The music of Johann Sebastian Bach is pure perfection: a vast yet intricate tapestry of heavenly beauty and human emotion. Music was for Bach the means through which mortals could directly experience the divine, and his cantatas reveal his extraordinary gift for communicating directly with his listeners, even across three centuries. As dramatic and passionate as any opera, each cantata carries us deep into the heart of its story.This CD presents Bach’s two sacred cantatas for solo bass, performed by acclaimed Australian baritone David Greco and the exciting Tasmanian Baroque ensemble Van Diemen’s Band. Both cantatas offer us a vision of comfort and hope, beautifully conveyed by Greco’s rich, warm tones: Ich habe genug (It is enough), BWV82, is an outpouring of uttermost relief and joy: long, agonising years of waiting are forgotten as the old man Simeon realises that the baby he is cradling in his arms is the Christ child who brings new hope for the world. Ich will den Kreuzstab gerne tragen (Gladly will I bear the cross), BWV56, presents the human journey as a sea voyage, tossed on raging waters before coming safe home to port in heaven.The album also presents a selection of bass arias and instrumental movements taken from cantatas across Bach’s long career, from the carefree joy of the opening sinfonia to his cantata Der Herr denket an uns (BWV196) – written for a wedding, perhaps even for Bach’s own wedding in 1707 – to the profound tranquility of Betrachte, meine Seel (Contemplate, O my soul) from the St John Passion, as revised by Bach in 1749, just one year before his death.Warmth, honesty, truth, compassion and transcendent beauty: this recording by the cream of Australia’s early music specialists will make you fall in love with Bach all over again.About the ArtistsInternationally regarded for his interpretations of Schubert lieder and works of J.S. Bach, David Grecohas sung on some of the finest stages across Europe, and has appeared as a principal in the world’s most exciting opera festivals including the Aix-en-Provence Festival and Glyndebourne Festival Opera.In 2014, he became the first Australian appointed to a position with the Sistine Chapel Choir in the Vatican, Rome.David regularly appears as a soloist with Australia’s finest ensembles and orchestras, such as the Australian Brandenburg Orchestra, Australian Chamber Orchestra and most recently with the Sydney Symphony in their Helpmann Award-winning concerts of Bach’s cantata for bass, Ich habe genug. In 2017, he was a principal artist with Opera Australia, appearing in The Eighth Wonder and The Love of Three Oranges, and his appearance as Seneca in Pinchgut Opera’s production of The Coronation of Poppea received critical acclaim.David has an impressive catalogue of solo recordings spread across a variety of labels, including Poems of Love & War, featuring arias by New Zealand composer Jack Body on the Naxos label. In 2019, David made his first recital album, presenting works by J.S. Bach, with the Netherlands-based Luthers Bach Ensemble on the European label Brilliant Classics.David is an active researcher into the historical performance practice of 19th-century voice and recently received his doctorate from the University of Melbourne. His PhD has led to the first Australian recording project exploring the historically informed performance of Schubert’s song cycles Winterreise and Die schöne Müllerin on the ABC Classic label, the latter receiving an ARIA nomination for Best Classical Album in 2020 Based in the wild and unspoiled island state of Tasmania at the southernmost tip of Australia, ‘Australia’s Baroque supergroup’ Van Diemen’s Band is made up of some of the country’s most highly respected early music specialists, who between them have worked with leading ensembles such as Les Arts Florissants, Les Talens Lyriques, Ensemble Pygmalion, Il Pomo d’Oro, Orchestre des Champs-.lys.es, The English Concert, Academy of Ancient Music, Orchestra of the Eighteenth Century, Le Parlement de Musique and the Amsterdam Baroque Orchestra.Founded in 2016 by violinist Julia Fredersdorff, Van Diemen’s Band varies in size from an intimate chamber group to a larger mid-18th-century orchestra, working with regular guest directors such as French Baroque specialist Martin Gester, exploring the creativity and freedom of expression in music of the baroque while deferring to historical sources on style and instrumentation.Van Diemen’s Band’s debut CD for ABC Classic, Cello Napoletano, featuring soloist Catherine Jones in the cello concertos of Nicola Fiorenza, was released internationally in 2018 to critical acclaim. Since then, the group has appeared in concerts and festivals in its home state and around mainland Australia, establishing itself as one of the most distinguished new groups in the arts scene ‘Down Under’.www.vandiemensband.com.au  TRACKLISTING JOHANN SEBASTIAN BACH 1685–1750 1     Aria: Ach! ich sehe (Ah! I see)       from Cantata BWV162 Ach! ich sehe, itzt, da ich zur Hochzeit gehe (Ah! Now, on myway to the wedding banquet, I see)       Matthew Manchester flatt trumpet 2     Aria: Auf Gott steht meine Zuversicht (My trust is founded on God)       from Cantata BWV138 Warum betrübst du dich, mein Herz (My heart, why are you troubled?) 3     Sinfonia° from Cantata BWV21 Ich hatte viel Bekümmernis (I was in great distress) 4     Arioso: Betrachte, meine Seel (Contemplate, O my soul) from St John Passion, BWV245       Donald Nicolson harpsichord        Ich habe genug (It is enough), BWV825     I. Aria: Ich habe genug (It is enough)°6     II. Recitative: Ich habe genug (It is enough)7     III. Aria: Schlummert ein, ihr matten Augen (Sleep, dull eyes)8     IV. Recitative: Mein Gott! wenn kömmt das schöne: Nun!       (O God, when shall I hear that beautiful word ‘Now!’)9     V. Aria: Ich freue mich auf meinen Tod (I look forward to my death)° 10   Sinfonia from Cantata BWV196 Der Herr denket an uns (The Lord is mindful of us) 11   Aria: Es ist vollbracht (It is done)°12   Chorale: Jesu, deine Passion ist mir lauter Freude (Jesus, your sufferingis for me pure joy)       from Cantata BWV159 Sehet, wir geh’n hinauf gen Jerusalem (See, we are goingup to Jerusalem)       Anna Fraser soprano, Stephanie Dillon alto, Eric Peterson tenor 13   Sinfonia II° from Cantata BWV35 Geist und Seele wird verwirret (Spirit and soulare thrown into confusion)       Donald Nicolson organ        Ich will den Kreuzstab gerne tragen (Gladly will I bear the cross), BWV5614   I. Aria: Ich will den Kreuzstab gerne tragen (Gladly will I bear the cross)°15   II. Recitative: Mein Wandel auf der Welt (My wanderings over the earth)16   III. Aria: Endlich, endlich wird mein Joch (One day at last I shall be set free from my yoke)°17   IV. Recitative: Ich stehe fertig und bereit (I stand ready and prepared)18.   Chorale: Komm, o Tod, du Schlafes Bruder (Come, O Death, Sleep’s brother)       Anna Fraser soprano, Stephanie Dillon alto, Eric Peterson tenor David GrecobaritoneVan Diemen’s BandJulia Fredersdorffartistic directorJasu Moisiooboe°

The world premiere performance of a major work for cello and orchestra by award-winning Australian composer Ian Munro, featuring acclaimed Australian cellist Sue-Ellen Paulsen: now available at last on digital platforms.Based on J.S. Bach’s four-part setting of the Lutheran chorale of the same name, O Traurigkeit(O Sadness) evokes the spirit of Bach's chorales, and also of his cello suites – the first great works for this queen of string instruments.The composer writes: ‘Bach's practice in his Chorale Preludes for organ was to draw from the hymns a deeper significance, musical and textual, and to weave around it his own florid genius, extending and deepening the sense of the original. What I find most extraordinary is the modest grace in which the most powerful thoughts are expressed, as though the entirety of the Romantic movement were an unnecessary indulgence. Such music has shown itself to be ageless, and speaks to us still with beauty and authority.’O Traurigkeit was created as a dual tribute to a revered composer and a brilliant cellist, revelling in Sue-Ellen Paulsen’s passionate playing and gorgeous tone.

