1000 YEARS OF CLASSICAL MUSIC
SATIE Gymnopédies
VOLUME 74 | THE MODERN ERA FAST FACTS
• Erik Satie is famous for his deeply eccentric nature, which extended to his dress (at one point he bought seven identical velvet suits and then, for more than ten years, wore nothing else), his eating habits (he claimed to eat only white food: ‘eggs, sugar, shredded bones, the fat of dead animals, veal, salt, coconuts, SATIE chicken cooked in white water, mouldy fruit, rice, turnips, sausages in camphor, pastry, cheese (white Gymnopédies varieties), cotton salad, and certain kinds of fish, without their skin’), and the instructions he gave to those performing his music: his scores are full of enigmatic notes such as ‘Light as an egg’, ‘Open your head’, ERIK SATIE 1866–1925 ‘Work it out yourself’ and ‘Don’t eat too much’. Trois Gymnopédies [9’44] 1 No. 1: Lent et douloureux (Slow and full of suffering) 3’37 • His sharp wit, irreverence and refusal to do as expected led him to reject the big, lush Romantic 2 No. 2: Lent et triste (Slow and sad) 3’06 tradition of composers like Wagner, and turn instead to shorter, simpler pieces in which melody was 3 No. 3: Lent et grave (Slow and solemn) 2’54 the central element. 4 Je te veux (I Want You) 5’17 • Satie broke new ground in many different musical ways. His familiarity with the world of cabaret (he [7’16] Trois Gnossiennes supported himself for several years by working as a pianist at Le Chat Noir and other Montmartre 5 No. 1: Lent (Slow) 2’58 nightclubs) enabled him to bring elements of jazz and ragtime into his own compositions – one of the first 6 No. 2: Avec étonnement (With astonishment) 1’47 composers to do so. His eagerness to embrace the absurd and the surreal, to break down the barriers 7 No. 3: Lent (Slow) 2’22 between ‘high’ and ‘low’ art, would be an inspiration to later avant-garde composers like John Cage. Sonatine bureaucratique (Bureaucratic Sonatina) [4’16] 8 I. Allegro 1’09 • Decades before composers like Philip Glass or Steve Reich, Satie wrote one of the first ‘minimalist’ pieces, 9 II. Andante 1’29 Vexations: a single page of music, to be repeated 840 times. In his ballet Parade, he pioneered the musical 0 III. Vivache 1’38 use of ‘non-musical’ sounds (typewriters, sirens, pistols and a lottery wheel): an idea which would evolve ! Gnossienne No. 4 4’09 into the electronic musique concrète of the 1940s and 1950s. And his Furniture Music – a set of pieces @ Gnossienne No. 5 3’56 written specifically not to be listened to – anticipates the concept of background music which we now take £ Gnossienne No. 6 1’34 for granted. $ The Dreamy Fish, music for a tale by Lord Cheminot, alias Latour 6’24 • Despite being always immaculately groomed, Satie lived in extreme poverty: after he died, his friends were % Le Picadilly (La transatlantique) 1’45 horrified to discover that his lodgings consisted of a dingy room with a bed, a table, a chair, a half-empty Nocturnes [8’18] wardrobe, piles of old newspapers, old hats and walking sticks, and an old broken-down piano with its ^ No. 1 2’59 pedals tied up with string. & No. 2 2’11 * No. 3: Un peu mouvementé (A little faster) 3’02 ( Poudre d’or (Gold Dust) 4’47 Embryons dessechés (Dried-Up Embryos) [6’35] ) I. D’Holothurie 2’14 • Jack the Ripper murders five women in the slums of London’s East End. The killer is ¡ II. D’Edriophthalma 2’45 never caught. ™ III. De Podophthalma 1’32 • Irishman John Boyd Dunlop makes the first pneumatic bicycle tyre, to help his son, who Pièces froides (Cold Pieces) [12’09] suffered terrible headaches from the jarring while riding on Belfast’s rough pavements. Airs à faire fuir (Airs to Make You Run Away) In the US, George Eastman is granted a patent for his roll film camera, which he registers # No. 1 2’56 under the trademark Kodak. ¢ No. 2 1’42 ∞ No. 3 3’00 • During a bout of mental illness, Dutch painter Vincent van Gogh cuts off the bottom of his
Danses de travers (Crooked Dances) 1888 left ear. § No. 1 1’15 • The earliest surviving wax cylinder recording of classical music is made: it’s a chorus from ¶ No. 2 1’14 Handel’s oratorio Israel in Egypt, sung by a choir of more than 3,000 singers in London’s • No. 3 1’56 Crystal Palace. ª Allegro 0’20 • And the eccentric French composer Erik Satie writes his three Gymnopédies. Total Playing Time 77’39 Stephanie McCallum piano
