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1antimuzak
Monday 4th June 2018
Time: 12:00 to 13:00 (1 hour long)
Frederic Chopin.
1: Konstancja. Chopin's precocious talent and romantic temperament both manifested themselves early. Donald Macleod explores his early compositions and the first of many affairs of the heart. episode 1.
Time: 12:00 to 13:00 (1 hour long)
Frederic Chopin.
1: Konstancja. Chopin's precocious talent and romantic temperament both manifested themselves early. Donald Macleod explores his early compositions and the first of many affairs of the heart. episode 1.
2antimuzak
Monday 18th June 2018
Time: 12:00 to 13:00 (1 hour long)
Carl Maria Von Weber.
1: 'You will never be a musician!'. Donald Macleod explores Weber's childhood in his family of travelling players; his first opera aged 14 and his arrest and banishment from the kingdom of Wurttemberg.'. episode 1.
Time: 12:00 to 13:00 (1 hour long)
Carl Maria Von Weber.
1: 'You will never be a musician!'. Donald Macleod explores Weber's childhood in his family of travelling players; his first opera aged 14 and his arrest and banishment from the kingdom of Wurttemberg.'. episode 1.
3antimuzak
Monday 2nd July 2018
Time: 12:00 to 13:00 (1 hour long)
Luciano Berio - 1: The Boy From Oneglia.
Donald Macleod looks at the life and music of Luciano Berio in discussion with Gillian Moore. Berio's early years. episode 1.
Time: 12:00 to 13:00 (1 hour long)
Luciano Berio - 1: The Boy From Oneglia.
Donald Macleod looks at the life and music of Luciano Berio in discussion with Gillian Moore. Berio's early years. episode 1.
4antimuzak
Monday 9th July 2018
Time: 12:00 to 13:00 (1 hour long)
Ralph Vaughan Williams.
1: A local man - Gloucestershire. Ralph Vaughan Williams only lived in Gloucestershire as an infant, but the county was always important to him. Donald Macleod looks at how this place framed the events of his life. episode 1.
Time: 12:00 to 13:00 (1 hour long)
Ralph Vaughan Williams.
1: A local man - Gloucestershire. Ralph Vaughan Williams only lived in Gloucestershire as an infant, but the county was always important to him. Donald Macleod looks at how this place framed the events of his life. episode 1.
5antimuzak
Monday 16th July 2018
Time: 12:00 to 13:00 (1 hour long)
Josquin (c1450 (Part 1).
Choral director Jeremy Summerly and Donald Macleod go in search of Josquin des Prez, an elusive master of the Renaissance era. Josquin - Who He? The scant facts known about the composer's life. episode 1.
Time: 12:00 to 13:00 (1 hour long)
Josquin (c1450 (Part 1).
Choral director Jeremy Summerly and Donald Macleod go in search of Josquin des Prez, an elusive master of the Renaissance era. Josquin - Who He? The scant facts known about the composer's life. episode 1.
6antimuzak
Monday 23rd July 2018
Time: 12:00 to 13:00 (1 hour long)
Wolfgang Amadeus Mozart (Part 1).
Donald Macleod surveys the life and work of one of musical history's greatest composers. Mozart performs at court. Mozart's early encounters with the Austrian Archduke, Joseph II. episode 1.
Time: 12:00 to 13:00 (1 hour long)
Wolfgang Amadeus Mozart (Part 1).
Donald Macleod surveys the life and work of one of musical history's greatest composers. Mozart performs at court. Mozart's early encounters with the Austrian Archduke, Joseph II. episode 1.
7antimuzak
Monday 30th July 2018
Time: 12:00 to 13:00 (1 hour long)
Alfred Schnittke (Part 1).
The strange, brilliant and sometimes nightmarish world of the Soviet composer Alfred Schnittke. Shostakovich's Heir? Donald Macleod reflects on a composer often seen as the heir to his illustrious forebear, Shostakovich. episode 1.
Time: 12:00 to 13:00 (1 hour long)
Alfred Schnittke (Part 1).
