476 4134

narrated by christopher lawrence • emma ayres • marian arnold

3

The Young Person’s Guide to the Orchestra [18’53]

Music by Benjamin Britten 1913-1976. Original script for film by Eric Crozier 1914-1994.Narrated by Christopher Lawrence.Sydney Symphony Orchestra, Benjamin Northey conductor

1� Introduction 0’492� Theme (Allegro maestoso e largamente): Tutti 0’293� Theme: Woodwinds 0’214� Theme: Brass 0’215� Theme: Strings 0’276� Theme: Percussion 0’277� Theme: Tutti 0’228� Variation A (Presto): Piccolo and Flute 0’309� Variation B (Lento): Oboes 1’020 Variation C (Moderato): Clarinets 0’46! Variation D (Allegro alla marcia): Bassoons 0’51@ Variation E (Brillante – alla polacca): Violins 0’48£ Variation F (Meno mosso): Violas 0’55$ Variation G: Cellos 1’13% Variation H (Cominciando lento ma poco a poco accelerando

al Allegro): Double Basses 1’05^ Variation I (Maestoso): Harp 0’52& Variation J (L'istesso tempo): Horns 0’56* Variation K (Vivace): Trumpets 0’28( Variation L (Allegro pomposo): Trombones and tuba 1’05) Variation M (Moderato): Percussion 1’51¡ Fugue (Allegro molto): Tutti 3’17

2

Mother Goose Suite [24’53]

Music by Maurice Ravel 1875-1937. Original fairytales by Charles Perrault 1628-1703, Marie-Catherine d’Aulnoyc.1650-1705 and Jeanne-Marie Leprince de Beaumont 1711-1780.Narrated and adapted by Marian Arnold.Sydney Symphony Orchestra, Benjamin Northey conductor

™ I Pavane of the Sleeping Beauty in the Woods 2’54# II Hop-o’-my-thumb 5’05¢ III Laideronnette, Empress of the Pagodas 5’34∞ IV Conversations of Beauty and the Beast 6’10§ V The Enchanted Garden 5’10

Tubby the Tuba [13’55]

Music by George Kleinsinger 1914-1982. Words by Paul Tripp 1911-2002.Narrated by Emma Ayres.Timothy Jones solo tubaTasmanian Symphony Orchestra, Marc Taddei conductor

¶ Once upon a time, there was an orchestra 1’57• Rehearsal begins 3’10ª Tubby walks home 1’58º The bullfrog 3’04⁄ Next day at the rehearsal 1’29¤ Tubby plays for Signor Pizzicato 1’16‹ And they all played! 1’00

3

The Young Person’s Guide to the Orchestra [18’53]

Music by Benjamin Britten 1913-1976. Original script for film by Eric Crozier 1914-1994.Narrated by Christopher Lawrence.Sydney Symphony Orchestra, Benjamin Northey conductor

1� Introduction 0’492� Theme (Allegro maestoso e largamente): Tutti 0’293� Theme: Woodwinds 0’214� Theme: Brass 0’215� Theme: Strings 0’276� Theme: Percussion 0’277� Theme: Tutti 0’228� Variation A (Presto): Piccolo and Flute 0’309� Variation B (Lento): Oboes 1’020 Variation C (Moderato): Clarinets 0’46! Variation D (Allegro alla marcia): Bassoons 0’51@ Variation E (Brillante – alla polacca): Violins 0’48£ Variation F (Meno mosso): Violas 0’55$ Variation G: Cellos 1’13% Variation H (Cominciando lento ma poco a poco accelerando

al Allegro): Double Basses 1’05^ Variation I (Maestoso): Harp 0’52& Variation J (L'istesso tempo): Horns 0’56* Variation K (Vivace): Trumpets 0’28( Variation L (Allegro pomposo): Trombones and tuba 1’05) Variation M (Moderato): Percussion 1’51¡ Fugue (Allegro molto): Tutti 3’17

2

Mother Goose Suite [24’53]

Music by Maurice Ravel 1875-1937. Original fairytales by Charles Perrault 1628-1703, Marie-Catherine d’Aulnoyc.1650-1705 and Jeanne-Marie Leprince de Beaumont 1711-1780.Narrated and adapted by Marian Arnold.Sydney Symphony Orchestra, Benjamin Northey conductor