— 2 — The Piano Music of Erik Satie Although his sense of irony attracted fashionable attention, Satie’s musical aesthetic stressed classical simplicity and above all the centrality of melody. In 1917 he wrote: M. Erik Satie was born in Honfleur (Calvados) on 17 May 1866. He is considered to be the strangest musican of our time. He classes himself among the ‘fantasists’ who are, in his opinion, ‘highly respectable people’… ‘Do not forget that the melody is the Idea, the outline; as much as it is the form and the subject matter of a After having essayed the loftiest genres the eminent composer now presents some of his humoristic work. The harmony is an illumination, an exhibition of the object, its reflection… If there is form and a new style works. This is what he says about his humour: ‘My humour resembles that of Cromwell. I also owe much to of writing, there is a new craft… Great Masters are brilliant through their ideas, their craft is a simple means to Christopher Columbus, because the American spirit has occasionally tapped me on the shoulder and I have an end, nothing more. It is their ideas which endure… The Idea can do without Art.’6 been delighted to feel its ironically glacial bite.’ 1 Although written nearly thirty years after his Trois Gymnopédies, such a statement could scarcely describe As the formal style of this note gradually slides into parody the reader may suspect – correctly – that the better the exploration of melodic shape which lies at the soul of those pieces. The title Gymnopédie refers description is Satie’s own. The habitual irony and characteristic strangeness are confirmed by many. Stravinsky, to a festival in ancient Sparta (Gymnopaidiai ) in which naked young boys danced and performed gymnastic who met him in 1913, wrote: exercises. Eric Frederick Jensen has pointed out that Satie’s adoption of it appears to have arisen from ‘He was certainly the oddest person I have ever known, but the most rare and consistently witty person, too. I a deliberate predilection for the arcane and the obscure among the Symbolist movement with whom he 7 had a great liking for him and he appreciated my friendliness, I think, and liked me in return. With his pince-nez, associated at the time. In 1887 Satie left his father’s house to live in Montmartre, close to Le Chat Noir, umbrella and galoshes he looked a perfect schoolmaster, but he looked just as much like one without these a bohemian cabaret run by Rodolphe Salis, who later employed Satie as a pianist and conductor to accoutrements… No-one ever saw him wash – he had a horror of soap. Instead he was forever rubbing his accompany shadow plays by Henri Rivière. According to Satie’s friend, the poet J.P. Contamine de Latour, fingers with pumice. He was always very poor, poor by conviction, I think. He lived in a poor section and his the introduction between Salis and Satie was made by another poet, Vital-Hoquet, who introduced him as neighbours seemed to appreciate his coming among them: he was greatly respected by them.’ 2 ‘Erik Satie, Gymnopédiste’, to which Salis responded: ‘Truly a fine profession!’8 The word also appears in a poem by Latour, although Jensen puts the view that it was probably Satie who first adopted it, perhaps having Actress Madeleine Milhaud, wife of Darius Milhaud, one of the group of composers in the 1920s known as found it in a music dictionary. The manuscripts of the Gymnopédies are dated 1 February, 1 March and 2 April Les Six, had similar memories. of the following year, 1888. Given Satie’s later penchant for titles displaying absurdist humour, it would be a ‘He looked like a solicitor’s clerk from the 1910s: a pince-nez, tiny mischievous little eyes, a beard that was mistake to try too hard to hear anything pictorial: the pieces are certainly far removed from anything gymnastic. always impeccably cut. He spoke slowly, breaking the syllables up. His delivery seemed artificial in contradiction Each of them is based on a floating melody in calm, even notes over an accompaniment reminiscent of a very with what he said, which was spontaneous… In fact this man, whose thoughts were the epitome of the anti- slow waltz. By subtle use of dynamics and wide spacings between the bass and the melody, Satie mixes bourgeois, was dressed just like one with his