Australian jazz legends celebrate Sydney and look to a COVID-free future.ABC Jazz is excited to announce a new recording of ‘My City of Sydney’ by celebrated vocalist Gregg Arthur, performing with John Morrison’s Swing City Big Band.Tommy Leonetti’s 1969 song was broadcast well into the 1980s by Channel 7 prior to the station closing down every night, and it is sure to bring old memories flooding back for generations of Australians.This swinging new version was recorded to celebrate the city coming back to life after COVID-19. Supported by the City of Sydney’s Creative Fellowships Fund, the song has a whole new meaning after this most strange and unusual year.“There are lines in the song that have poignant new meaning because of COVID,” says Gregg Arthur. “My city of Sydney, I miss the warmth of you, I miss the heart of your people.”The recording sessions also provided a lifeline for the members of John Morrison’s Swing City Big Band, many of whom have not been able to perform live since the city’s concert halls were shut down in March. “Some of the guys literally hadn’t worked in 6 months, so I was very proud to bring everyone together,” says Arthur.In an incredible connection to Leonetti’s original, this recording features the legendary Billy Burton on trumpet, at 87 years of age. Burton was on the original recording back in 1969, and was the band leader on Leonetti’s late-night Sydney TV variety show, ‘The Tommy Leonetti Show’, which ran from 1969 to 1970.“Having Billy in the trumpet section was wonderful,” says Arthur. “It had real resonance for the history of this great song that fifty years later, Billy is still playing brilliantly.”Gregg Arthur is an Australian singer and songwriter, critically acclaimed by both the press and his peers. Originally from Sydney, Australia, Gregg travels all over the world performing the music he loves, keeping the flame alive for the classic standards he has been singing all his life. His training and education are firmly based in the tradition of jazz vocals and the Great American Songbook, using his considerable abilities to interpret what he calls the “new standards”, pop and smooth jazz classics. Studying music in Sydney, Gregg honed his vocal skills with famed singing coach Don Graden, studied acting to enhance his singing performances at The Actors Studio and took lessons with legendary acting teacher Hayes Gordon, also recording and performing with the great Australian arranger and conductor, Maestro Tommy Tycho.In the United States Gregg has worked with iconic musicians including the late Vincent Falcone, former pianist and conductor for Frank Sinatra, and the “Brush Master” Clayton Cameron, drummer for Tony Bennett and Sammy Davis Jr.In 2016 Gregg recorded in the iconic Studio A at Capitol Records in Los Angeles, California – the same studio where legends of the music industry including The Beach Boys, Carole King, Frank Sinatra and Nat “King” Cole recorded so many iconic albums over the last 50 years.“I love the way you sing. You have a fan in the way you phrase... it’s perfect” – Tony Bennett“...the finest male jazz singer Australia has produced since Vince Jones” – Eric Myers,The Weekend Australian“Some people got it, and some people don’t. Gregg Arthur is one of the ones who does. It’s the devilish art of being a jazz singer.” – John Shand, Sydney Morning Herald“In my opinion, he is the ultimate crooner” – Maestro Tommy Tycho AM MBE“As the former pianist/conductor for Frank Sinatra, I want to say that having worked with Gregg Arthur, I believe that he has all the necessary talent and vocal acuity to follow in the footsteps of Mr. Sinatra, and effectively disseminate the great music which Mr. Sinatra loved so much” – Vincent Falcone, Frank Sinatraʼs pianist and conductor

Into the mouth of the wolfYou’re never gonna take me downThere’s still a beating heart beneath the ground… Hestia, the fifth and most recent studio album from The Rumjacks, marks a new era for the band. The album introduces new lead singer Mike Rivkees, whose songwriting skills have rejuvenated The Rumjacks’ collaborative spirit. Together, Rivkees (vocals), Johnny McKelvey (bass), Gabe Whitbourne (guitar), Adam Kenny (bouzouki/mandolin), and Pietro Della Sala (drums) combine their diverse American, Australian, Italian, and Irish perspectives to create a fresh, globalized iteration of the Celtic punk legacy dating back to the Pogues. Hestia takes the energy of traditional folk music, lights it on fire, then sprinkles it with ash. Dark, gritty, and historically aware, this is music grounded in the character of the Rebel. When writing Hestia (named after the Greek goddess of home and hearth), bandmembers Mike Rivkees and Johnny McKelvey paired their affection for their Irish immigrant grandparents and parents with the punk, ska, and hard rock sounds pulsing through their veins. For McKelvey, punk and folk music are not all that different: they share “incredible energy, melodies, and story-telling.” Indeed, Hestia’s loud choruses and infectious melodies pull you in, but its lyrical narratives of sorrow and aspiration, of history and struggle, are what keep you listening. Although their songs are composed in divergent places, from the shores of Rhode Island down to Australia and across mainland Europe, The Rumjacks final sound is seamless and cohesive, boasting a perfect balance of folk influence and modern punk. The band’s collective enthusiasm can be heard on each track in Hestia, from the pugnacious war-like march, “Bullhead,” to the lyrical requiem, “Rhythm of her Name.” While, on the one hand, Hestia carries the expected Rumjack vibrancy, its songs also demonstrate a surprising variety of styles and emotional range without sacrificing the band’s principle descriptor: hardcore. For twelve years, The Rumjacks have written songs that you cannot help but start singing by the second chorus, even if you have never heard them before. In this short career, they have released four acclaimed studio albums and two live albums that capture their most renowned asset: their electric energy onstage. That organic energy has garnered them a far-reaching fanbase. The band’s breakthrough hit, “Irish Pub Song” (2011), a tongue-and-cheek jaunt about all the Irish pubs in the world, has over sixty-five million views. Their other music videos have acquired a substantial following as well, with almost 200,000 subscribers on YouTube and over 100,000 subscribers on Spotify. The band now counts hundreds of thousands of fans in North America, Europe, Asia, and their home in Australia.   With a new album and a new sound to showcase, The Rumjacks look forward to getting back to live performances. Hestia is an album that, in the words of Johnny McKelvey, will only find its outlet onstage. During uncertain times, The Rumjacks have kindled their creative flame and given fans an album whose energy and passion is guaranteed. 