The strange, brilliant and sometimes nightmarish world of the Soviet composer Alfred Schnittke. Shostakovich's Heir? Donald Macleod reflects on a composer often seen as the heir to his illustrious forebear, Shostakovich. episode 1.
8antimuzak
Tuesday 28th August 2018
Time: 12:00 to 13:00 (1 hour long)
BBC Radio 3 explores the music of Henry Purcell, the composer who changed the face of English music at the end of the seventeenth century. For most of his life, as a chorister, organist and composer, Purcell served the Royal Music during the reigns of Charles II, James II and Williams and Mary. He never left the capital but the influences of European musical styles that came into fashion during the various reigns played a huge part in Purcell's development as a composer. The newly-crowned Charles II was a Francophile and expanded the royal violin band to 24 players, inspired by Louis XIV's '24 violons du Roi', which he had heard during his exile at the French court. Later, during James II's short reign, the influence of Italian musicians and Italian musical forms encouraged by his wife, Mary of Modena, became fashionable all over London. Even Dutch musical tastes were to find their way across the channel and into Purcell's music, with William of Orange's insistence on a band of hautboys to supplement the usual trumpets when going to war. As well as looking at how Purcell's music adapted to the musical and cultural trends, presenter Donald Macleod introduces us to some of the European movers and shakers in the London musical scene. The Stairre-Case Overture Musica Amphion Pieter-Jan Belder, conductor Seven-part In Nomine Rose Consorts of Viols Harpsichord Suite No.7 in D minor Robert Woolley, harpsichord Sonata No.9 in F major Retrospect Trio Dido and Aeneas, Act 1 Catherine Bott (Dido) Emma Kirkby (Belinda) Aeneas (John Mark Ainsley) Julianne Baird (Second Woman) Chorus and Orchestra of The Academy of Ancient Music Christopher Hogwood, conductor Henry Purcell: Symphony from Ode for St Cecilia's Day, 'Hail, Bright Cecilia' English Chamber Orchestra, Charles Mackerras (conductor). episode 2.
Time: 12:00 to 13:00 (1 hour long)
BBC Radio 3 explores the music of Henry Purcell, the composer who changed the face of English music at the end of the seventeenth century. For most of his life, as a chorister, organist and composer, Purcell served the Royal Music during the reigns of Charles II, James II and Williams and Mary. He never left the capital but the influences of European musical styles that came into fashion during the various reigns played a huge part in Purcell's development as a composer. The newly-crowned Charles II was a Francophile and expanded the royal violin band to 24 players, inspired by Louis XIV's '24 violons du Roi', which he had heard during his exile at the French court. Later, during James II's short reign, the influence of Italian musicians and Italian musical forms encouraged by his wife, Mary of Modena, became fashionable all over London. Even Dutch musical tastes were to find their way across the channel and into Purcell's music, with William of Orange's insistence on a band of hautboys to supplement the usual trumpets when going to war. As well as looking at how Purcell's music adapted to the musical and cultural trends, presenter Donald Macleod introduces us to some of the European movers and shakers in the London musical scene. The Stairre-Case Overture Musica Amphion Pieter-Jan Belder, conductor Seven-part In Nomine Rose Consorts of Viols Harpsichord Suite No.7 in D minor Robert Woolley, harpsichord Sonata No.9 in F major Retrospect Trio Dido and Aeneas, Act 1 Catherine Bott (Dido) Emma Kirkby (Belinda) Aeneas (John Mark Ainsley) Julianne Baird (Second Woman) Chorus and Orchestra of The Academy of Ancient Music Christopher Hogwood, conductor Henry Purcell: Symphony from Ode for St Cecilia's Day, 'Hail, Bright Cecilia' English Chamber Orchestra, Charles Mackerras (conductor). episode 2.