dark suit and bowler hat.’ 3 simplicity, serenity and strangeness in a way which has achieved enduring popularity, particularly since Debussy orchestrated the first and the last piece in 1898. The success of Debussy’s orchestrations at a concert which It was to fall to the Milhauds to be among those who supported Satie during his final illness. As they took him he conducted in 1911 was to be a cause of tension and jealousy between the two in what was otherwise a to hospital by ambulance for cirrhosis of the liver, Madeleine recalls that, as they passed by one of his many close musical friendship, lasting until Debussy’s death in 1918. Shortly after their meeting in 1891, Debussy favourite bars, Satie hospitably suggested they stop for a drink. presented Satie with a copy of his Baudelaire songs with the inscription, ‘For Erik Satie, gentle medieval ‘He gave me a mark of confidence which greatly touched me. He asked me to go and fetch some linen from musician, strayed into this century for the happiness of his very friendly Claude Debussy.’ 9 [his apartment in] Arcueil. So I went there and saw the miserable building in which he lived. The concierge Satie’s employment at Le Chat Noir was the first of a series of positions he held in the fashionable cabarets handed me the bundle and I left without asking any questions, though I should very much have liked to do so. of Montmartre during the 1890s and beyond. After quarrelling with Salis, he moved to the Auberge du Clou Satie at once had a look at what I had brought back. He counted the handkerchiefs. Two were missing – there (where he and Debussy reputedly first met) and then to the Café de la Nouvelle Athènes, the haunt of Dégas, were only eighty-six!’4 Renoir, Pissarro and Gaugin.10 His role in such work was to accompany singers (notably the satirist Vincent Satie’s eccentricity is more than simply a source of amusing anecdotes: his wit, irreverence and tenacious Hyspa, and later the more famous Paulette Darty, ‘Queen of the Slow Waltz’), play waltzes and entertain. originality were significant influences on the generation of French composers who turned away from the In addition to his 19 cabaret songs, Satie made numerous arrangements for those he worked with and his dominating influence of Wagner in search of lively wit and vivid humour. In his entertaining and informative notebooks indicate a large number of ideas for works which may have formed part of his performances without 11 study of the period, The Banquet Years, Roger Shattuck points out that Satie effectively had two careers: first, ever being turned into finished pieces. Satie may have also tried out many of his non-cabaret pieces, such as as a notable bohemian eccentric whose individuality exerted an influence on both Ravel and Debussy in the the Gymnopédies and Gnossiennes, in this environment, and the cabaret style was to influence his musical fin-de-siècle hothouse of La Belle Epoque; and secondly, after a concerted effort to improve his skills with language throughout his life. Je te veux, which achieved popularity through performances by Paulette Darty, further study at the Schola Cantorum, as a successful theatre composer working with such figures as Cocteau, and Poudre d’or, both dating from around 1901, could be seen as typical of the slow waltz-song style, while Diaghilev, Massine and Picasso.5 Le Picadilly from 1904 is in the style of a quick march.
1 Roger Shattuck, The Banquet Years: the origins of the Avant Garde in France. 1885 to World War I (Vintage Books: 6 Robert Orledge: ‘Satie, Erik’, Grove Music Online ed. L. Macy (Accessed 10 August 2007),
— 3 — The six pieces known as Gnossiennes were all written in the period 1890–1893, during which time Satie ‘Petit air de Geneviève’ (Genevieve’s Little Air), ended up as the central section of The Dreamy Fish.12 Though became associated with Joséphin Péladan and the offshoot Rosicrucian organisation, the Ordre de la Rose- sometimes capricious and changeable in tone, it is Satie’s most extended piano piece. Croix. Satie published the first three Gnossiennes independently in 1893 with the numbers ‘1’, ‘6’, and ‘2’ In the five of 1919 (the first three of which are included on this recording), Satie sets his customarily and then as a set in 1913. The title, Satie’s own, has been translated by