™ I Pavane of the Sleeping Beauty in the Woods 2’54# II Hop-o’-my-thumb 5’05¢ III Laideronnette, Empress of the Pagodas 5’34∞ IV Conversations of Beauty and the Beast 6’10§ V The Enchanted Garden 5’10

Tubby the Tuba [13’55]

Music by George Kleinsinger 1914-1982. Words by Paul Tripp 1911-2002.Narrated by Emma Ayres.Timothy Jones solo tubaTasmanian Symphony Orchestra, Marc Taddei conductor

¶ Once upon a time, there was an orchestra 1’57• Rehearsal begins 3’10ª Tubby walks home 1’58º The bullfrog 3’04⁄ Next day at the rehearsal 1’29¤ Tubby plays for Signor Pizzicato 1’16‹ And they all played! 1’00

5

Once upon a time, there was an orchestra. A very large, impressive, colourful orchestra, filled with instruments of all shapes and sizes...The common thread among all three of the works on this album is the use ofthe orchestra to tell a story – very beautiful but quite different stories.

Benjamin Britten’s The Young Person’s Guide to the Orchestra began its lifeas a short film, commissioned by the British Education Ministry. They wantedsomething serious yet accessible, to help younger audiences become familiarwith the instruments of the orchestra, and they charged the 33-year-oldBritten with this task.

The young composer was an ardent admirer of the music of Henry Purcell,regularly performing his songs in recital with his partner, tenor Peter Pears. In1945, England celebrated the 250th anniversary of Purcell’s death. Britten’scontribution to the occasion was his String Quartet No. 2. The following yearwhen the commission came from the Education Ministry, Britten again turnedto Purcell for inspiration. He settled on the Hornpipe from music composed toaccompany a play set in exotic Spain – the bloodthirsty Abdelazer, or TheMoor’s Revenge. This tune serves as the theme to introduce each section ofthe orchestra. Britten explores each group of instruments in turn: woodwinds,strings, the harp, brass and finally percussion, treating the melody in a waywhich is perfectly idiomatic to the instrument or group each time – comparethe harp’s variation with the trombones’, for instance. He then puts theorchestra back together in that most integrated of forms, the fugue, with

4

each group re-entering the texture one by one, gradually building to apowerful climax.

Meanwhile in the USA, composer George Kleinsinger and lyricist Paul Trippwere preparing for celebrity status with the release of Danny Kaye’sperformance of Tubby the Tuba. Tubby was actually conceived some fiveyears prior, when, as the story has it, Tripp and Kleinsinger performed theirfirst musical piece and the tuba player taking part quipped: “You know, tubascan sing, too.” It took until 1946 for the musical adventures of Tubby tobecome a reality but they proved an overnight sensation. According to theofficial Tubby the Tuba website, “Tubby has been translated into more than 30languages, played by every major orchestra in the world, used as a clue in theNew York Times crosswords, made into two films, narrated by a galaxy of stars... and enshrined in the Library of Congress’ National Recording Registry asone of the landmarks in American audio history.”

The story is a simple one – it is about feeling left out and not being veryspecial. Tubby plays all the lowest notes in the orchestra and only ever goes“oom-pah”, while everyone else seems to have more fun and certainly getsmore attention. Tubby goes on a journey of exploration and self-realisation.While learning about all the instruments of the orchestra, he finds out that itis exactly what he thinks is dull and uninteresting that makes him so specialand unique after all.

Thirty-five years before either of these pieces burst onto the scene, Frenchcomposer and orchestrator-extraordinaire Maurice Ravel was working on hisMother Goose Suite. This collection of five pieces began its life as a suite forfour hands on the piano. Ravel wrote and dedicated the work to “...my youngfriends Mimi and Jean Godebski. My intention of evoking the poetry of

5

Once upon a time, there was an orchestra. A very large, impressive, colourful orchestra, filled with instruments of all shapes and sizes...The common thread among all three of the works on this album is the use ofthe orchestra to tell a story – very beautiful but quite different stories.

Benjamin Britten’s The Young Person’s Guide to the Orchestra began its lifeas a short film, commissioned by the British Education Ministry. They wantedsomething serious yet accessible, to help younger audiences become familiarwith the instruments of the orchestra, and they charged the 33-year-oldBritten with this task.