9antimuzak
Monday 3rd September 2018
Time: 12:00 to 13:00 (1 hour long)
Donald Macleod considers the cultural advantages of Chausson's family circle. Amédée-Ernest Chausson grew up in Paris during a period of great political, social and economic upheaval in France. Born in 1855, he was fifteen at the outbreak of the Franco-Prussian; he lived through the collapse of the Second Empire and the advent of the Third Republic. However Chausson's family was materially little affected by these dramatic events, quite the opposite in fact. His father profited from the 1850s onwards, working as a building contractor for Baron Haussmann, the man Napoleon III had entrusted to remodel the narrow streets of medieval Paris into wide open boulevards. Even after Napoleon was deposed, the re-construction of the capital city continued. Chausson's bourgeois lifestyle reflects the salon society of the mid nineteenth century, with an extensive art collection adorning the walls of his family's substantial residence at 22 Boulevard de Courcelles a stone's throw from leafy Parc Monceau. Chausson remained in the same mansion with his wife and their three children. Supported by a private income, unlike most artists and musicians within his large circle of acquaintances, he was able to devote himself to composing entirely without any pressure to provide financially for his family. That's not to say that Chausson's life was without a care in the world. Critics saw him as a dilettante rather than a serious musician. His relatively small output reflects the agonies of doubt in his mind. His battle to find his own voice at a time when Wagner had cast a long shadow over French music resulted in his only opera taking almost ten years to complete. This struggle for artistic recognition was only just turning a corner when he died unexpectedly at the age of 44 in 1899. Growing up this stimulating environment, Chausson's education and society encouraged an appreciation for the visual arts, music and the arts that would be hard to match. He read widely, a habit that would lead to some of his most poignant settings of poetic texts. Pièce for cello (or viola) and piano, Op 39 Gary Hoffman, cello Pascal Devoyon, piano Sérénade italienne, Op 2 no 5 Les papillons,Op 2 no 3 La dernière feuille, Op 2 no 4 Chris Pedro Trakas, baritone Ann Murray, mezzo soprano Graham Johnson, piano La caravane Nathalie Stutzmann, contralto Inger Södergren, piano Serres chaudes, Op 24 Felicity Lott, soprano Graham Johnson, piano Poème for violin and orchestra Itzhak Perlman, violin New York Philharmonic Zubin Mehta, conductor Producer: Johannah Smith for BBC Wales.
Time: 12:00 to 13:00 (1 hour long)
Donald Macleod considers the cultural advantages of Chausson's family circle. Amédée-Ernest Chausson grew up in Paris during a period of great political, social and economic upheaval in France. Born in 1855, he was fifteen at the outbreak of the Franco-Prussian; he lived through the collapse of the Second Empire and the advent of the Third Republic. However Chausson's family was materially little affected by these dramatic events, quite the opposite in fact. His father profited from the 1850s onwards, working as a building contractor for Baron Haussmann, the man Napoleon III had entrusted to remodel the narrow streets of medieval Paris into wide open boulevards. Even after Napoleon was deposed, the re-construction of the capital city continued. Chausson's bourgeois lifestyle reflects the salon society of the mid nineteenth century, with an extensive art collection adorning the walls of his family's substantial residence at 22 Boulevard de Courcelles a stone's throw from leafy Parc Monceau. Chausson remained in the same mansion with his wife and their three children. Supported by a private income, unlike most artists and musicians within his large circle of acquaintances, he was able to devote himself to composing entirely without any pressure to provide financially for his family. That's not to say that Chausson's life was without a care in the world. Critics saw him as a dilettante rather than a serious musician. His relatively small output reflects the agonies of doubt in his mind. His battle to find his own voice at a time when Wagner had cast a long shadow over French music resulted in his only opera taking almost ten years to complete. This struggle for artistic recognition was only just turning a corner when he died unexpectedly at the age of 44 in 1899. Growing up this stimulating environment, Chausson's education and society encouraged an appreciation for the visual arts, music and the arts that would be hard to match. He read widely, a habit that would lead to some of his most poignant settings of poetic texts. Pièce for cello (or viola) and piano, Op 39 Gary Hoffman, cello Pascal Devoyon, piano Sérénade italienne, Op 2 no 5 Les papillons,Op 2 no 3 La dernière feuille, Op 2 no 4 Chris Pedro Trakas, baritone Ann Murray, mezzo soprano Graham Johnson, piano La caravane Nathalie Stutzmann, contralto Inger Södergren, piano Serres chaudes, Op 24 Felicity Lott, soprano Graham Johnson, piano Poème for violin and orchestra Itzhak Perlman, violin New York Philharmonic Zubin Mehta, conductor Producer: Johannah Smith for BBC Wales.