some as ‘Dances of Knossos’, a Nocturnes ironic tone aside in favour of ‘absolute’ works which could be seen as a tribute to Chopin (whom Satie reference to ancient Crete, and, according to this interpretation, the pieces could be seen as a continuation admired). As Robert Orledge has pointed out, taken together with his symphonic drama, Socrate, the Nocturnes of Satie’s attempt in the Gymnopédies to imagine a musical language based on supposed ancient modes are his only late works which abjure the cabaret style altogether.13 Satie’s sketchbooks suggest the Nocturnes and dances. Others have suggested that the title may refer to Gnosticism. Whatever its origin, it appears did not come easily to him, and both Orledge and Courtney Adams note a mixture of experimentation and a consistent with Satie’s pose of esoteric mysticism during this time. The first of the Gnossiennes, in F minor, preoccupation with melody.14 These works could be seen as a manifestation of Satie’s essentially classical bent exploits ornaments and a raised fourth scale degree to impart an austere exotic quality. In what was to without a hint of the neo-classical irony of the Sonatine bureaucratique two years earlier. become a hallmark of his piano writing Satie adds enigmatic performance directions: Très luisant (‘very shiny’), Questionnez (‘ask’), Du bout de la pensée (‘from the tip of thought’) and Postulez en vous-même (‘Postulate Embryons desséchés is at the other extreme and finds Satie’s sense of humour at its most absurd and within yourself’). No. 2 in E minor has a free, spirally descending melody over a comparably consistent Dada-esque. The embryos in question are crustaceans and Satie parodies a different piece in each movement. accompanying figure, while the third, in A minor, has the modal features (including the raised fourth degree) In the first, The Holothurian (‘Ignorant people,’ says the preamble, ‘call it “sea cucumber”’) there is a reference of the first. to a popular song of the day by Louisa Puget, Mon rocher de Saint-Malo: Satie says that he observed his 15 The second set was written at the same time but not published until 1968, well after Satie’s death. It is not Holothurian ‘in the Gulf of Saint-Malo between Normandy and Brittany’. The texture has a continuous absolutely clear how many of such pieces Satie envisaged although the original numbering (‘6’) of what is undulating pattern in the left hand – ‘Like the cat, this sea animal purrs.’ The pattern is broken just towards now known as the second lends support for the posthumous publication as a continuation of the 1893 series. the end of the middle section ‘like a nightingale with a toothache’. The second piece, D’Edriophthalma, No. 4 adopts a spread arpeggiated accompaniment pattern against a similar style of free descending melody, describes crustaceans with immobile eyes. In the middle section, which parodies the central section of the while the Fifth, the only one of the six which is notated with conventional barlines, adopts a more complex Funeral March from Chopin’s Piano Sonata in B-flat minor, Op. 35, Satie writes: ‘They all begin to cry (quotation ornamental style in a dreamy reminiscence of the Baroque. In the sixth, Satie returns to the barless notation of from the famous mazurka by Schubert). Poor beasts. How well he spoke. A great moaning.’ The third piece, the others, although the regularity and stable accompaniment pattern could easily accommodate barlines. De Podophthalma, describes creatures such as crabs and lobsters with eyes on stalks, who, Satie claims, are ‘skilful and tireless hunters’. It concludes with an ‘obligatory cadenza (by the composer)’ in F major, an The Sonatine bureaucratique (1917) is an ironic take on the popular pedagogical Sonatina in A major, Op. 36 apparent spoof of the close of Beethoven’s Eighth Symphony. On the score he wrote: ‘This work is absolutely No. 1, by Clementi. Satie’s parody chiefly consists of shortening Clementi’s ideas, changing the harmonies incomprehensible, even to me. Perhaps I wanted to be humorous. That would not surprise me and would be and adding burlesque commentary. As a sarcastic recomposition of an 18th-century work, this lampooning pretty much in my manner.’ 