The young composer was an ardent admirer of the music of Henry Purcell,regularly performing his songs in recital with his partner, tenor Peter Pears. In1945, England celebrated the 250th anniversary of Purcell’s death. Britten’scontribution to the occasion was his String Quartet No. 2. The following yearwhen the commission came from the Education Ministry, Britten again turnedto Purcell for inspiration. He settled on the Hornpipe from music composed toaccompany a play set in exotic Spain – the bloodthirsty Abdelazer, or TheMoor’s Revenge. This tune serves as the theme to introduce each section ofthe orchestra. Britten explores each group of instruments in turn: woodwinds,strings, the harp, brass and finally percussion, treating the melody in a waywhich is perfectly idiomatic to the instrument or group each time – comparethe harp’s variation with the trombones’, for instance. He then puts theorchestra back together in that most integrated of forms, the fugue, with

4

each group re-entering the texture one by one, gradually building to apowerful climax.

Meanwhile in the USA, composer George Kleinsinger and lyricist Paul Trippwere preparing for celebrity status with the release of Danny Kaye’sperformance of Tubby the Tuba. Tubby was actually conceived some fiveyears prior, when, as the story has it, Tripp and Kleinsinger performed theirfirst musical piece and the tuba player taking part quipped: “You know, tubascan sing, too.” It took until 1946 for the musical adventures of Tubby tobecome a reality but they proved an overnight sensation. According to theofficial Tubby the Tuba website, “Tubby has been translated into more than 30languages, played by every major orchestra in the world, used as a clue in theNew York Times crosswords, made into two films, narrated by a galaxy of stars... and enshrined in the Library of Congress’ National Recording Registry asone of the landmarks in American audio history.”

The story is a simple one – it is about feeling left out and not being veryspecial. Tubby plays all the lowest notes in the orchestra and only ever goes“oom-pah”, while everyone else seems to have more fun and certainly getsmore attention. Tubby goes on a journey of exploration and self-realisation.While learning about all the instruments of the orchestra, he finds out that itis exactly what he thinks is dull and uninteresting that makes him so specialand unique after all.

Thirty-five years before either of these pieces burst onto the scene, Frenchcomposer and orchestrator-extraordinaire Maurice Ravel was working on hisMother Goose Suite. This collection of five pieces began its life as a suite forfour hands on the piano. Ravel wrote and dedicated the work to “...my youngfriends Mimi and Jean Godebski. My intention of evoking the poetry of

WoodwindsPiccolo2 Flutes2 OboesCor anglais (English horn)2 ClarinetsBass Clarinet2 BassoonsContrabassoon

Brass4 French horns3 Trumpets3 Trombones (2 tenor, 1 bass)Tuba

PercussionTimpaniSnare drumTenor drumBass drumCymbalsTam-tamTriangleWood blockTambourineGlockenspielXylophoneVibraphoneTubular bellsCelestaPiano

StringsHarpViolins IViolins IIViolasCellosDouble basses

Conductor

7

childhood in these pieces naturally led me to simplify my style and thin out my writing.’

In 1911, Ravel orchestrated the suite. The following year he turned theorchestrated suite into a ballet by adding a prelude, a new opening scene,interludes to connect the movements and so on. The title and three of thestories were taken from Charles Perrault’s Contes de ma mère l’Oye (Tales ofMother Goose), published in 1697. Ravel included some quotations from thestories at the beginnings of three of the movements. But in this recording,additional parts of the original fairytales have been included to give thesemagnificent stories even more colour, excitement and joie de vivre!

6

What exactly is an orchestra?An orchestra is an ensemble consisting of four sections: woodwind, brass,percussion and strings. The word itself is Greek in origin. It refers to thecircular space in front of the stage which in Classical Greek drama wasreserved for the chorus. While there are sometimes additional instrumentsrequired, the standard instrumentation for a modern symphony orchestra is:

WoodwindsPiccolo2 Flutes2 OboesCor anglais (English horn)2 ClarinetsBass Clarinet2 BassoonsContrabassoon

Brass4 French horns3 Trumpets3 Trombones (2 tenor, 1 bass)Tuba

PercussionTimpaniSnare drumTenor drumBass drumCymbalsTam-tamTriangleWood blockTambourineGlockenspielXylophoneVibraphoneTubular bellsCelestaPiano

StringsHarpViolins IViolins IIViolasCellosDouble basses

Conductor

7

childhood in these pieces naturally led me to simplify my style and thin out my writing.’