10antimuzak
Monday 8th October 2018 (starting in 5 hours and 15 minutes)
Time: 12:00 to 13:00 (1 hour long)
Marking the centenary of his death, Donald Macleod explores the life and work of Hubert Parry, beginning today by telling the story of Parry's early years, rooted at Highnam Court in Gloucestershire. I was Glad Choir of St George's Chapel, Windsor Conductor, Christopher Robinson Roger Judd (organ) Freundschaftslieder Ruper Marshall-Luck (violin) Duncan Honeybourne (piano) Bright Star Robert Tear (tenor) Philip Ledger (piano) Fantasie Sonata in B major Erich Gruenberg (violin) Roger Vignoles (piano) Choral Prelude for Organ "On SS Wesley's Hampton" James Lancelot (organ) Symphony No.1 ii Andante The London Philharmonic Conductor, Matthias Bamert.
Time: 12:00 to 13:00 (1 hour long)
Marking the centenary of his death, Donald Macleod explores the life and work of Hubert Parry, beginning today by telling the story of Parry's early years, rooted at Highnam Court in Gloucestershire. I was Glad Choir of St George's Chapel, Windsor Conductor, Christopher Robinson Roger Judd (organ) Freundschaftslieder Ruper Marshall-Luck (violin) Duncan Honeybourne (piano) Bright Star Robert Tear (tenor) Philip Ledger (piano) Fantasie Sonata in B major Erich Gruenberg (violin) Roger Vignoles (piano) Choral Prelude for Organ "On SS Wesley's Hampton" James Lancelot (organ) Symphony No.1 ii Andante The London Philharmonic Conductor, Matthias Bamert.
11antimuzak
Monday 15th October 2018
Time: 12:00 to 13:00 (1 hour long)
Donald Macleod journeys through Beethoven's early career and the composition of his first piano concerto Composer of the Week explores Beethoven the pianist and composer for the piano. He became renowned in his day both as a virtuoso performer at the keyboard, and for his ground-breaking works for the instrument. When first starting out on his musical career, he greatly admired Mozart for his piano works, particularly the concertos. Beethoven sought out the older composer for lessons, although these never took place. Similarly to Mozart's own career, Beethoven also made a name for himself initially not only as a composer, but as a pianist, and after Mozart's death was destined to take his place in Vienna as the leading composer there. From the outset, his works for the piano showed great skill and an independence of creative thought. In each programme this week, Donald Macleod explores one of Beethoven's five piano concertos, and the period in which it was written. L Specific Paragraph: Beethoven came from a musical family, and the learning of the keyboard was part of his education. From early on, not only did he prove himself to be an accomplished pianist, but it became apparent that he was also destined to be a composer as well. His father sought out various tutors for his son, and Beethoven soon began to delight the Electoral court in Cologne with performances at the keyboard and his early compositions such as the Nine Variations on a March by Dressler. Around the age of thirteen, Beethoven was making early attempts at writing concertos for the piano, including one in E flat. It wasn't until his early twenties that he'd complete what would be deemed his first piano concerto, Opus 19 in B flat major, although it was labelled as his second concerto in print, because of the order in which his early concertos were published. Bagatelle, WoO59 (Für Elise) Steven Osborne, piano Prelude in C, Op 39 No 2 Hans-Ola Ericsson, organ Nine Variations on a March by Dressler, WoO63 Ronald Brautigam, fortepiano Piano Concerto in E flat major, WoO4 (Larghetto) Ronald Brautigam, piano Norrköping Symphony Orchestra Andrew Parrott, conductor Piano Concerto No 2 in B flat major, Op 19 Robert Levin, fortepiano Orchestre Révolutionnaire et Romantique John Eliot Gardiner, conductor Producer Luke Whitlock. episode 1.
