COLLAGE
Tuesday 25 August
20:00 - 22:00
Fine Music Radio 101.3 FM

1. Missa Salisburgensis: I. Kyrie Paul McCreesh: Gabrieli Consort & Players Biber Missa Salisburgensis Heinrich Ignaz Franz Biber (1644-1704)

2. Sol da te mio dolce amore THE KING'S CONSORT - ROBERT KING conductor Great Baroque Arias Antonio Vivaldi

3. K 467 In F Minor: Allegrissimo Pieter-Jan Belder Domenico Scarlatti - Complete Keyboard Sonatas [Disc 30] Domenico Scarlatti (1685-1757)

4. Combat. Air de violons William Christie: Les Arts Florissants Charpentier/Molière-Le Malade Imaginaire Marc-Antoine Charpentier (1643-1704)

5. Une vieille - Zerbinetti William Christie: Les Arts Florissants Charpentier/Molière-Le Malade Imaginaire Marc-Antoine Charpentier (1643-1704)

6. P. Ben-Haim: Variations On A Hebrew Melody: Adagio Misterioso, - Moderato Molto Tranquillo, - Variation I (Piano Solo), - Variation II (Allegretto Grazioso), - Variation III (Alla Marcia), - Variation IV (Moderato), - Variation V (Molto Vivace E Tempestoso), - Variation VI (Molto Tranquillo) The Tel Aviv Trio The Tel-Aviv Trio P. Ben-Haim

7. Jovan Jovicic - Suite No 1 Vojvodina Jovan Jovicic (guitar) Classical Guitar Jovan Jovicic (1926 - )

8. Serbisher Tanz "Kolo" Sinfonijetta Beograd dir. A Vujic Sinfonijetta Beograd Aleksandar S. Vujic (1945 - )

9. Mit Dir Die Madrigalchor der Hochschule fur Music aund Theater, Munchen Aleksandar Vujic (1945 - )

10. Neuf Melodies retrouvees: Je Me Souviens, La Vie Est Belle, L'amitie, Chanson, Nais, La Nymphe De La Source, Au Rossignol, Ta Main, Sous L'oranger - Didier Henry/Stephane Petitjean Melodies Retrouvees Hahn, Reynaldo 1875 – 1947

11. Berkeley: 5 Short Pieces For Piano, Op. 4 – 1, 2, 3, 4, 5. Andante, Allegro, Allegro, Andante, Moderato, Allegro Len Vorster Berkeley: Sonatina For Violin & Piano, Op. 17, Six Preludes, Op. 23, Concertino, Op. 49 Lennox Berkeley

12. Solo Suite: Prelude – Fantasia, Sardana – Danza, Intermezzo e danza finale Maria Kliegel Le Grand Tango Cassadó

13. Devoiche (Young maiden) Le Belle Voci Opera de Light

Cecilia Bartoli mezzo soprano

Collage on FMR 101.3 FM

Tuesday 14 July 2009, 20:00 - 22:00

1. BWV 21 - Aria (Tenore) Erfreue dich, Seele Nikolaus Harnoncourt: Concentus Musicus Wien Johann Sebastian Bach
2. Passacaglia for violin & cello (Handel - Halvorsen) Daniel Rowland (Cello) Peter Martens (Cello) Handel - Halvorsen
3. Vergine: 'Tormenti non piú!' Les Arts Florissants Rossi, Luigi
4. Schubert: Fantasy In F Minor, Op. 103, D 940 Yaara Tal, Andreas Groethuysen Franz Schubert
5. Rossini: La Regata Veneziana - 1. Anzoleta Avanti La Regata Cecilia Bartoli, Charles Spencer Gioachino Rossini
6. Rossini: La Regata Veneziana - 2. Anzoleta Co Passa La Regata Cecilia Bartoli, Charles Spencer Gioachino Rossini
7. Rossini: La Regata Veneziana - 3. Anzoleta Dopo La Regata Cecilia Bartoli, Charles Spencer Gioachino Rossini
8. Andantino For Cello & Piano, Op. 21/2A David Berlin, Len Vorster Lennox Berkeley
9. Makedonska Rapsodija Jovan Jovicic Jovan Jovicic
10. Comic duets for two cats Le Belle Voci Gioachino Rossini - Beverly Chiot soprano, Violina Anguelov, mezo, Stanislav Anguelov accordion
11. A Yiddishe Mamme Le Belle Voci - Beverly Chiot soprano, Stanislav Anguelov accordion, Jatzek Domagala violin
12. Golijov: The Dreams & Prayers Of Isaac The Blind - 2. Teneramente, Ruvido, Presto Kronos Quartet Oswaldo Golijov
13. Heitor Villa Lobos - Preludio No 5 Jovan Jovicic Heitor Villa Lobos (1887 -1959)
14. Quadrille Marko Ylonen - cello & Martti Rautio - piano Rodion Schedrin
15. Rossini: Canzonetta Spagnuola Cecilia Bartoli, Charles Spencer Gioachino Rossini
16. Plaza: Nocturna Horacio Romo, Cynthia Fleming, Christopher Wescott, John Alley Alexander Plaza