The coronavirus pandemic has really shown music’s ability to bring us together and provide comfort in difficult times: whether it’s through singing on balconies during lockdown to entertain our neighbours, professional musicians performing online to bolster spirits, or providing the soundtrack to keep us moving at home.When ABC Classic asked listeners to recommend the music that gives them an instant mood boost, the response was almost overwhelming, with hundreds of different suggestions. For this CD album, we’ve gathered together some of the pieces that featured on many people’s lists – Vaughan Williams’ The Lark Ascendingand Fantasia on a Theme by Thomas Tallis, the triumphant finale from Saint-Saëns’ Organ Symphony, the calming simplicity of Arvo Pärt’s Spiegel im Spiegel, the transcendent beauty of Morricone’s Gabriel’s Oboe, Nigel Westlake’s delightful Penguin Ballet,the joyous energy of Bach and Handel and the irrepressible good humour of Mozart and Mendelssohn.There are old favourites and new discoveries; gentle, soothing music and cheerful, upbeat dance numbers. Music that stops us in our tracks with its beauty and music that gets our toes tapping. Music that shines through tears and music that bubbles up with joy.Performed by Australia’s top orchestras, choirs and ensembles, from the full symphonic glory of our state symphony orchestras to the intimacy of Ensemble Offspring and the Australia Ensemble, and including soloists Sally Whitwell, Diana Doherty and Lin Jiang, this is music to lift your spirits – in these strange and difficult times, or just at any time!  TRACKLISTING CD1                                                                                     79’09 1     MENDELSSOHN Symphony No. 3 ‘Scottish’:                     4’16II. Vivace non troppo                                                            2     WESTLAKE Penguin Ballet from Antarctica                       3’153     BEETHOVEN Symphony No. 6 ‘Pastoral’: I. Pleasant,       11’19cheerful feelings on arrival in the countryside                        4     MASSENET Méditation from Thaïs                                   5’385     JEFFES Music for a Found Harmonium                             3’126     MOZART Pa-Pa-Pa-Papagena from The Magic Flute         2’347     VERDI Va’, pensiero from Nabucco                                  4’408     VAUGHAN WILLIAMS Fantasia on a Theme by                15’24Thomas Tallis                                                                       9     HANDEL Zadok the Priest                                                4’5610   BACH Brandenburg Concerto No. 3: I. Allegro                  5’3111   EDWARDS Madagascan Song from Animisms                   2’4112   GIFFORD Bardju (Footprints)                                           1’5713   LITOLFF Scherzo from Concerto symphonique No. 4         7’0314   MENDELSSOHN Violin Concerto No. 2:                            6’43III. Allegretto non troppo – Allegro molto vivace                      CD2                                                                                     78’11 1     GREENBAUM The Rotation of the Earth                          4’432     VAUGHAN WILLIAMS The Lark Ascending                      17’083     ELGAR Nimrod from Enigma Variations                            4’294     KOEHNE Forty Reasons to be Cheerful                            6’405     RESPIGHI Bergamasca from Ancient Airs and Dances        4’556     MOZART Horn Concerto No. 4: III. Rondo                        3’487     GLANVILLE-HICKS Etruscan Concerto: I. Promenade         4’088     HANDEL Alla hornpipe from Water Music Suite No. 2       3’089     VIVALDI Gloria: Opening chorus                                      2’2310   PÄRT Spiegel im Spiegel                                                  9’2211   MORRICONE Gabriel’s Oboe from The Mission                2’2912   WHITWELL Road Trip                                                      3’2413   GOW The Fairy Dance Set                                               3’22                                14   SAINT-SAËNS Symphony No. 3 ‘Organ’:                          8’11                                       IIb. Maestoso – Allegro

Carlos Salzedo was the single most important figure in the history of the harp. He broke new ground in playing technique and discovered new timbres; he explored new sound worlds and brought forth new kinds of beauty; he took an instrument that was already magical and raised it to new virtuosic heights. In 1938, Salzedo published two Christmas pieces: Concert Variations on Adeste Fidelis (O Come, All Ye Faithful) and an arrangement of Silent Night. A virtuoso transcription of Jingle Bells followed a few years later. These three works were so popular that Salzedo was asked to write more – a whole album’s worth, in fact, recorded by Salzedo himself on the Mercury label in 1956. For this disc, Australian virtuosa Alice Giles has recorded all of those pieces, plus two earlier Salzedo works: the ethereal Poem of the Little Stars and the gloriously joyous Recessional. Completing this disc are four beloved Australian Christmas carols by W.G. James: Carol of the Birds, The Silver Stars are in the Sky, The Three Droversand Christmas Day, arranged by Alice Giles especially for this recording. Alice Giles is celebrated as one of the world’s leading harpists, which a wide and varied international solo career that has taken her from London’s Wigmore Hall and New York’s Merkin, ‘92nd St Y’ and Carnegie Halls, to Mawson Station in Antarctica. A guest artist at numerous international festivals, Alice has also appeared as soloist with such orchestras as the Israel Philharmonic Orchestra, Collegium Musicum Zürich, and all the major Australian symphony and chamber orchestras. She has given master classes in many of the world’s major music institutions including the Juilliard School, Salzburg Mozarteum and London’s Royal Academy.TRACKLISTING CARLOS SALZEDO 1885–19611   Concert Variations on ‘Adeste Fideles’(O Come, All YeFaithful)                                                                           4’272   Paraphrase on ‘It Came upon the Midnight Clear’              1’453   Paraphrase on ‘O Little Town of Bethlehem’                     2’274   Concert Variations on ‘O Tannenbaum’ (O ChristmasTree)                                                                                3’385   Silent Night                                                                      3’296   Paraphrase on ‘Hark! The Herald Angels Sing’                   1’497   