In 1911, Ravel orchestrated the suite. The following year he turned theorchestrated suite into a ballet by adding a prelude, a new opening scene,interludes to connect the movements and so on. The title and three of thestories were taken from Charles Perrault’s Contes de ma mère l’Oye (Tales ofMother Goose), published in 1697. Ravel included some quotations from thestories at the beginnings of three of the movements. But in this recording,additional parts of the original fairytales have been included to give thesemagnificent stories even more colour, excitement and joie de vivre!

6

What exactly is an orchestra?An orchestra is an ensemble consisting of four sections: woodwind, brass,percussion and strings. The word itself is Greek in origin. It refers to thecircular space in front of the stage which in Classical Greek drama wasreserved for the chorus. While there are sometimes additional instrumentsrequired, the standard instrumentation for a modern symphony orchestra is:

Marian ArnoldMarian Arnold regularly arrives at the ABC studios, where she presents YourRequests, with a violin slung over her shoulder. Recent successes in musicexams have made a smile of delight hard to erase. It was the accidentaldiscovery, when moving house, of a ½-size instrument which led Marian totake up the violin seriously as an adult. After earlier studies in singing andmusic criticism both in Australia and London, ‘the sound of the violin is soclose to the singing voice, it just felt like the right fit.’

She is a graduate of the University of Sydney and began her career as a highschool music teacher. But the performing streak proved rather seductive, andshe spent most of her 20s as a singer.

These days Marian’s major performing outlet is radio presentation. She hasworked for ABC Classic FM in the dual roles of producer and presenter since1981 and has worked in almost every timeslot, including being the firstregular weekday morning presenter. She thoroughly enjoys her Your Requestsprogram, one of the highest rating shows on the network, which shehas hosted for almost two decades. Marian also regularly presentsbroadcasts of live music-making, including performances by theSydney Symphony and Sunday Live, and has presented everySIPCA (Sydney International Piano Competition of Australia) since 1992.

Marian says, ‘Radio is a craft, and you have to want to learn it.Presenting music on radio has taught me to listen – to listenfast, and to listen slow.’ What does that mean? ‘It meansnever to let the music pass by unnoticed; to hear every note,whatever the tempo and however complex or simple. I had

Random facts about the composers• According to the French Society for Songwriters, Composers and Music Publishers, Maurice Ravel’s estate earns more than any other French composer.

• Ravel wanted to be a pilot in the First World War but because of his small stature and poor health he instead became a truck driver on the front at Verdun.

• In 1932, Ravel suffered a major blow to the head in a taxi accident, which is most likely the cause of his death just two years later.

• Benjamin Britten worked on two documentary films with poet WH Auden – Coal Face and Night Mail.

• Britten was an active member of the Peace Pledge Union, a pacifist non-government organisation.

• Even though he had previously turned down a knighthood, Brittenaccepted a life peerage as Baron Britten of Aldeburgh in the County of Suffolk.

• For the last 25 years of his life, George Kleinsinger was a resident at New York’s famous Chelsea Hotel.

• During World War II, Kleinsinger was music supervisor with the 2nd Service Command, Army Service Forces.

• Kleinsinger held a Bachelor of Science degree from New York University.

8 9

Marian ArnoldMarian Arnold regularly arrives at the ABC studios, where she presents YourRequests, with a violin slung over her shoulder. Recent successes in musicexams have made a smile of delight hard to erase. It was the accidentaldiscovery, when moving house, of a ½-size instrument which led Marian totake up the violin seriously as an adult. After earlier studies in singing andmusic criticism both in Australia and London, ‘the sound of the violin is soclose to the singing voice, it just felt like the right fit.’

She is a graduate of the University of Sydney and began her career as a highschool music teacher. But the performing streak proved rather seductive, andshe spent most of her 20s as a singer.

These days Marian’s major performing outlet is radio presentation. She hasworked for ABC Classic FM in the dual roles of producer and presenter since1981 and has worked in almost every timeslot, including being the firstregular weekday morning presenter. She thoroughly enjoys her Your Requestsprogram, one of the highest rating shows on the network, which shehas hosted for almost two decades. Marian also regularly presentsbroadcasts of live music-making, including performances by theSydney Symphony and Sunday Live, and has presented everySIPCA (Sydney International Piano Competition of Australia) since 1992.