16 piece anticipates Stravinsky’s more chiselled neo-classical remake of the 18th century in Pulcinella (1920) by two years. Satie’s Pièces froides take us back to 1897 and comprise two sets, each consisting of three pieces – ‘Airs to Madeleine Milhaud, who had frequently been a narrator for works such as Stravinsky’s Perséphone, makes Make You Run Away’ and ‘Crooked Dances’ – all strongly interrelated in texture and motivic ideas. The ironic it clear that Satie regarded such commentaries as a private joke and would have objected to them being read wit is there in the titles and in the performance instructions (in No. 3 of the Airs à faire fuir, for example: ‘Invite aloud during the performance, which he would have regarded as a distraction: yourself. Don’t eat too much’) but the style of Satie’s writing reveals an exploratory mind investigating new possibilities. The pieces show a remarkable capacity to jump key, so that a simple phrase will suddenly be Allegro. There he goes. He walks gaily to his office ‘gavillant’. Content, he wags his head. He loves a answered by another which, though entirely plausible in itself and consistent with the surrounding material, will pretty, very elegant lady. He also loves his penholder, his lustrous green sleeves, and his Chinese cap. also sound like a non-sequitur. Constructed with precision, poise and carefully crafted irrelevance, one could He takes long steps. He rushes up the stairs and mounts them on his back. What a wind! Sitting in his imagine that Satie was trying to find the musical equivalent of the anarchic humour which so delighted his friends. armchair, he is happy and shows it. The Allegro of 1884 is included here as postscript. The work was written on a summer holiday in Satie’s Andante. He dreams of his promotion. Perhaps he will have a rise in salary without needing promotion. birthtown of Honfleur in Normandy. (Satie was living with his father and stepmother in Paris at the time.) As He hopes to move next term. He has an apartment in mind. If only he is promoted or receives a raise! Steven Moore Whiting describes, Satie apparently celebrated the homecoming with an allusion to a popular New dream of promotion. song of the day, Frédéric Bérat’s Ma Normandie.17 (The tune happens also to be the anthem of the Bailiwick of Vivache (Clementi’s marking is Vivace). He sings an old Peruvian melody which he collected in Lower Jersey in the Channel Islands, which, despite being a British dependency, is historically part of Normandy, and Brittany at the home of a deaf mute. A nearby piano plays some Clementi. How sad it is. He ventures to has French as an administrative language. Whether Satie was aware of this association, however, is not clear.) waltz (he, not the piano). All this is very sad. The piano resumes its work. Our friend interrogates himself As Satie’s first work for the piano, its conciseness, melodic charm and use of the popular idiom display the benevolently. The cold Peruvian melody goes to his head again. The piano continues. Alas, he has to leave seeds which were to form the basis of Satie’s singular pianistic journey. his office, his good office. Courage: he says, let’s go. Peter McCallum
The Dreamy Fish: Music for a tale by Lord Cheminot, alias Latour was written during the same exploratory period of Satie’s life as his opera Geneviève de Brabant, also to a libretto by Lord Cheminot. Just under a decade earlier, during his Rose-Croix period, Satie had agitated strongly for a performance of his 12 Robert Orledge, review of Geneviève de Brabant by Erik Satie, ed. Ornella Volta. Music & Letters, Vol. 71, No. 4 (November, 1990), 620-21. ‘Christian’ ballet Uspud, and, given the fierce efforts over that project, it is surprising that he never sought to 13 Robert Orledge, ‘Satie’s Approach to Composition in His Later Years (1913-24)’, Proceedings of the Royal Musical Association, have this completed score performed. Ornella Volta has argued that this period of Satie’s life is characterised Vol. 111 (1984-85), 174. 14 Courtney S. Adams, ‘Satie’s Nocturnes Seen through His Sketchbooks’, The Journal of Musicology, Vol. 13, No. 4 (Autumn, 1995), 454-75. by an internalised artistic competition with Debussy and that the Geneviève project fell victim to Debussy’s 15 Steven Moore Whiting, Satie the Bohemian: From Cabaret to Concert Hall (Oxford University Press: Oxford, 1999), 368-73. success with his own opera Pelléas et Mélisande in 1902. In any event, a substantial part of Geneviève, the 16 The Banquet Years, 178.