Paraphrase on ‘Away in a Manger’                                    1’488   Paraphrase on ‘The First Noel’                                          1’399   Concert Variations on ‘Deck the Halls’                               1’47 WILLIAM G. JAMES 1892–1977 arr. Alice Giles10 Carol of the Birds                                                              1’4611 The Silver Stars are in the Sky                                           2’3512 The Three Drovers                                                            1’5313 Christmas Day                                                                  1’52From Australian Christmas Carols, Set I CARLOS SALZEDO14 Concert Variations on ‘Good King Wenceslas’                    2’2115 Paraphrase on ‘Angels We Have Heard on High’                1’4216 Paraphrase on ‘Greensleeves’ (What Child is This)             2’0417 Paraphrase on ‘We Three Kings of Orient Are’                   1’2218 I Wonder as I Wander (Appalachian Carol)                        2’3819 Short Fantasy on a Noël Provençal                                    0’5520 Short Fantasy on a Neapolitan Carol                                 1’1421 Short Fantasy on a Catalan Carol                                       0’5922 Short Fantasy on a Basque Carol                                       0’5823 Paraphrase on ‘Away in a Manger’ (to the tune of ‘FlowGently, Sweet Afton’)                                                       2’0724 Paraphrase on ‘God Rest You Merry, Gentlemen’              1’1125 Jingle Bells                                                                        1’0826 Poem of the Little Stars                                                    4’0827 Recessional                                                                      5’31  Alice Giles harp

The first-ever Jazz 100 was always going to be a hotly contested affair, with jazz lovers across Australia voting for their favourite jazz artists of all time. But after almost 30,000 votes cast, Miles Davis narrowly beat Ella Fitzgerald to the top spot, with Louis Armstrong taking third place.This 2CD album presents Australia’s top 10 jazz performers, along with a selection of highlights from across the full hundred artists, reflecting the extraordinary range and breadth of styles, moods, genres, instruments and ensembles. It reaches right back to Louis Armstrong in the 1920s and brings us up to the present day with Katie Noonan’s ‘Blue’, released earlier this year.Iconic names like John Coltrane, Sarah Vaughan, Dave Brubeck, Duke Ellington and Billie Holiday feature on the album alongside Australian legends including Don Burrows and James Morrison – who both placed within the top 10 – Judy Bailey, Vince Jones and The Idea of North. And from the latest generation of Australian artists, the album showcases Barney McAll, Kristin Berardi and Kate Ceberano.From solo piano to big band, blues to bossa nova, vocalists to vibes, sax, trumpet, guitar, drums, bass, this double album brings together 30 superb jazz tracks from the artists Australia has voted the best of the best.TRACKLISTING CD1                                                           [77’30] 1 Miles Davis (#1): All BluesMiles Davis trumpet, George Coleman tenor sax, Herbie Hancock piano, Ron Carter bass, Tony Williams drums 2 Ella Fitzgerald (#2): Mack The KnifeElla Fitzgerald vocals, Paul Smith Quartet 3 Louis Armstrong (#3): West End BluesLouis Armstrong and His Hot Five 4 John Coltrane (#4): A Love Supreme, Pt 1 – Acknowledgement John Coltrane tenor sax, McCoy Tyner piano, Jimmy Garrison bass, Elvin Jones drums 5 Dave Brubeck (#5): Blue Rondo à la TurkDave Brubeck Quartet 6 Duke Ellington (#6): CaravanDuke Ellington piano, Charlie Mingus bass, Max Roach drums 7 Don Burrows (#7): Squeeze MeDon Burrows clarinet, James Morrison piano, George Golla guitar, Craig Scott bass, Laurie Kennedy drums, The Adelaide Connection 8 Billie Holiday (#8): God Bless The ChildBillie Holiday & Her Orchestra 9 James Morrison (#9): A Night In TunisiaJames Morrison and the Morrison Brothers Big Bad Band 10 Nina Simone (#10): I Loves You PorgyNina Simone piano & vocals, Jimmy Bond bass, Al Heath drums 11 Bill Evans (#11): Waltz For DebbyBill Evans Trio 12 Charlie Parker (#18): Now's The TimeCharlie Parker Quartet 13 Diana Krall (#21): East Of The Sun (And West Of The Moon)Diana Krall vocals, Anthony Wilson guitar, John Clayton bass, Jeff Hamilton drums 14 Vince Jones (#28): Body And SoulVince Jones vocals 15 Sarah Vaughan (#30): MistySarah Vaughan vocals, Kirk Stuart TrioCD2                                                        [76’57] 1 Kate Ceberano (#42): SkylarkKate Ceberano vocals, Paul Grabowsky piano 2 Art Blakey (#44): It's Only A Paper MoonArt Blakey and the Jazz Messengers 3 Judy Bailey (#47): Waltzing MatildaJudy Bailey Trio 4 Sonny Rollins (#48): St. ThomasSonny Rollins tenor sax, Tommy Flanagan piano, Doug Watkins bass, Max Roach drums 5 Katie Noonan (#49): BlueKatie Noonan vocals, Zac Hurren tenor sax, Sam Keevers piano, Phil Stack bass, Evan Mannell drums 6 Sandy Evans (#51): Indigo HuesSandy Evans tenor sax, Andrea Keller piano 7 Andrea Keller (#54): FootprintsAndrea Keller piano 8 Astrud Gilberto (#57): The Girl From IpanemaAstrud Gilberto vocals, João Gilberto guitar & vocals, Stan Getz tenor sax, Antônio Carlos Jobim piano, Sebastião Neto bass, Milton Banana drums 9 The Idea of North (#58): My One and Only LoveThe Idea of North 10 Quincy Jones (#63): Hard Sock DanceQuincy Jones and His Orchestra 11 George Golla (#73): Lush LifeGeorge Golla Orchestra 12 Ray Brown (#80): Everything I LoveRay Brown Trio 13 Barney McAll (#83): Nectar SpurBarney McAll piano & vocals, Stephen Magnusson guitar, Jonathan Zwartz bass, Simon Barker drums, Mino Cinelu percussion 14 Kristin Berardi (#89): Where or WhenKristin Berardi vocals, Steve Newcomb piano, James Sherlock guitar, Julien Wilson tenor sax, Sam Anning bass 15 Milt Jackson (#95): Fred's MoodMilt Jackson vibraphone, Lucky Thompson tenor sax, Wendell Marshall bass, Kenny Clarke drums