Stevan Stevanovic Mokranjac

Collage on FMR 101.3 FM

Tuesday 7 July 2009, 20:00 - 22:00

Programme notes on

Serbian Orthodox Divine Liturgy


Stevan Mokranjac, born in 1856, was a Serbian composer, ethnomusicologist and an outstanding choir master and composer. He is as beloved in Serbia as Smetana is in Bohemia or Dvorzak in the Czech Republik.

Mokranjac was a collector of secular and sacred folk songs and the first to research these songs, thus laying the foundations for musicology in Serbia.

Today we are going to listen to the Serbian Orthodox Divine Liturgy composed by Stevan Stevanovic Mokranjac. On a general level this work is similar to the sacred works of Rachmaninoff - Serbian Orthodox Church music has a lot in common with Greek and Russian Orthodox church music.

Serbian church music consists only of a cappella singing. This is a very interesting contrast to Serbian folk music which has lots of brass, accordion, violin and percussion with complex rhythms.

Performing this kind of liturgical music requires professionals or devoted amateurs and throughout the country there are singing societies that sing this complex music for church services. As music student in Belgrade I sang this liturgy many times.
In the Serbian Orthodox church the choir is placed on a balcony, which gives the singing a lofty, ethereal quality. The soloist who is a priest stands in front of the iconostasis. There is a whole crowd of them actually, but just the one sings.

Mokranjac wrote The Serbian Orthodox Divine Liturgy in 1895 based on a Serbian folk chant from the end of the 18th century.

His ability to harmonize and stylize this melody has resulted in an archaic and very distinctly Slavonic sound. You will hear his ingenious use of polyphonic elements which enhance the expressiveness of the melodic line in each voice. I hear some Wagnerian harmonies here as well.

Tonight I will play four sections from the 45 minute liturgy:
the calm opening canticle, Svjati Boze (holy God), the Alleluia and the most elaborate and important part of the Liturgy, the impressive Cherubic Hymn (Ize Heruvimi ) which means – we who mystically represent the Cherubim). My selection finishes with Otca I Sina (The Father and the Son).


The soloist Vlada Mikic, is an Othodox priest. Besides being an important church figure he is also a well-know concert soloist.

His solo line is melodically very restricted and serves as a harmoic anchor to the melody. The choir is Hor Radio Televizije Beograd conducted by Mladen Jagust.

Collage on FMR 101.3 FM
listen live on www.fmr.co.za
Tuesday 7 July 2009, 20:00 - 22:00

1. Quartet No. 1 in F major - I Allegro Moderato, II Cantabile, - III Menuetto, IV Presto Sarah Francis (oboe), Tagore String Trio, Frances Mason (violin), Brian Schiele (viola), James Halsey (cello) Vanhal Six Quartette Concertante - Sara Francis Oboe - Tagore String Trio Jan Křtitel Vaňhal (1739-1813)/Johann Baptist Vanhal

2. Liturgija: Svajti Boze, Ize heruvimi, Otca i sina Hor RTB-a/Mladen Jagušt St. St. Mokranjac/ Liturgija Sv. Jovana Zlatoustog i opelo Stevan St. Mokranjac

3. Six German dances (Allemandes) WoO 42 Bela Banfalvi Violin, Sandor Falviai Piano Beethoven Rarities L v Beethoven

4. Spanish rhapsody Dubravka Jovicic piano Franz Liszt

5. Kawa no Nagare no you ni Angela Gheorgui, voice; Malcolm Martineau, piano My World: Songs from Around the Globe Mitake, Akira (1956- )