Marian says, ‘Radio is a craft, and you have to want to learn it.Presenting music on radio has taught me to listen – to listenfast, and to listen slow.’ What does that mean? ‘It meansnever to let the music pass by unnoticed; to hear every note,whatever the tempo and however complex or simple. I had

Random facts about the composers• According to the French Society for Songwriters, Composers and Music Publishers, Maurice Ravel’s estate earns more than any other French composer.

• Ravel wanted to be a pilot in the First World War but because of his small stature and poor health he instead became a truck driver on the front at Verdun.

• In 1932, Ravel suffered a major blow to the head in a taxi accident, which is most likely the cause of his death just two years later.

• Benjamin Britten worked on two documentary films with poet WH Auden – Coal Face and Night Mail.

• Britten was an active member of the Peace Pledge Union, a pacifist non-government organisation.

• Even though he had previously turned down a knighthood, Brittenaccepted a life peerage as Baron Britten of Aldeburgh in the County of Suffolk.

• For the last 25 years of his life, George Kleinsinger was a resident at New York’s famous Chelsea Hotel.

• During World War II, Kleinsinger was music supervisor with the 2nd Service Command, Army Service Forces.

• Kleinsinger held a Bachelor of Science degree from New York University.

8 9

‘The alarm goes off at 5am every day. I cycle to work, try not to drink toomuch coffee and by the time the music starts, things are pretty chipper. Howcould they not be, being in a small room with Mozart, the AustralianChamber Orchestra, Jordi Savall and the best musicians in the world?

‘I’ve learnt a lot about Australia and experienced an incredibly warm welcomehere. Radio is such an intimate form of communication – you can be a friendfor a lot of people and the power of music is hard to overstate. It can becathartic to forget about the visual, and music allows us space.’

Emma teaches the cello to people of all ages; her oldest student is 72 and shefirmly believes in our ability to learn an instrument at any age. It’s simply thechallenges which change!

These days Emma still cycles most places, often with a cello or viola strappedto her back. ‘I’ve recently started learning the ukulele – it’s a fun sound, veryversatile and cheap. Oh, and light!’

Christopher LawrenceChristopher Lawrence’s career spans more than 25 years ofbroadcasting. He has written and produced documentaries (rangingfrom the love life of the French composer Hector Berlioz to ahistory of the songs and stories of Australian waterfront workers),presented an interview series for the Ovation television cablechannel, and conducted most of Australia’s capital citysymphony orchestras.

As a producer of orchestral and opera recordings he has beenawarded an International Emmy for Performing Arts, three ARIA

11

one correspondent who wrote in to me to say that “Bach sounded like ajumble of notes.” My advice was to start by listening to slow movements,accustom the ear to listening to harmonic progression and melodic direction,and then build the understanding and speed from there. Of course, that’s justone way of approaching great and complex music.

‘The other thing presenting music has taught me is to listen for its import andimpact; to listen emotionally. One way or another, I just can’t imagine a daygoing by without music.’

Emma AyresEmma Ayres, presenter of Classic Breakfast, is a graduate of the RoyalNorthern College of Music in Manchester, the Berlin Hochschule der Kunsteand London’s Royal Academy. She credits her desire to break down thebarriers surrounding classical music to the period she spent studying withWilliam Pleeth, Milan Škampa and members of the Amadeus Quartet.

Following her studies, Emma worked with the Hong KongPhilharmonic Orchestra for many years as a violist. A seminalmoment came when Emma was cycling from Shropshire inEngland to Hong Kong for charity. The nine-month solo tripallowed for a lot of thinking-time and led Emma to decide two

things: learn the cello, and try her hand at radio. She arrivedin Australia in 2003 and after the classic new-immigrantjob of dishwasher, began working for ABC Classic FM in2004. Her work hours have gradually become earlier andearlier and she has been hosting Classic Breakfast sincethe beginning of 2008.

10

‘The alarm goes off at 5am every day. I cycle to work, try not to drink toomuch coffee and by the time the music starts, things are pretty chipper. Howcould they not be, being in a small room with Mozart, the AustralianChamber Orchestra, Jordi Savall and the best musicians in the world?