Ahead of NAIDOC Week 2020 and AUSMUSIC month throughout November, ABC Music/Universal Music Australia is proud to present Deadly Hearts – Walking Together, the third instalment in this popular series. Previous ‘Deadly Hearts’ releases have focused on songs that are iconic to traditional Australian culture and identity. This year, the reigns have been handed over to a new generation of storytellers, with the call for artists to take on a song that is iconic to them, a song that has inspired them or a song that holds a special place in their identity. The response we received was nothing short of remarkable; from the pure electro-pop joy of Mitch Tambo’s Gamilaraay language version of Vanessa Amorosi’s ‘Absolutely Everybody’ to Miiesha’s soulful rendition of Brooks and Dunn’s ‘Neon Moon’ to Isaiah Firebrace & Stan Walker collaborating and covering the timeless Don’t Dream It’s Over originally by Crowded House, to the all-out metal madness of Southeast Desert Metal’s take on a Midnight Oil classic ‘Beds Are Burning’. In short, it’s a celebration of music, culture, and identity, from the hearts and mouths of a new generation. “Being asked to be on Deadly Hearts I knew I wanted to have my community involved as much as possible,” Miiesha said of her Deadly Hearts song choice. “We go mad for country music up here so picked one of our favourites ‘Neon Moon’ by Brooks and Dunn and got a Woorabinda Choir together to show off some of the deadly talent up this way!” Other artists, like Mitch Tambo, took inspiration from the NAIDOC 2020 theme ‘Always Was Always Will Be’. “ [It’s] the perfect opportunity to further your learning around the history of the peoples of the land in which you live on to not only equip and educate yourself but to play a part in the greater dialogue of all of us coming together as one to face the whole truth of our beautiful nation so we can journey together, healing and loving one another one step at a time,” Tambo said. In a time where so many of us are isolated Deadly Hearts: Walking Together has managed to weave voices from all around Australia into one powerful release. Deadly Hearts: Walking Together offers listeners the opportunity to hear DRMNGNOW recording out  on country nearby Kaiela (Goulburn River) amongst the birds, the wind and waters, join Miiesha and the choir in Woorabinda and so much more without ever leaving their lounge room. This is the modern sound of Indigenous Australia. This is the next generation of storytellers. This is Deadly Hearts: Walking Together.   TRACKLIST: 1.    Ziggy Ramo (Ft. Miiesha) – Tjitji (Miiesha) 2.    Kobie Dee – A Long Way Away From My Country (Ernie Dingo) 3.    Miiesha – Neon Moon (Ft. The Woorabinda Singers) [Brooks and Dunn] 4.    DRMNGNOW (Ft. Emily Wurramara – Get Back To The Land (Archie Roach) 5.    Mitch Tambo - Absolutely Everybody (Vanessa Amorosi) 6.    Sycco – Solid Gold (Pnau) 7.    Aodhan – Always (Tia Gostelow) 8.    Mi-Kaisha – How Deep Is Your Love (Beegees) 9.    Isaiah Firebrace + Stan Walker – Don’t Dream It’s Over (Crowded House) 10.  Southeast Desert Metal – Beds Are Burning (Midnight Oil)   Album cover art:  by Kambarni       Kambarni is descended from the Nimunburr and Yawuru people of the Kimberley and the Ballardong Noongar people of the Perth region in Western Australia. He is an emerging illustrator who reflects the natural world with his intricate designs.   WALKING TOGETHER: An ABC-wide initiative to reflect, listen and build on the shared national identity of Indigenous and non-Indigenous people, celebrating and acknowledging Aboriginal and Torres Strait Islander culture and inviting all Australians to walk together on a journey to reconciliation. ABOUT NAIDOC WEEK: NAIDOC 2020 invites all Australians to embrace the true history of this country – a history which dates back thousands of generations. It’s about seeing, hearing and learning the First Nations’ 65,000+ year history of this country - which is Australian history. We want all Australians to celebrate that we have the oldest continuing cultures on the planet and to recognise that our sovereignty was never ceded. Always Was, Always Will Be.   BEHIND THE SONGS - AN INSIGHT FROM EACH ARTIST:   Ziggy Ramo (Ft. Miiesha) – Tjitji (Original by Miiesha) “Miiesha is such an incredible artist. I was blown away by her album. She is a storyteller that is so giving. Listening to Tijtji I felt compelled to tell my story. It was such a privilege to be able to sample her art and offer my own in return.”   Kobie Dee - A Long Way Away From My Country (Original by Ernie Dingo) "The song is about being away from his country and for me growing up on Bidjigal  land in Sydney and my country being Gomeroi in Moree I always related to the song which is why I chose to cover it"   Miiesha (Feat. The Woorabinda Singers) - Neon Moon (Original by Brooks and Dunn) “Being asked to be on Deadly Hearts I knew I wanted to have my community involved as much as possible. We go mad for country music up here so picked one of our favourites Neon Moon by Brooks and Dunn and got a Woorabinda Choir together to show off some of the deadly talent up this way!”   DRMNGNOW (Ft. Emily Wurramara) – Get Back To The Land (Original by Archie Roach) "I have been deeply in love with this song since first hearing it when it came out from first listen at which time i was living off country myself and feeling a deep longing inside for country. This song was something I would listen to regularly as a way of dealing with the challenge of living off country on Wurundjeri land.  I have since returned to My hometown of Mooroopna on Yorta Yorta country this year having felt strongly called home at this time. Mooroopna also happens to be Uncle Archies birthplace.  So, choosing this and it being the first song I would record here in this return, on so many levels just felt like the only choice It could possibly be. "   Mitch Tambo - Absolutely Everybody (Original by Vanessa Amorosi) ‘Absolutely Everybody’ is such an iconic song and embedded in Australian music history along with being the anthem of the 2000 Sydney Olympics. However, to me personally I chose this song as its message and lyrical bed still resonates with me and my message. “Everybody breathes and everybody bleeds” we are all human, we all feel, we all love, we all share differences and similarities, this song to me is a reminder that we must not forget to come together and love one another regardless of race, gender, religion or sexuality. We must acknowledge the hard truths so we can heal and move forward together as one.   Sycco - Solid Gold (Original by Pnau) "I thought Solid Gold would be a perfect song to cover because lyrically it is just so wholesome about lessons and loving your friends! It is also just such a fun song!"   Aodhan - Always (Original by Tia Gostelow) “I chose ALWAYS because it’s just a terrific track and I thought it could be interesting to cover it in a way that takes on a whole new meaning.”   