David Brennan begins with the powerful Serenata Concertante for Violin and Orchestra by Elizabeth Maconchy. Elizabeth Maconchy was mentioned in Anna Beer’s book ‘Sounds and Sweet Airs: The Forgotten Women of Classical Music’. The brass section of this work by this unfairly neglected composer is particularly exciting. Violinist Manoug Parikian accompanies the London Symphony Orchestra conducted by Vernon Handley. Nigel Westlake adapted his ‘Antarctica Suite’, a popular piece which requires little introduction, as a stand-alone piece from his music for the IMAX documentary film ‘Antarctica’. Guitarist Slava Grigoryan will present it with the Melbourne Symphony Orchestra, conducted by the composer. Bartók’s interest in the Baroque is demonstrated in his Piano Concerto No. 1 by his increased use of counterpoint, however, the work retains the harshness and dissonance one would expect from this composer. Stephen Kovacevich’s explosions of fury are unmatched, and his partnership with Colin Davis, conducting the London Symphony Orchestra, is fiery and energetic. The Violin Concerto No. 4 by Grażyna Bacewicz testifies to the composer’s strong attachment to tradition, but this classical form does not prevent this sparkling work from demonstrating a great wealth of virtuosity from various trills, tremolos, glissandos and fast passages. Violinist Joanna Kurkowicz accompanies the Polish Radio Symphony Orchestra conducted by Łukasz Borowicz. Finally, the concise Saxophone Concerto, composed in 2017 by Scottish composer James MacMillan, draws on typical elements of Scottish traditional music. It was composed partly on a commission from the Adelaide Symphony Orchestra. It will be presented by the Australian soprano saxophonist Amy Dickson with the Adelaide Symphony Orchestra, conducted by Nicholas Carter.

Suzanne Pederson begins with a beautiful complete performance of Bach’s Musical Offering BWV1079 by the Academy of St. Martin in the Fields conducted by Neville Marriner. It may be a modern performance, but Stokowski proved that Bach is transcendent. It is just as enjoyable as Jordi Savall’s period instrument version with Le Concert des Nations. Both versions are equally fine to listen to again and again. Buxtehude’s Aria – More Palatino – 12 Variations has been described as light, secular and entertaining. It will be played by the acclaimed harpsichordist Jacqueline Ogeil. Thomas Arne’s eight overtures belong to a tradition of turning vocal works from the stage into works for concert use. They also helped widen his appeal. Arne’s Overture No. 8 in G minor will be presented by the Academy of Ancient Music, conducted by Christopher Hogwood. Unlike his previous Books of Madrigals, Monteverdi’s Seventh Book, titled ‘Concerto’, is experimental and heterogeneous, renouncing the classic 5-voice set-up. The Purcell Consort of Voices is directed by Grayston Burgess. Following on from this Giuliano Carmignola’s violin playing, dances, sings and invents in the most natural ‘authentic’ manner when he is accompanied by the Venice Baroque Orchestra conducted by Andrea Marcon in the performance of the Violin Concerto in G major Op. 3 No. 9 by Pietro Locatelli. Lastly, the Adelaide Baroque Ensemble, Musica Da Camera, performs a Concerto by Alessandro Scarlatti.

John Pederson opens his program with Friedrich Kiel, a composer unjustly ignored for more than 100 years. Kiel enjoyed the tonal world of the Romantic Period in the 1860s when he composed his Piano Quartet in A major, Op. 43, which will be presented by Ulrik-Anima Mathe, violin Hariolf Schlichtig, viola Xenia Jankovic, cello Oliver Triendl, piano Tchaikovsky harks back, in part, to the Classical Period in his String Quartet No. 1 in D major, Op. 11. The melancholic slow movement, Andante Cantabile, has stood the test of time as a stand-alone piece. The Borodin Quartet will present this popular work. Liszt encouraged Smetana to revise and finally complete his Piano Trio Op. 15, which became a huge success at its premiere in Sweden. Trio Wanderer will perform it. Lastly, Mozart’s Oboe Quintet in C minor K406, which we will hear, is an arrangement of the composer’s String Quintet No. 2, which, in turn, is an arrangement of the C minor Wind Octet K388. Wind Serenades were often forgotten once the occasion for which they were written had passed; hence Mozart saw the need to make many arrangements of the work in its original form. It was well worth the trouble, because it is heard today as a very enjoyable work. Max Artved, oboe Elise Batne, violin Tue Lautrup, violin Dimitri Golovanov, viola Lars Holm Johansen, cello

Keith Hempton presents five wonderful works beginning with Purcell’s ‘In Guilty Nights’ – Pavans, in which the Israelite leader Saul has proved himself unreliable in his devotion to God. ‘In Guilty Night’ is a theatrical work in which the ghost of Samuel, Saul’s predecessor, appears, irate with his disapproval of Saul and four string Pavans, beautifully played, set the mood for the anthems that follow them. Andrew Parrott directs Soloists with the Taverner Consort. The next work is another winner! Deserving of the highest praise is John Williams’s rendition for guitar of the Lute Suite in C minor, BWV 997, by J.S. Bach. Music should not be played only on the instrument it was written for. Beethoven’s String Quartet in F minor, Op. 95, “Serioso,” which marks the transition between the middle period and the late period, will be presented by the Goldner String Quartet. Harriet Steinke from Michigan holds two graduate degrees in musical composition from the Yale School of Music. One of her recent works is the delightful composition ‘Rituals’, which will be performed by Lloyd Van’t Hoff (clarinet) and Lisa Moore (piano). And finally, baritone Bryn Terfel, accompanied by the pianist Malcolm Martineau, will sing four lieder by Schubert.