John Pederson presents three monumental works. Despite Schubert’s failing health and mood swings the Piano Trio No 1 in B flat major D.898, Op 99 (1828), completed during the last year of his life, is a radiant large scale work. As Robert Schumann stated, ‘one glance at this work and our troubles disappear and all the world fresh and bright again.’ Natalie Chee, violin Clancy Newman, cello Kathryn Selby, piano Sergey Taneyev was a perfectionist who proceeded cautiously when composing. Consequently his compositions were met with respectful admiration by the public and the critics. The captivating Adagio from the String Quartet No 4 in A minor Op 11 (1899) is beautiful proof that Taneyev had masterfully succeeded in fusing construction and emotion. This String Quartet will be played by the Carpe Diem Quartet. Erich Korngold’s Suite for Left Hand Piano and Strings, Op 23 (1930) was commissioned by Paul Wittgenstein, a concert pianist, who lost his right arm in the First World War. The powerful first bars of the work provide plenty of evidence that this is a creative force to be reckoned with. A Baroque Suite usually consists of movements based around dance forms but, in the hands of Korngold, Baroque trappings are cast aside and he goes for a monumental style. The virtuosic piano solo at the beginning of the work is the start of a tour from the Baroque to the 20th century. Kyell Lysell, violin Ulf Forsberg, violin Mats Lidstrom, cello Bengt Forsberg, piano

Philip Virgo brilliantly begins with a marvellous, gold standard performance of Haydn’s Sinfonia Concertante with Helmut, Hucke, oboe, leading a four instruments group and orchestra in B flat major Hob 1.05. It was composed during the first of Haydn’s visits to London. During his lifetime Johann Wilhem Wilms was considered to be a musical force to be reckoned with. Fortunately his compositions are currently being rediscovered and acclaimed. We will listen to Wilms’ Concerto in D major for Piano and Orchestra Ca.1813 which will be played by Ronald Brautigan, fortepiano with the Kolner Akademie conducted by Michael Alexander Willens. Now for something completely different but just as good: Bartok’s Concerto for Orchestra is a popular and accessible 5-movement work in which each section of the orchestra is treated as soloistic and virtuosic distinguishing the work from a symphony. The Chicago Symphony Orchestra is conducted by Fritz Reiner. Next we will hear the Sinfonia from Bach’s Cantata ‘Soul and Spirit’ BWV35 (1726), played by the Vari Dieman’s Band dir. Julia Fredersdorff. The final work in the program is Ottorino Respighi’s, ‘The Sunset’ (1914) which is a setting of Percy Shelley’s gothic poem of the same name. Respighi musically captures the changes in tone which occur during the course of Shelley’s verse. Lorraine Hunt, mezzo-soprano is accompanied the Australian Chamber Orchestra conducted by Richard Tognetti.

Keith Hempton presents three major spiritual works by two composers. Joseph Haydn’s Stabat Mater Hob.XXa.1 was written in 1767 for soloists, mixed choir and an orchestra of oboe, strings and continuo and premiered the same year at the Esterhazy Court, his employer’s palace. It was Haydn’s first major sacred composition and a masterpiece. Arleen Auger, coloratura soprano Alfreda Hodgson, contralto Tha Argo Chamber Orchestra The London Chamber Choir Laszio Heltay, conductor Carlo Gesualdo was a progressive Italian Renaissance composer who wrote many madrigals. ‘Responsoria et alia ad Oficum Hebdomadae Sanctae spectantia’ is a collection of music for Holy Week by Gesualdo which were published in 1611 It consists of three sets of nine short pieces: one set for each of Thursday, Good Friday and Saturday. The work was written for unaccompanied voices. Gesualdo’s settings are stylistically madrigal spiritual: madrigals on sacred texts. The set for Holy Saturday will be sung by the Ensemble Vocale Europeen directed by Philippe Herreweghe. Few matched Gesualdo for writing music so removed from tradition. As well as his madrigals he was also famed for his two sets of chromatic motets which he published in 1603. We will listen to some of them sung by the Ensemble Vocale Europeen.