Time: 12:00 to 13:00 (1 hour long)
Donald Macleod journeys through Beethoven's early career and the composition of his first piano concerto Composer of the Week explores Beethoven the pianist and composer for the piano. He became renowned in his day both as a virtuoso performer at the keyboard, and for his ground-breaking works for the instrument. When first starting out on his musical career, he greatly admired Mozart for his piano works, particularly the concertos. Beethoven sought out the older composer for lessons, although these never took place. Similarly to Mozart's own career, Beethoven also made a name for himself initially not only as a composer, but as a pianist, and after Mozart's death was destined to take his place in Vienna as the leading composer there. From the outset, his works for the piano showed great skill and an independence of creative thought. In each programme this week, Donald Macleod explores one of Beethoven's five piano concertos, and the period in which it was written. L Specific Paragraph: Beethoven came from a musical family, and the learning of the keyboard was part of his education. From early on, not only did he prove himself to be an accomplished pianist, but it became apparent that he was also destined to be a composer as well. His father sought out various tutors for his son, and Beethoven soon began to delight the Electoral court in Cologne with performances at the keyboard and his early compositions such as the Nine Variations on a March by Dressler. Around the age of thirteen, Beethoven was making early attempts at writing concertos for the piano, including one in E flat. It wasn't until his early twenties that he'd complete what would be deemed his first piano concerto, Opus 19 in B flat major, although it was labelled as his second concerto in print, because of the order in which his early concertos were published. Bagatelle, WoO59 (Für Elise) Steven Osborne, piano Prelude in C, Op 39 No 2 Hans-Ola Ericsson, organ Nine Variations on a March by Dressler, WoO63 Ronald Brautigam, fortepiano Piano Concerto in E flat major, WoO4 (Larghetto) Ronald Brautigam, piano Norrköping Symphony Orchestra Andrew Parrott, conductor Piano Concerto No 2 in B flat major, Op 19 Robert Levin, fortepiano Orchestre Révolutionnaire et Romantique John Eliot Gardiner, conductor Producer Luke Whitlock. episode 1.
12antimuzak
Monday 29th October 2018 (starting in 5 hours and 14 minutes)
Time: 12:00 to 13:00 (1 hour long)
Donald Macleod explores five personality traits of Anton Bruckner, one of the strangest geniuses in music. Today, obsession - from bar-counting to full-blown 'numeromania'. It's not unusual for a composer to be preoccupied with questions of balance and symmetry, but Bruckner took it to extremes, punctiliously numbering the bars in his pieces to make sure the proportions were arithmetically 'correct'. At moments of stress, this habit of orderliness went into overdrive, leading him to go on counting marathons - anything from grains of sand to stars in the sky. Not long after the completion of his 1st Symphony, Bruckner's escalating stress levels brought on a complete nervous breakdown, which landed him in a sanatorium for three months. Here he was diagnosed with numeromania, which would now probably be recognised as a form of OCD. A very different kind of obsession was with members of the opposite sex - generally ones whose ages could be represented by relatively small numbers. In his diaries, Bruckner kept a list of all the girls who had caught his eye, almost all of them teenagers. He proposed to several, always with the same result: rejection. Bruckner: Locus iste, WAB23 Polyphony Stephen Layton, conductor Bruckner: Symphony No 1 in C minor (1st mvt, Allegro molto moderato) Royal Concertgebouw Orchestra Bernard Haitink, conductor Bruckner: Mass No 3 in F minor, WAB 28 (Kyrie) Ingela Bohlin, soprano Ingeborg Danz, contralto Hans Jörg Mammel, tenor Alfred Reiter, baritone RIAS Chamber Choir Orchestre des Champs-Elysées Philippe Herreweghe, conductor Bruckner: Symphony No 5 in B flat, WAB105 (3rd mvt, Scherzo: Molto vivace - Trio) Staatskapelle Dresden Giuseppe Sinopoli, conductor Bruckner: Germanenzug (The Germanic Host), WAB 70 Brian Clickner and Jack Richardson, tenors Jeffrey Stell, baritone Allan Mosher, bass Roberts Wesleyan College Chorale and Brass Ensemble Robert Shewan, conductor Produced by Chris Barstow for BBC Wales.
