the final movement of Bach’s wistful Partita in D minor, BWV 1004. You will not be disappointed by this complete performance of the Partita by Jascha Heifetz, the leading figure among the extraordinary group of Russian Jewish violinists who dominated violin playing during the second and third quarters of the twentieth century. Symphony No. 104 in D major reflects the culmination of Joseph Haydn’s symphonic development. The Royal Concertgebouw Orchestra is conducted by Nikolaus Harnoncourt, who was renowned for his scholarly approach to the score and his deep understanding of the composer’s intentions. Finally, The True Samaritan consists of four unaccompanied motets by Nigel Butterley, one of Australia’s finest composers and well known for his choral writing. The Contemporary Singers are directed by Antony Walker.

John Pederson features the Queensland Symphony Orchestra in each of the works in this program. The first is Mendelssohn’s Hebrides Overture, Op. 26, also known as Fingal’s Cave, inspired by the famous sea cave on the Scottish island of Staffa, which Mendelssohn visited during one of his many excursions to Britain. Wilfred Lehmann conducts the Queensland Symphony Orchestra. ‘Psyche, Op. 33’ by Louis Vierne, with its delicate orchestration, was described by one prominent critic as ‘a great melody’. Steve Davislim (tenor) performs with the Queensland Symphony Orchestra, conducted by Guillaume Tourniaire. Rodrigo’s Concierto Madrigal sparkles as its ten romantic movements resonate with the constant presence of the Renaissance madrigal ‘O happy eyes of mine’. This work is great fun and very beautiful when played by Slava Grigoryan (guitar), Leonard Grigoryan (guitar) and the Queensland Symphony Orchestra, conducted by Brett Kelly. Tchaikovsky’s iconic ‘Letter Scene’ from his tragic opera Eugene Onegin will be sung by soprano Cheryl Barker, accompanied by the Queensland Symphony Orchestra conducted by Guillaume Tourniaire. Robert Helpmann’s one-act ballet Miracle in the Gorbals, to a score by Arthur Bliss, became a staple of the Royal Ballet for many years. A milestone, it brought to the stage a heady mix of realism, melodrama and religion that captured the imagination of a generation of ballet lovers. Christopher Lyndon-Gee conducts the Queensland Symphony Orchestra. Finally, the Queensland Symphony Orchestra, conducted by Patrick Thomas, presents Margaret Sutherland’s Concerto for String Orchestra.

Seraphim Trio is one of Australia’s most acclaimed chamber music groups. Formed in Adelaide in 1995, it has become one of the country’s leading ensembles. Keith Hempton presents two works performed by the Seraphim Trio: (i) Beethoven – Piano Trio in B-flat, Op. 11, an early work composed in 1797 and also known as the ‘Gassenhauer Trio’. (ii) Smetana – Piano Trio in B minor, Op. 15, which was greatly admired by Franz Liszt and received a very warm reception when it was premiered in Sweden. Since then, it has become a mainstay of the repertoire. Two very enjoyable, approachable works.

Ian Johnston presents three works by the little-known Nicolò Jommelli, who died on this day, 25 August 1774. Jommelli was a prolific and innovative opera composer whose works focused on dramatic storytelling rather than technical display. We will listen to the following works composed by Jommelli: (i) The Periodical Overture (ii) Flute Concerto in D major (iii) Missa pro defunctis in E-flat major A treasury of great works by an unjustly neglected composer.

Michael Owen commences with the Concerto for Strings in G major, Op. 6 No. 1, by Giuseppe Torelli (1658–1709), who spent most of his musical career in Bologna and was an important developer of the Baroque concerto. This opening work will be presented by the St James Baroque Players. The Helsinki Baroque Orchestra is a shining star of Finland’s musical life. It will present the Double Concerto, Op. 4, No. 2, by Johan Agrell, a brilliant late-Baroque German-Swedish composer. Later in the program, the Helsinki Baroque Orchestra performs Agrell’s Oboe Concerto in B major. Handel’s Trio Sonata in G major, HWV 399, performed by Ironwood, needs no introduction. The Concerto Grosso in G minor (after Corelli) and the Cello Sonata in D minor by the Italian-born, London-based Francesco Geminiani are also featured in the program. The Sonata Prima in D major by the little-known violin virtuoso [composer’s name] has been described as ‘exciting stuff’. It will be performed by Helene Schmidt et al. The final highlight in the program is a performance of the Overture in G major for three oboes, strings and basso continuo by the Freiburger Barockorchester.

David Brennan celebrates works featuring the great conductor and pianist Wolfgang Sawallisch. His wife, Mechthild, was a celebrated singer who later became his manager. Works featured in this program include: (i) Richard Strauss – Gavotte for piano, AV 57 (ii) Richard Strauss – Allerseelen, Op. 10 No. 8 (iii) Mozart – Violin Concerto No. 3 in G major, K. 216 (iv) Brahms – Heimweh I–III, Op. 63, Nos. 7–9 (v) Richard Strauss – Capriccio – Morgen mittag um elf!