Mi-Kaisha -  How Deep Is Your Love (Beegees) I chose this song because I felt our world needed some love & light. It has been an incredibly challenging season for our Mob and I just wanted to encourage my community to keep their heads up and to take care of themselves. I think it's so deadly that the BeeGees came from Redcliffe (where my mum was born)!. So, I have that personal connection to them. They've given us some deadly songs that have helped define popular music all over the world.   Isaiah Firebrace + Stan Walker - Don’t Dream It’s Over (Original by Crowded House) “Great songs are timeless and reflect not just their time but ours. Isaiah and I first performed this together at the NRL ALL STARS. Little did we know what 2020 had ahead for us all. When I think about BLM and I listen again to the lyrics I am so proud so be singing this with Isaiah.. two first nations artists singing these words TOGETHER in 2020 have a whole new resonance There is freedom within, there is freedom withoutTry to catch the deluge in a paper cupThere's a battle ahead, many battles are lostBut you'll never see the end of the roadWhile you're traveling with me   Southeast Desert Metal - Beds Are Burning (Original by Midnight Oil) We chose Beds Are Burning because it’s a great song. It’s got an important message. Midnight Oil wrote a lot about Indigenous rights. That’s something I write about in my own songs. Indigenous people are still struggling today. This land was stolen from us. In this song we’re saying it's time to give it back.” - Chris Wallace  

The cello’s rich, singing tones are a perfect match for the passionate eloquence of the Romantic era. In the masterful hands of David Berlin, Principal Cellist of the Melbourne Symphony Orchestra, partnered by internationally acclaimed pianist Benjamin Martin, the cello reveals its sublime range of colours and timbres.This intimate album presents radiant music for cello and piano from three masters of the French Romantic: the lyrical beauty of Chopin, the elemental power of Saint-Saëns, and serene elegance from Louise Farrenc.Frédéric Chopinis best known for his piano music, but his poetic genius also drew him inexorably to the cello – the only other instrument to which he gave pride of place as a chamber soloist, with three major works for cello and piano. Chief among these is his Cello Sonata in G minor, an intense emotional journey that ranges from poignant melancholy to dancing elation and hope, via a dream-like nocturne of exquisite calm.Louise Farrencwas a leading light in the musical landscape of 19th-century France. Celebrated during her lifetime as a composer, pianist and teacher – the only woman professor at the Paris Conservatoire, who insisted on and finally gained equal pay with her male colleagues – her music is now being rediscovered by new generations of music lovers. Her Cello Sonata blends Classical refinement and subtlety with striking harmonic textures and sparkling virtuosity.The almost ferocious energy of Saint-Saëns’ First Cello Sonata has more than a hint of Beethoven in the drama and declamatory power of its opening movement, but the clouds give way to pure sunshine for the middle movement – an Andante with a true spring in its step – before the tempestuous finale.The album closes with one of the best-loved cello melodies of all time: The Swan, from Saint-Saëns’ Carnival of the Animals. The cello’s lyrical line, gliding gracefully over the rippling harmonies of the piano, is the essence of tranquillity.For 35 years, David Berlin has been at the forefront of music performance in Australia, as Principal Cello of both the Adelaide Symphony Orchestra (1985–88) and the Melbourne Symphony Orchestra (since 1989), and as guest Principal Cello with the Sydney and Tasmanian Symphony Orchestras, the Australian Chamber Orchestra and the Australian World Orchestra. His chamber music partners have included Kolja Blacher, James Ehnes, Nigel Kennedy, Sarah Chang, Ian Bostridge, Garrick Ohlsson, Emanuel Ax and Yefim Bronfman, and he gave the world premiere performance of Liszt’s complete cycle of works for cello and piano with Leslie Howard, in London in 1992.Award-winning pianist Benjamin Martin has appeared regularly with the Australian Chamber Orchestra as well as partnering with such luminaries as Joshua Bell, Alina Ibragimova, Pekka Kuusisto and Hartmut Lindemann. He is a performer of exceptional intensity and subtlety of expression – ‘the consummate artist’, according to The Age – and also a highly regarded composer whose music has been performed around Australia and in the US.  TRACKLISTING FRÉDÉRIC CHOPIN 1810–1849Cello Sonata in G minor, Op. 65                                         [31’19]1 I. Allegro moderato                                                           16’192 II. Scherzo                                                                           5’083 III. Largo                                                                             3’354 IV. Finale: Allegro                                                                6’17 LOUISE FARRENC 1804–1875Cello Sonata in B-flat major, Op. 46                                   [23’02]5 I. Allegro moderato                                                             9’156 II. Andante sostenuto                                                          5’327 III. Finale: Allegro                                                                8’15 CAMILLE SAINT-SAËNS 1835–1921Cello Sonata No. 1 in C minor, Op. 32                                 [20’10]8 I. Allegro                                                                             8’429 II. Andante tranquillo sostenuto                                           5’2510 III. Allegro moderato                                                         6’03 CAMILLE SAINT-SAËNS11 The Swan                                                                         2’43 Total Playing Time                                                                77’26 David Berlin celloBenjamin Martin piano