‘I’ve learnt a lot about Australia and experienced an incredibly warm welcomehere. Radio is such an intimate form of communication – you can be a friendfor a lot of people and the power of music is hard to overstate. It can becathartic to forget about the visual, and music allows us space.’

Emma teaches the cello to people of all ages; her oldest student is 72 and shefirmly believes in our ability to learn an instrument at any age. It’s simply thechallenges which change!

These days Emma still cycles most places, often with a cello or viola strappedto her back. ‘I’ve recently started learning the ukulele – it’s a fun sound, veryversatile and cheap. Oh, and light!’

Christopher LawrenceChristopher Lawrence’s career spans more than 25 years ofbroadcasting. He has written and produced documentaries (rangingfrom the love life of the French composer Hector Berlioz to ahistory of the songs and stories of Australian waterfront workers),presented an interview series for the Ovation television cablechannel, and conducted most of Australia’s capital citysymphony orchestras.

As a producer of orchestral and opera recordings he has beenawarded an International Emmy for Performing Arts, three ARIA

11

one correspondent who wrote in to me to say that “Bach sounded like ajumble of notes.” My advice was to start by listening to slow movements,accustom the ear to listening to harmonic progression and melodic direction,and then build the understanding and speed from there. Of course, that’s justone way of approaching great and complex music.

‘The other thing presenting music has taught me is to listen for its import andimpact; to listen emotionally. One way or another, I just can’t imagine a daygoing by without music.’

Emma AyresEmma Ayres, presenter of Classic Breakfast, is a graduate of the RoyalNorthern College of Music in Manchester, the Berlin Hochschule der Kunsteand London’s Royal Academy. She credits her desire to break down thebarriers surrounding classical music to the period she spent studying withWilliam Pleeth, Milan Škampa and members of the Amadeus Quartet.

Following her studies, Emma worked with the Hong KongPhilharmonic Orchestra for many years as a violist. A seminalmoment came when Emma was cycling from Shropshire inEngland to Hong Kong for charity. The nine-month solo tripallowed for a lot of thinking-time and led Emma to decide two

things: learn the cello, and try her hand at radio. She arrivedin Australia in 2003 and after the classic new-immigrantjob of dishwasher, began working for ABC Classic FM in2004. Her work hours have gradually become earlier andearlier and she has been hosting Classic Breakfast sincethe beginning of 2008.

10

Judy HoracekJudy Horacek loves the idea of conducting an orchestra, but sadly has no skillsin that area whatsoever. Instead she draws cartoons, which have been widelypublished in newspapers and magazines and can be found on fridges andtoilet doors all over the world.

Judy has published seven cartoon collections for grown-ups, the most recentof which is If You Can’t Stand the Heat (Scribe, 2010). Her first book forchildren, Where is the Green Sheep?, created with Mem Fox, (Penguin, 2004)quickly became a children’s classic. Since then she has published four picturebooks of her own, including The Story of Growl (Penguin, 2007) and Yellow IsMy Favourite Colour (Penguin, 2010).

www.horacek.com.au

(Australian Record Industry Association) Awards, a Churchill Fellowship, andthe Editors’ Choice Award at the 1992 Cannes Classical Awards in France.Christopher worked extensively in the studio with the late Stuart Challenderand the Sydney Symphony on a series of breakthrough recordings ofAustralian music. He also accompanied them on their historic BicentennialTour of the USA in 1988, producing recordings with Dame Joan Sutherland inthe Kennedy Center and the United Nations General Assembly Hall.

Christopher was the first presenter of Radio National’s The Music Show onSaturday mornings, discussing recording techniques with kd lang, and the art of singing while running uphill with Julie Andrews (along with hundreds of other interviews). He is best known for his work with ABC Classic FM,presenting the network’s Breakfast and Drive programs between 1994 and2001. The three Swoon collection CDs that evolved out of his Breakfastprogram broke sales records in the Australian classical music industry, each achieving Platinum status.

He has also worked extensively on ABC Local Radio, presenting Evenings andBreakfast on 702 ABC Sydney, Afternoons on 936 ABC Hobart, and the series Bakelite Express on Networked Local Radio across the country. Whilebased in the UK, he was a regular guest commentator for the live-to-air BBC Proms telecasts. In 1999 Christopher was awarded an Honorary Doctoratein Communications by the University of Central Queensland for his career in broadcasting.