6. Azulão Angela Gheorgui, voice; Malcolm Martineau, piano My World: Songs from Around the Globe Ovalle (1894-1955)

7. Halffter (C): Danza De La Gitana Itzhak Perlman, Samuel Sanders Virtuoso Violin Rodolfo Halffter

8. Misa Criolla: Credo, Sanctus, Agnus Dei Mercedes Sosa Misa Criolla Ariel Ramirez 1921 -

9. La Grand Tango Marko Ylonen - cello & Martti Rautio - piano Folk Cello Astor Piazzolla

10. Pai efiye to treno Angela Gheorgui, voice; Malcolm Martineau, piano My World: Songs from Around the Globe Hadjidakis, Manos (1925- )

11. Tatyana Skating Brian Gascoigne Onegin Magnus Fiennes, orch. Brian Gascoigne

12. The sailor's' fairwell - Netania Davrath Sings Russian Folksongs

13. Tamnaya Noch Dmitri Hvorostovski N. Bogosovski - V Agatov

Osvaldo Golijov - http://www.osvaldogolijov.com

COLLAGE
Tuesday 30 June 2009 20:00 - 22:00
list of played tracks
details in the following order:
name of composition, artist, composer, album


1. Stabat Mater - Fac, ut ardoat our meum ; Inflammatus et accensus ; Quando corpus morietur ; Isabella Poulenard, soprano, Jean-Louis Comoretto, alto, La Grande Ecurie Jean-Claude Malgloire, director Pergolesi: Stabat Mater Giovanni Battista Pergolesi

2. Sonata in G – Vivace, Lento, Allegro - Robert King: The King's Consort Bach - Six Trio Sonatas Johann Sebastian Bach

3. Handel: Il volo cosi fido - from Riccardo Lisa Saffer, Philharmonia Baroque Orchestra, Nicholas McGegan Handel: Arias for Cuzzoni George Frideric Handel

4. Beethoven: 32 Variations On An Original Theme In C Minor Leon McCawley Beethoven: Piano Music Ludwig Van Beethoven
(detailed notes on 32 Variations are below, at the end of this list)

5. Schubert: String Quintet In C, Op. 163, D 956 - 2. Adagio Pablo Casals, Isaac Stern, Paul Tortelier, Etc. Schubert: String Quintet In C, Franz Schubert

6. Je te veux Angela Gheorgiu, voice; Malcolm Martineau, piano My World: Songs from Around the Globe Satie, Eric (1866-1925)

7. Phoenician Suite For Solo Cello - Phoenician I, II, III Carel Henn Appassionato Phoenix Benedict

8. Night Of The Flying Horses Yo-Yo Ma: Silk Road Ensemble New Impossibilities Osvaldo Golijov 1960 -

9. Hag gad-ja Aleksandar S. Vujic Aleksandar S. Vujic

10. Chassidischer Gesang Aleksandar S. Vujic

11. Pater Noster Pro Cantu Youth Choir Far Horizons Aleksandar S. Vujic

13. Sicillene Carel Henn Appassionato Maria Theresia von Paradis

Notes on 32 Variations in C minor, WoO (werke ohne Opus) . 80

( 32 Variationen über ein eigenes Thema ) It was composed 1806.

In the compositions of Ludwig van Beethoven, C minor is commonly regarded as a special key. Beethoven chose this key for works that are powerful and emotionally stormy. He reserved C minor for his most dramatic music, where he seems to be impatient of any compromise.

Well known examples of other works in c min are:
Cantata on the Death of Emperor Joseph II, WoO 87 (1791)
Piano Trio, Op. 1, No. 3 (1793) , Piano Sonata, Op. 10, No. 1 (1795-8)
Piano sonata, Op. 13, "Pathétique" (1798)
String Trio, Op. 9, No. 3 (1798)
Piano Concerto No. 3 (1800)
String Quartet, Op. 18, No. 4 (1800) , Violin Sonata, Op. 30, No. 2 (1802)
Symphony No. 3, Eroica - II movement, "Funeral March" (1803)
32 Variations in C minor, WoO. 80 (1806)
Coriolan Overture, Op. 62 (1807)
Fifth Symphony (1808)
String Quartet No. 10, Op. 74, scherzo movement (1809)
Piano Sonata No. 32, Op. 111 (the last piano sonata, 1822) – the one with boogie woogie variations. And, of cource, the
“Choral Fantasy" Op. 80

The 32 Variations in C minor consists of the eight bar main theme and 32 variations. Throughout most of the variations, the descending chord line of the left hand has an important influence.