Jacqueline Porter soprano • Anna Dowsley mezzo-sopranoAndrew Goodwin tenor • David Greco baritoneIan Munro & Daniel de Borah piano Four hands at one piano, and four suberb voices, intimately intertwined: what better way to celebrate the delights of love? From teasing dalliance to passionate rapture, this album explores all the frustrations and joys of romance through the music of three great Romantic songwriters: Brahms, Mendelssohn and Schumann.Brahms’s Liebeslieder (Love-Song) waltzes blend the swirling grace of the Viennese ballroom with the expressive beauty of solo voices and the familiar comforts of the piano. Each song presents a different facet of love, with the four singers enticing each other – and us – to let nothing stand in the way of enjoying its charms.Five exquisite melodies by Mendelssohn show us love in a more tender guise: a night-time tryst on a Venetian gondola, messages carried on the breeze, autumn sorrows, quiet nostalgia for lost youth, and the poetic vision of Auf Flügeln des Gesanges (On Wings of Song).In his cycle of Spanische Liebeslieder (Spanish Love Songs), Schumann offers a more passionate vision of love, exploring its darker shadows as well as its brightest glories. Inspired by the exotic flavours of Spain – a land of mystery and sensuality to the Romantic mind – Schumann takes us on a journey of yearning and desire.About the Artists Soprano Jacqueline Porter has appeared with Victorian Opera, State Opera South Australia and Pinchgut Opera in roles including Gretel (Hansel and Gretel), Susanna (The Marriage of Figaro), Despina (Così fan tutte) and Drusilla (The Coronation of Poppea). Concert highlights have included Fauré’s Pelléas et Mélisande with the Sydney Symphony Orchestra, Bach’s St Matthew Passion with the Melbourne Bach Choir, and Beethoven’s Missa Solemnis with the Melbourne Symphony Orchestra.Winner of the 2019 Australian Opera Award, mezzo-soprano Anna Dowsley has performed with Opera Australia, Sydney Chamber Opera, New Zealand Opera and Pinchgut Opera, in roles such as Rosina (The Barber of Seville), Cherubino (The Marriage of Figaro), Dorabella (Cosi fan tutte), Lucretia (The Rape of Lucretia) and Siebel (Faust). On the concert platform, she has appeared with the Sydney, Adelaide and Queensland Symphony Orchestras and with the Royal Liverpool Philharmonic.Tenor Andrew Goodwin has performed a wide range of roles at some of the world’s greatest opera houses, including La Scala Milan, Gran Theatre Liceu Barcelona, Teatro Real Madrid and the Sydney Opera House. Notably, he is the only westerner to perform the role of Lensky at the Bolshoi Theatre. In Australia, he has appeared with State Opera South Australia, Sydney Chamber Opera, Pinchgut Opera, The Song Company and the Adelaide, Melbourne and Sydney Symphony Orchestras.Baritone David Greco has worked on the cutting edge of the early music movement in Europe, performing with the Amsterdam Baroque Orchestra, Freiburger Barockorchester and the Netherlands Bach Society. In 2014 he was the first international singer appointed a position with the Sistine Chapel Choir in the Vatican. He has appeared with Opera Australia, Glyndebourne Festival Opera and Pinchgut Opera, and is currently completing a PhD in the historical performance practice of Schubert.Pianist Ian Munro is one of Australia’s most distinguished and awarded musicians. After completing his early training in Melbourne with Roy Shepherd, he furthered his studies in Vienna, London and Italy with Noretta Conci, Guido Agosti and Michele Campanella, launching his international career in the UK. He has performed with leading orchestras throughout the UK, Poland, Italy, Portugal, Russia, USA, China, New Zealand, Belgium, Switzerland and Uzbekistan, and with all the leading orchestras in Australia in over sixty piano concertos.Since his prize-winning appearances at the 2004 Sydney International Piano Competition, Daniel de Borah has given recitals on four continents and toured extensively throughout the UK and Australia. He has partnered many leading soloists including Vadim Gluzman, Baiba Skride, Li-Wei Qin, Nicolas Altstaedt, Umberto Clerici, Roderick Williams and Steve Davislim, and appared in concertos with the English Chamber Orchestra, London Mozart Players, Royal Philharmonic Orchestra, Australian Chamber Orchestra and the Sydney, Melbourne, Adelaide and Auckland Symphony Orchestras.…/3TRACKLISTING              BRAHMS  Liebeslieder-Walzer, Op. 521.Rede, Mädchen, allzu liebes (Tell me, sweetest girl)2.Am Gesteine rauscht die Flut (The waves dash agains the rocks)3.O die Frauen (Oh, the women)4.Wie des Abends schöne Röte (Like a lovely sunset)5.Die grüne Hopfenranke (The vine’s green tendrils)6.Ein kleiner, hübscher Vogel (A pretty little bird)7.Wohl schön bewandt war es (All seemed rosy)8.Wenn so lind dein Auge mir (When you gaze at me so tenderly)9.Am Donaustrande (On the Danube’s shore)10.O wie sanft die Quelle (Ah, how gently the stream)11.Nein, est ist nicht auszukommen (No, it cannot be endured)12.Schlösser auf, und mache Schlösser (Locksmith, come,      make locks for me)13.Vögelein durchrauscht die Luft (A little bird flies through the air)14.Sieh, wie ist die Welle klar (See how clear the waves are)15.Nachtigall, sie singt so schön (The nightingale sings so sweetly)16.Ein dunkeler Schacht ist Liebe (Love is a dark pit)17.Nicht wandle, mein Licht (Do not wander out in the fields, my love)18.Es bebet das Gesträuche (The leaves tremble)               BRAHMS  In stiller Nacht (In the silent night)                               Die Schwestern (The Sisters), Op. 61 No. 1                               Die Meere (The Seas), Op. 20 No. 3    MENDELSSOHN  Ich wollt’ meine Lieb’ ergösse sich (I wish I could pour my loveinto a single word), Op. 63 No. 1                               Venetianisches Gondellied (Venetian Gondola Song), Op. 57 No. 5                               Herbstlied (Autumn Song), Op. 63 No. 4                               Auf Flügeln des Gesanges (On Wings of Song), Op. 34 No. 2                               Scheidend (Separation), Op. 9 No. 6         SCHUMANN  Spanische Liebeslieder (Spanish Love Songs), Op. 1381.Vorspiel (Prelude)2.Tief im Herzen trag' ich Pein (There is pain deep in my heart)3.O wie lieblich ist das Mädchen (Oh how lovely is the maiden)4.Bedeckt mich mit Blumen (Cover me with flowers)5.Romanze: Flutenreicher Ebro (Romance: O surging river Ebro)6.Intermezzo7.Weh, wie zornig ist das Mädchen (Alas, how angry the girl is)8.Hoch, hoch sind die Berge (High, high are the mountains)9.Blaue Augen hat das Mädchen (The girl has blue eyes)10.Dunkler Lichtglanz, blinder Blick (Dark light, blind gaze)