Time: 12:00 to 13:00 (1 hour long)
Donald Macleod explores five personality traits of Anton Bruckner, one of the strangest geniuses in music. Today, obsession - from bar-counting to full-blown 'numeromania'. It's not unusual for a composer to be preoccupied with questions of balance and symmetry, but Bruckner took it to extremes, punctiliously numbering the bars in his pieces to make sure the proportions were arithmetically 'correct'. At moments of stress, this habit of orderliness went into overdrive, leading him to go on counting marathons - anything from grains of sand to stars in the sky. Not long after the completion of his 1st Symphony, Bruckner's escalating stress levels brought on a complete nervous breakdown, which landed him in a sanatorium for three months. Here he was diagnosed with numeromania, which would now probably be recognised as a form of OCD. A very different kind of obsession was with members of the opposite sex - generally ones whose ages could be represented by relatively small numbers. In his diaries, Bruckner kept a list of all the girls who had caught his eye, almost all of them teenagers. He proposed to several, always with the same result: rejection. Bruckner: Locus iste, WAB23 Polyphony Stephen Layton, conductor Bruckner: Symphony No 1 in C minor (1st mvt, Allegro molto moderato) Royal Concertgebouw Orchestra Bernard Haitink, conductor Bruckner: Mass No 3 in F minor, WAB 28 (Kyrie) Ingela Bohlin, soprano Ingeborg Danz, contralto Hans Jörg Mammel, tenor Alfred Reiter, baritone RIAS Chamber Choir Orchestre des Champs-Elysées Philippe Herreweghe, conductor Bruckner: Symphony No 5 in B flat, WAB105 (3rd mvt, Scherzo: Molto vivace - Trio) Staatskapelle Dresden Giuseppe Sinopoli, conductor Bruckner: Germanenzug (The Germanic Host), WAB 70 Brian Clickner and Jack Richardson, tenors Jeffrey Stell, baritone Allan Mosher, bass Roberts Wesleyan College Chorale and Brass Ensemble Robert Shewan, conductor Produced by Chris Barstow for BBC Wales.
13antimuzak
Monday 12th November 2018
Time: 12:00 to 13:00 (1 hour long)
This week, Donald Macleod presents five takes on the life and music of Gioachino Rossini. Today, the winning formula Rossini hit on right at the start of his operatic career. Rossini had the good fortune to learn his craft not from a course of dry academic study but by toiling in the operatic trenches of Venice's Teatro San Moisè, for which he produced a youthful string of one-act farces - four of which are sampled in today's programme. Thrown in at the deep end at the tender age of 18, Rossini almost immediately - and apparently instinctively - caught on to the essentials of writing music for the stage. More than that, he seems to have codified his instincts into a structural groundplan that not only underpins his early farces, but continued to serve him when he graduated to writing comic operas on a larger scale - a case in point being the deftly-paced 1st-act finale of Cinderella, which concludes today's programme. La cambiale di matrimonio; overture Orpheus Chamber Orchestra La scala di seta; scene 1, Introduzione Teresa Ringholz, soprano (Giulia) Alessandro Corbelli, baritone (Germano) Francesca Provvisionato, mezzo soprano (Lucilla) English Chamber Orchestra Marcello Viotti, conductor L'inganno felice; scene 8 (extract): Terzetto: 'Quel sembiante' Raúl Giménez, tenor (Bertrando) Pietro Spagnoli, bass (Tarabotto) Annick Massis, soprano (Isabella) Le Concert des Tuileries Marc Minkowski, conductor L'occasione fa il ladro (or Il cambio della valigia); scenes 12 (extract)-13: - Duet: 'Voi la sposa!' - Recit: 'Qui non c'è scampo' - Aria: 'Il mio padrone' Enrico Fissore, bass (Don Parmenione) Margherita Rinaldi, soprano (Berenice) Antonio Pirino, tenor (Don Eusebio) Gianni Socci, baritone (Martino) Italian Radio Symphony Orchestra Turin Vittorio Gui, conductor La Cenerentola; Act 1, finale Luigi Alva, tenor (Ramiro) Renato Capecchi, baritone (Dandini) Margherita Guglielmi, soprano (Clorinda) Laura Zannini, soprano (Tisbe) Ugo Trama, bass (Alidoro) Teresa Berganza, mezzo soprano (Cenerentola) Paolo Montarsolo, bass (Don Magnifico) Scottish Opera Chorus London Symphony Orchestra Claudio Abbado, conductor