Christopher has written three best-selling books: Swooning – A Classical MusicGuide to Life, Love, Lust and Other Follies; Hymns of the Forefathers, based on his documentary series about the history of hymns seen on ABC TV; andSwing Symphony.

12 13

Judy HoracekJudy Horacek loves the idea of conducting an orchestra, but sadly has no skillsin that area whatsoever. Instead she draws cartoons, which have been widelypublished in newspapers and magazines and can be found on fridges andtoilet doors all over the world.

Judy has published seven cartoon collections for grown-ups, the most recentof which is If You Can’t Stand the Heat (Scribe, 2010). Her first book forchildren, Where is the Green Sheep?, created with Mem Fox, (Penguin, 2004)quickly became a children’s classic. Since then she has published four picturebooks of her own, including The Story of Growl (Penguin, 2007) and Yellow IsMy Favourite Colour (Penguin, 2010).

www.horacek.com.au

(Australian Record Industry Association) Awards, a Churchill Fellowship, andthe Editors’ Choice Award at the 1992 Cannes Classical Awards in France.Christopher worked extensively in the studio with the late Stuart Challenderand the Sydney Symphony on a series of breakthrough recordings ofAustralian music. He also accompanied them on their historic BicentennialTour of the USA in 1988, producing recordings with Dame Joan Sutherland inthe Kennedy Center and the United Nations General Assembly Hall.

Christopher was the first presenter of Radio National’s The Music Show onSaturday mornings, discussing recording techniques with kd lang, and the art of singing while running uphill with Julie Andrews (along with hundreds of other interviews). He is best known for his work with ABC Classic FM,presenting the network’s Breakfast and Drive programs between 1994 and2001. The three Swoon collection CDs that evolved out of his Breakfastprogram broke sales records in the Australian classical music industry, each achieving Platinum status.

He has also worked extensively on ABC Local Radio, presenting Evenings andBreakfast on 702 ABC Sydney, Afternoons on 936 ABC Hobart, and the series Bakelite Express on Networked Local Radio across the country. Whilebased in the UK, he was a regular guest commentator for the live-to-air BBC Proms telecasts. In 1999 Christopher was awarded an Honorary Doctoratein Communications by the University of Central Queensland for his career in broadcasting.

Christopher has written three best-selling books: Swooning – A Classical MusicGuide to Life, Love, Lust and Other Follies; Hymns of the Forefathers, based on his documentary series about the history of hymns seen on ABC TV; andSwing Symphony.

12 13

Executive Producers Martin Buzacott, Robert PattersonRecording Producer, Editing and MasteringVirginia ReadRecording Engineers Virginia Read 1-§, Veronika Vincze ¶-‹Narration Recording, Editing and MasteringVirginia ReadEditorial and Production Manager Hilary ShrubbPublications Editor Natalie SheaCover Illustration Judy HoracekBooklet Design Imagecorp Pty Ltd

Music recorded 16-17 December 2009 in the EugeneGoossens Hall, Australian Broadcasting Corporation,Ultimo 1-§ and 12 May 2010 in FederationConcert Hall, Hobart ¶-‹. Narrations recorded 30 September 1-¡, 1 October ™-§ and 5 October2010 ¶-‹ in the Eugene Goossens Hall, AustralianBroadcasting Corporation, Ultimo.

The Young Person’s Guide to the Orchestra by BenjaminBritten is published by Boosey & Hawkes MusicPublishers Ltd of London. Ma Mère L’Oye, FiveChildren’s Pieces by Maurice Ravel, is published byEditions Durand-Salabert-Eschig of Paris. Tubby TheTuba by George Kleinsinger, lyrics by Paul Tripp, ispublished by Music Theatre International of New York.

� 2010 Australian Broadcasting Corporation. � 2010Australian Broadcasting Corporation. Distributed inAustralia and New Zealand by Universal Music Group,under exclusive licence. Made in Australia. All rights of theowner of copyright reserved. Any copying, renting, lending,diffusion, public performance or broadcast of this recordwithout the authority of the copyright owner is prohibited.