Epic. Magnificent. Generous. Flowing. Majestic. Surprising. Overwhelming. And above all – Joyous.The two final symphonies of Johannes Brahms are undisputed masterpieces: passionate, intensely lyrical, a thrilling blend of grandeur and intimacy. In the hands of Richard Tognetti and the Australian Chamber Orchestra, these soaring yet deeply personal works spring to life, revealing new delights at every turn.For these performances, the ACO has expanded to include the unique colours of wind instruments from Brahms’ own world. The resulting sound, in the words of the Sydney Morning Herald review, was ‘a revelation: superbly blended horns and trumpets without the bright blare of a modern symphonic sound, an agile, liquid tone from flutes and clarinets and a gorgeous warmth in the lower wind and brass, all matched with a string sound with a bold but never harsh attack.’With a total size of around 50 players, these recordings show the ACO at its fullest strength, well beyond its usual compact forces, yet maintaining its trademark clarity and vitality. This is in line with the Brahms himself, who refused to allow the orchestra to be augmented beyond 48 players for the premiere of his Fourth Symphony.Here we encounter the full flowering of Brahms’ symphonic genius: a composer profoundly aware of the richness of his own musical heritage, yet determined to push the boundaries into new realms of expressive power. A musician utterly at home with the wild fire of gypsy music, yet finding inspiration for the finale of his Fourth Symphony in a chorale of J.S. Bach.A master of orchestral sonority, an artist with an unmatched understanding of musical architecture, and a poet whose musical language encompasses the breadth of human experience.‘Yet again, the ACO re-animated a glowing masterpiece that many of us thought held no more surprises.’ – Sydney Morning Herald‘One of the masterpieces of late-19th century music…the ACO’s rendition was intelligent and courageous.’ – The AustralianSince its establishment in November 1975, the Australian Chamber Orchestra has become one of the world’s most daring and exciting ensembles, renowned globally for its inspired programming, unrivalled virtuosity, energy and individuality, showcased through an extensive and ongoing program of international touring and recordings for many of the world’s top labels.                            TRACKLISTINGJOHANNES BRAHMS 1833–1897Symphony No. 3 in F major, Op. 90             [39’29]1  I.     Allegro con brio                                       13’492  II.    Andante                                                      9’553  III.   Poco allegretto                                           6’444  IV.   Allegro                                                        9’01 Recorded live in concert at Hamer Hall, Melbourne Symphony No. 4 in E minor, Op. 98            [39’31]5  I.     Allegro non troppo                                   12’516  II.    Andante moderato                                  11’127  III.   Allegro giocoso                                          5’558  IV.   Allegro energico e passionato                  9’33 Recorded live in concert at the Sydney Opera House Total Playing Time                                              79’00 Australian Chamber OrchestraRichard Tognetti Artistic Director and Lead Violin

Listen to the first single from the album here.Two of Australia’s hottest young guitarists take us on a trip through time and around the world of classical guitar.“Andrew Blanch and Ariel Nurhadi are the rockstars of Nylon-Acoustic Classical music. Whilst their technicality as musicians are immediately apparent, so also is their love for music and performing.” On SoundsAndrew Blanch and Ariel Nurhadi are “two stunning young guitarists” (Sydney Arts Guide) who have been performing together since 2014, touring as a duo as well as with baritone José Carbó in The José Carbó Trio. They have been described as “breathtaking” (Canberra Critics Circle), and praised for their “dazzling guitar playing” (ArtsHub).Alchemy, their debut recording, takes us on a journey through history and around the world, through beloved works by Debussy, Rameau, Piazzolla, Albéniz, Falla and Granados. The album also features the acclaimed ‘Three Duets’ by the late Australian guitarist and composer Phillip Houghton – including ‘Alchemy’, the first piece that Andrew and Ariel performed as a duo and the piece after which this album is named.This is a gorgeous album, full of classic pieces beautifully performed, and announces major new stars in the already-glittering galaxy of Australia’s classical guitar community.Amongst the exciting emergence of a new generation of classical musicians, guitarist Andrew Blanch stands out. Armed with formidable talent, passion, and conviction, Andrew has carved out his own path to much acclaim. His independently released album ‘Spanish Guitar Music’ (2015) which Jim McCutcheon of Soundboard Magazine (USA) noted as “one of the best debut albums I’ve ever heard” marked the auspicious beginnings to a busy and multifaceted musical career today.As a soloist, Andrew has been awarded numerous prizes in international competitions including first prize in the Adelaide International Guitar Competition (2019) and the Melbourne International Guitar Competition (2015). His collaborations are extensive and he is commissioning new works for the guitar from celebrated Australian composers Daniel Rojas, Felicity Wilcox, Jessica Wells and Robert Davidson.Andrew, based in Sydney, Australia, is managed by Tier 1 Arts and plays a 2014 Greg Smallman and Sons guitar. Andrew graduated with First Class Honours from the Australian National University in 2013 where he studied with Timothy Kain and Minh Le Hoang.Ariel Nurhadi is a Sydney-based guitarist, active on the performing circuit having toured extensively through Australia and New Zealand. Ariel has performed with some of Australia’s leading musicians and singers and his love of collaborative projects continues with The Jose Carbo Trio, his guitar duo with Andrew Blanch and a forthcoming project called The Great Acceleration with Ensemble Offspring and Topology.Ariel is a graduate of Timothy Kain’s renowned guitar class at the ANU, which he completed with first-class honours. During his studies, he developed a keen interest in historical performance practice, with a focus on the interpretive style of Andrés Segovia.TRACKLISTING Jean-Philippe Rameau: Pièces de Clavecin (1724) (arr. Sergio & Eduardo Abreu)1. Le Rappel des Oiseaux2. Musette en Rondeau3. Rigaudons 1 & 24. Allemande5. Les CyclopesClaude Debussy6. Clair de Lune from Suite Bergamasque (arr. Ariel Nurhadi & Andrew Blanch)7. Cakewalk from Children's Corner (arr. Julian Bream & John Williams)8. Peter Madlem Monte Carlo9. Isaac Albéniz (arr. Miguel Llobet) Evocación from Iberia10. Manuel de Falla (arr. Emilio Pujol) Danza from La Vida Breve11. Enrique Granados (arr. Emilio Pujol) Intermezzo from Goyescas12. Radamés Gnattali: Suite Retratos13. iii. Anacleto de Medeiros (Schottisch)