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BAROQUE & BEFORE THE ROMANTIC ERA THE MODERN ERA 93 BARBER Adagio for Strings | Violin Concerto 1 GREGORIAN CHANT 34 SCHUBERT ‘Trout’ Quintet 63 DEBUSSY Prélude à L’Après-midi d’un faune | 94 MUSIC FROM THE MOVIES 2 MEDIEVAL CHORAL MUSIC 35 SCHUBERT Symphony No. 8 ‘Unfinished’ La Mer 95 SCULTHORPE The Fifth Continent 3 SACRED MUSIC OF THE RENAISSANCE 36 BERLIOZ Symphonie fantastique 64 DEBUSSY Preludes 96 TAKEMITSU Music for Orchestra 4 ENGLISH RENAISSANCE 37 MENDELSSOHN The Hebrides | 65 ELGAR Cello Concerto | Sea Pictures 97 GÓRECKI Symphony of Sorrowful Songs 5 ITALIAN BAROQUE A Midsummer Night’s Dream 66 ELGAR Enigma Variations 98 GLASS | NYMAN Music for Solo Piano 6 PURCELL 38 MENDELSSOHN Violin Concerto | 67 HOLST The Planets 99 MUSIC OF AUSTRALIA 7 BIBER Rosary Sonatas Piano Concerto No. 2 68 MUSIC OF SPAIN 100 THE 21ST CENTURY 8 A. SCARLATTI Cantatas 39 CHOPIN Nocturnes 69 R. STRAUSS Four Last Songs 9 VIVALDI The Four Seasons 40 SCHUMANN Music for Solo Piano 70 SIBELIUS Violin Concerto 10 FRENCH BAROQUE 41 SCHUMANN Symphonies 3 & 4 71 SIBELIUS Symphonies 2 & 7 | Finlandia 11 PERGOLESI Stabat Mater 42 LISZT Years of Pilgrimage 72 RACHMANINOFF Symphony No. 2 12 BACH Brandenburg Concertos 43 BIZET Arias and Overtures 73 RACHMANINOFF Piano Concerto No. 2 13 BACH Music for Cello | Music for Violin 44 BRAHMS A German Requiem 74 SATIE Gymnopédies 14 BACH Sacred Arias and Choruses 45 BRAHMS Piano Concerto No. 2 75 RAVEL Bolero | Mother Goose 15 BACH Music for Keyboard 46 BRUCKNER Symphony No. 4 76 RAVEL Chamber Music 16 HANDEL Water Music | Music for the 47 VIENNESE WALTZES 77 RESPIGHI Pines of Rome Royal Fireworks 48 DVOŘÁK Cello Concerto 78 SCHOENBERG Pelleas und Melisande 17 HANDEL Messiah 49 DVOŘÁK Symphony No. 9 ‘From the New World’ 79 BARTÓK Concerto for Orchestra | 18 HANDEL Arias 50 GRIEG Music for Orchestra Violin Concerto No. 2 51 GRIEG Piano Concerto | Music for Solo Piano 80 STRAVINSKY The Rite of Spring THE CLASSICAL ERA 52 TCHAIKOVSKY The Nutcracker 81 PROKOFIEV Piano Concerto No. 3 19 C.P.E. BACH 53 TCHAIKOVSKY Violin Concerto | 82 CANTELOUBE Songs of the Auvergne 20 HAYDN Music for Orchestra Piano Concerto No. 1 83 GRAINGER 21 HAYDN Arias 84 ORFF Carmina burana 22 MOZART Symphonies 40 & 41 54 WAGNER Arias 85 VAUGHAN WILLIAMS The Lark Ascending | 23 MOZART Piano Concertos 55 VERDI Arias, Choruses and Overtures 24 MOZART Arias 56 VERDI Requiem Fantasia on a Theme by Thomas Tallis 25 MOZART Requiem 57 SAINT-SAËNS Carnival of the Animals | 86 POULENC Organ Concerto | Music for Solo Piano 26 MOZART Clarinet Concerto Symphony No. 3 ‘Organ’ 87 BRITTEN The Young Person’s Guide to the 27 BEETHOVEN String Quartets 58 MUSSORGSKY Pictures at an Exhibition Orchestra | Four Sea Interludes 28 BEETHOVEN Piano Sonatas 59 FAURÉ Requiem 88 COPLAND Appalachian Spring 29 BEETHOVEN Symphonies 3 & 5 60 PUCCINI Arias 89 RODRIGO Guitar Concertos 30 BEETHOVEN Symphony No. 9 ‘Choral’ 61 MAHLER Symphony No. 4 90 GERSHWIN | BERNSTEIN 31 BEETHOVEN Piano Concertos 62 MAHLER Symphony No. 5 91 SHOSTAKOVICH Symphony No. 8 32 HUMMEL 92 MESSIAEN Turangalîla-Symphonie 33 ROSSINI Arias and Overtures
— 5 — ABC Classics Executive Producer Toby Chadd 1000 YEARS OF CLASSICAL MUSIC Recording Producer Ralph Lane oam Recording Engineer Christian Huff-Johnston THE ERAS Mastering Virginia Read Publications Editor Natalie Shea Cover Image MS Designs Booklet Design Imagecorp Pty Ltd BAROQUE & BEFORE c.1000 TO c.1750 Recorded 26 February and 2 and 15 March 2007 in the Eugene Goossens Hall of the Australian Broadcasting Corporation’s The age of the church and the court – with music from ancient Ultimo Centre, Sydney.
chant to the treasures of the baroque, including Hildegard, Tallis, 1000 Years of Classical Music Monteverdi, Vivaldi, JS Bach and Handel. Project Concept Toby Chadd, Robert Patterson Executive Producer Toby Chadd
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A world of fragmentation and a flourishing of diversity – from music born out of World War I to 21st-century Australia, via French Impressionism, Eastern European minimalism and American classics.
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