It could be said this work takes the form of a baroque chaconne which is a set of variations on a harmonic progression.

Sometimes instead of a term chaconne, passacaglia is used – even though there is a difference between the two.
(The chaconne has been understood by some nineteenth and early twentieth-century theorists—in a rather arbitrary way—to be a set of variations on a harmonic progression, as opposed to a set of variations on a melodic bass pattern (to which is likewise artificially assigned the term passacaglia), while other theorists of the same period make the distinction the other way around. In actual usage in music history, the term "chaconne" has not been so clearly distinguished from passacaglia as regards the way the given piece of music is constructed, and "modern attempts to arrive at a clear distinction are arbitrary and historically unfounded."


It is interesting to note that Bach's unaccompanied Violin Partita in D minor, Beethoven's Thirty-Two Variations in C minor for piano, and the finale of Brahms's Symphony No. 4 in E minor each contain a similar chaconne.

One could conclude that Beethoven was influenced by the chaconne from Bach's Partita but Bach’s work was not published until twenty years after Beethoven's death.

Brahms, on the other hand, transcribed the Bach chaconne for piano left hand, practiced Beethoven's Thirty-two Variations and borrowed the themes from both for the finale of his Symphony No. 4.


If we compare how each of these composers applied the old Baroque chaconne form we can see the differences and similarities and how they departed from the tradition.
(Works: Brahms: Symphony No. 4 in E Minor, Op. 98 (69-72).
Sources: J. S. Bach: Violin Partita No. 2 in D Minor, BWV 1004 (64-66)

The 32 variations are written on Beethoven’s own theme.
The theme is 8 bars long and so is each variation. Initially the variations are ornamental and later on develop into character variations.

The biggest challenge in writing a set of variations, especially when there are as many as 32 of them, is to keep the work from breaking into a fragmentary and dispersed structure.

Beethoven has employed two strategies to avoid this.
Firstly, he grouped the variations in pairs, that contrast each other but are similar in structure.

Secondly he introduced a minor – major contrast within the same key of C. The work starts in C minor but round the middles Beethoven goes into the major key to build dramatic tension. The circle is closed by a return to C min.

The music becomes more detailed and complex, the tension grows and we get a feeling of Beethoven’s well-known transition from darkness to light although this is not a typical example of this principle.

The ending of this work is much more complex and Beethoven stops numbering the variations and connects them into a larger unit, making reference to the beginning in order to round the work off and finish with a virtuosic coda.

Writing a successful set of variations is a risky business and not all composers have been up to the challenge – the masters were Bach, Mozart, Beethoven and Brahms as well as Schumann in his own free way.

The CD that we are going to listen to today has a special meaning to me . I received it as a prize on an FMR programme a long time ago from Danie Marais, the much-loved FMR presenter who died some years ago. Tonight I am sharing it with you.

The pianist is Leon McCawley and he is playing Beethoven’s
32 Variations in C minor, WoO (werke ohne Opus) . 80,


**************************************
listing:

Var. I, II, III consist of arpeggios and repeating notes. The only difference among these three variations is which hands play the arpeggios; in Var. I, the right hand does so, Var. II, the left hand, and Var. III, both hands.

Var. IV is a variation looking into precision of staccato, and the descending base line is quite prominent.

Var. V is a quiet variation looking at the contrast between staccato and legato.

Var. VI is a turbulent variation marked fortissimo as well as "sempre staccato e sforzato." The sforzato's are indicated in the music.

Var. VII and VIII are markedly quieter variations than Var. VI but are more musically more difficult.

Var. IX is a variation with many slurs.

Var. X and XI are marked sempre forte with an inversion of the main theme, with the only difference between them being that Var. X's thirty-second notes are played with the left hand, and Var. XI with the right.

Var. XII-XVI mark the Maggiore (Italian for "major") and are thus emotionally different from the other variations. Var. XII is marked semplice, so it should not be overplayed, while XIII is even quieter. Var. XIV has staccato thirds, and XV and XVI contain numerous, albeit slow, octaves.

Var. XVII marks the return of Minore and is marked dolce, implying that it should be played more quietly.

Var. XVIII offers a stark contrast to Var. XVII, with very rapid right hand scales.

Var. XIX is a variation with arpeggios in the form of sixteenth triplets like Waldstein Sonate.

Var. XX and XXI are technically difficult variations with scales.

Var. XXII is noted for its tenutos and sforzatos.