ABC Classics thanks Judy Horacek; Donica Bettanin

(Jenny Darling and Associates); Amanda Harris;

Richard Buckham and John Crawford (ABC Classic

FM); Christine Chan (Hal Leonard Australia); Claudia

Crosariol (narrative text preparation), Laura Bell and

Katherine Kemp.

For the Sydney Symphony OrchestraManaging Director Rory JeffesDirector of Artistic Planning Peter CzornyjArtistic Administration Manager Raff Wilson

Recording Enterprises Executive Philip PowersDirector of Orchestra Management Aernout Kerbert

www.sydneysymphony.com

For the Tasmanian Symphony OrchestraManaging Director Nicholas HeywardManager, Artistic Planning Simon Rogers

Concertmaster Jun Yi Ma

Orchestra Manager Greg LowOrchestral Coordinator Evan Woodroffewww.tso.com.au

14

Executive Producers Martin Buzacott, Robert PattersonRecording Producer, Editing and MasteringVirginia ReadRecording Engineers Virginia Read 1-§, Veronika Vincze ¶-‹Narration Recording, Editing and MasteringVirginia ReadEditorial and Production Manager Hilary ShrubbPublications Editor Natalie SheaCover Illustration Judy HoracekBooklet Design Imagecorp Pty Ltd

Music recorded 16-17 December 2009 in the EugeneGoossens Hall, Australian Broadcasting Corporation,Ultimo 1-§ and 12 May 2010 in FederationConcert Hall, Hobart ¶-‹. Narrations recorded 30 September 1-¡, 1 October ™-§ and 5 October2010 ¶-‹ in the Eugene Goossens Hall, AustralianBroadcasting Corporation, Ultimo.

The Young Person’s Guide to the Orchestra by BenjaminBritten is published by Boosey & Hawkes MusicPublishers Ltd of London. Ma Mère L’Oye, FiveChildren’s Pieces by Maurice Ravel, is published byEditions Durand-Salabert-Eschig of Paris. Tubby TheTuba by George Kleinsinger, lyrics by Paul Tripp, ispublished by Music Theatre International of New York.

� 2010 Australian Broadcasting Corporation. � 2010Australian Broadcasting Corporation. Distributed inAustralia and New Zealand by Universal Music Group,under exclusive licence. Made in Australia. All rights of theowner of copyright reserved. Any copying, renting, lending,diffusion, public performance or broadcast of this recordwithout the authority of the copyright owner is prohibited.

ABC Classics thanks Judy Horacek; Donica Bettanin

(Jenny Darling and Associates); Amanda Harris;

Richard Buckham and John Crawford (ABC Classic

FM); Christine Chan (Hal Leonard Australia); Claudia

Crosariol (narrative text preparation), Laura Bell and

Katherine Kemp.

For the Sydney Symphony OrchestraManaging Director Rory JeffesDirector of Artistic Planning Peter CzornyjArtistic Administration Manager Raff Wilson

Recording Enterprises Executive Philip PowersDirector of Orchestra Management Aernout Kerbert

www.sydneysymphony.com

For the Tasmanian Symphony OrchestraManaging Director Nicholas HeywardManager, Artistic Planning Simon Rogers

Concertmaster Jun Yi Ma

Orchestra Manager Greg LowOrchestral Coordinator Evan Woodroffewww.tso.com.au

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narrated by christopher lawrence • emma ayres • marian arnold

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With dazzling illustrations by one of Australia’s finest cartoonists, Judy Horacek, thisalbum of children’s classics will make your imagination take flight! Join ABC Classic FM

personalities Christopher Lawrence, Marian Arnold and Emma Ayres as they take you on a journey of musical discovery – from Britten to Ravel to Kleinsinger – with the Sydney and Tasmanian Symphony Orchestras.

1-¡ BRITTEN The Young Person’s Guide to the Orchestra 18’53Narrated by Christopher Lawrence.Sydney Symphony Orchestra, Benjamin Northey conductor

™-§ RAVEL Mother Goose Suite 24’53Narrated by Marian Arnold.Sydney Symphony Orchestra, Benjamin Northey conductor

¶-‹ KLEINSINGER Tubby the Tuba 13’55Narrated by Emma Ayres.Tasmanian Symphony Orchestra, Marc Taddei conductor