Var. XXIII offers a contrast to Var. XXII and thus is marked pianissimo. It consists of detached chords.

Var. XXIV and XXV are light (thus quiet) variations emphasizing staccato and leggiermente, respectively.

Var. XXVI and XXVII are technically difficult and consist of thirds.

Var. XXVIII is a stark contrast to XXVII, as it is marked semplice.

Var. XXIX consists of difficult arpeggios in the form of sixteenth triplets.

Var. XXX is a contrast to XXIX and is quite slow.

Var. XXXI is even quieter than XXX and technically simple, consisting of left hand arpeggios, and the theme is repeated in the right hand in its original form.

Var. XXXII is the last variation, a technically difficult and fast passage. Its main theme consists of left hand 32nd notes and a right hand playing two sevenths, and a group of eight 32nd notes.

Typically, performances of this piece last from 10 to 12 minutes.

COLLAGE

Tuesday 2 June 2009 20:00 - 22:00

list of played tracks

details in the following order:

name of composition, artist, composer, album

1. Un peccator pentito - Spargete sospiri Les Arts Florissants Rossi, Luigi 1597 – 20 February 1653 Rossi: Oratorio per la Settimana Santa

2. Sonatae tam aris quam aulis servientes: Sonata XII Paul McCreesh: Gabrieli Consort & Players Heinrich Ignaz Franz Biber (1644-1704) Biber Missa Salisburgensis

3. K 462 In F Minor: Andante Pieter-Jan Belder Domenico Scarlatti (1685-1757) Domenico Scarlatti - Complete Keyboard Sonatas [Disc 30]

4. Mendelsshon: Songs Without Words Op.38 no 2 in C Minor Allan Schiller MENDELSSOHN (1809 – 1847) Richard Baker's Favourite Piano Music

5. Elegie (Op. 23) for Piano, Violin and Cello Rogeri Trio Josef Suk -1874- 1935 The Rogeri Trio

6. Ravel: Pavane pour une Infante defunte Allan Schiller Maurice Ravel 1875 – 1937) Richard Baker's Favourite Piano Music

7. Heitor Villa Lobos - Estudio No 1 Jovan Jovicic Heitor Villa Lobos (1887 -1959) Classical Guitar

8. Heitor Villa Lobos - Estudio No 8 Jovan Jovicic Heitor Villa Lobos (1887 -1959) Classical Guitar

9. Five Little Songs By R.L.Stevenson.: The Swing Catherine Dune/Stephane Petitjean Hahn, Reynaldo 1875 – 1947 Melodies Retrouvees

10. Five Little Songs By R.L.Stevenson.: Windy Nights Catherine Dune/Stephane Petitjean Hahn, Reynaldo 1875 – 1947 Melodies Retrouvees

11. Five Little Songs By R.L.Stevenson.: My Ship And I Catherine Dune/Stephane Petitjean Hahn, Reynaldo 1875 – 1947 Melodies Retrouvees

12. Five Little Songs By R.L.Stevenson.: The Stars Catherine Dune/Stephane Petitjean Hahn, Reynaldo 1875 – 1947 Melodies Retrouvees

13. Five Little Songs By R.L.Stevenson.: A Good Boy Catherine Dune/Stephane Petitjean Hahn, Reynaldo 1875 – 1947 Melodies Retrouvees

14. Sonata for Cello and Piano Op. posth: Fliessend Johannes Goritzki, David Levine Othmar Schoeck (1886 – 1957) Schoeck / Weill: Cello Sonatas

15. Sonata for Cello and Piano Op. posth: Schnell Johannes Goritzki, David Levine Othmar Schoeck (1886 – 1957) Schoeck / Weill: Cello Sonatas

16. Sonata for Cello and Piano Op. posth: Andantino Johannes Goritzki, David Levine Othmar Schoeck (1886 – 1957) Schoeck / Weill: Cello Sonatas

17. Poulenc: Improvisations no10 in F (Eloge des Gammes) Allan Schiller Poulenc, Francis (1899-1963) Richard Baker's Favourite Piano Music

18. Spiegel im Spiegel for violin & piano John Lenehan, Rebecca Hirsch Arvo Part 1935 - The Calm - Inspired 20th Century Classics

19. Misa Criolla: Kyrie Mercedes Sosa Ariel Ramirez 1921 - Misa Criolla

20. Misa Criolla: Gloria Mercedes Sosa Ariel Ramirez 1921 - Misa Criolla