Time: 12:00 to 13:00 (1 hour long)
This week, Donald Macleod presents five takes on the life and music of Gioachino Rossini. Today, the winning formula Rossini hit on right at the start of his operatic career. Rossini had the good fortune to learn his craft not from a course of dry academic study but by toiling in the operatic trenches of Venice's Teatro San Moisè, for which he produced a youthful string of one-act farces - four of which are sampled in today's programme. Thrown in at the deep end at the tender age of 18, Rossini almost immediately - and apparently instinctively - caught on to the essentials of writing music for the stage. More than that, he seems to have codified his instincts into a structural groundplan that not only underpins his early farces, but continued to serve him when he graduated to writing comic operas on a larger scale - a case in point being the deftly-paced 1st-act finale of Cinderella, which concludes today's programme. La cambiale di matrimonio; overture Orpheus Chamber Orchestra La scala di seta; scene 1, Introduzione Teresa Ringholz, soprano (Giulia) Alessandro Corbelli, baritone (Germano) Francesca Provvisionato, mezzo soprano (Lucilla) English Chamber Orchestra Marcello Viotti, conductor L'inganno felice; scene 8 (extract): Terzetto: 'Quel sembiante' Raúl Giménez, tenor (Bertrando) Pietro Spagnoli, bass (Tarabotto) Annick Massis, soprano (Isabella) Le Concert des Tuileries Marc Minkowski, conductor L'occasione fa il ladro (or Il cambio della valigia); scenes 12 (extract)-13: - Duet: 'Voi la sposa!' - Recit: 'Qui non c'è scampo' - Aria: 'Il mio padrone' Enrico Fissore, bass (Don Parmenione) Margherita Rinaldi, soprano (Berenice) Antonio Pirino, tenor (Don Eusebio) Gianni Socci, baritone (Martino) Italian Radio Symphony Orchestra Turin Vittorio Gui, conductor La Cenerentola; Act 1, finale Luigi Alva, tenor (Ramiro) Renato Capecchi, baritone (Dandini) Margherita Guglielmi, soprano (Clorinda) Laura Zannini, soprano (Tisbe) Ugo Trama, bass (Alidoro) Teresa Berganza, mezzo soprano (Cenerentola) Paolo Montarsolo, bass (Don Magnifico) Scottish Opera Chorus London Symphony Orchestra Claudio Abbado, conductor
14antimuzak
Monday 3rd December 2018
Time: 12:00 to 13:00 (1 hour long)
Donald Macleod looks at the innovative ideas Saint-Saëns introduced to a Parisian public whose tastes were mostly confined to operatic spectacle. He created symphonies and concertos inspired by his passion for the German tradition of classical form, led the way in developing French chamber music, experimented with the exotic sounds he came across on his extensive travels and was the first composer in France to emulate Liszt's symphonic poem. Guitares et mandolines François le Roux, baritone Graham Johnson, piano Havanaise Kyung Wha Chung, violin Royal Philharmonic Orchestra Charles Dutoit, conductor Piano Trio No 1 in F, Op 18 (1st mvt) Florestan Trio Piano Concerto No 2 Benjamin Grosvenor, piano Royal Liverpool Philharmonic Orchestra James Judd, conductor Danse Macabre Orchestre de Paris Daniel Barenboim, conductor
Time: 12:00 to 13:00 (1 hour long)
Donald Macleod looks at the innovative ideas Saint-Saëns introduced to a Parisian public whose tastes were mostly confined to operatic spectacle. He created symphonies and concertos inspired by his passion for the German tradition of classical form, led the way in developing French chamber music, experimented with the exotic sounds he came across on his extensive travels and was the first composer in France to emulate Liszt's symphonic poem. Guitares et mandolines François le Roux, baritone Graham Johnson, piano Havanaise Kyung Wha Chung, violin Royal Philharmonic Orchestra Charles Dutoit, conductor Piano Trio No 1 in F, Op 18 (1st mvt) Florestan Trio Piano Concerto No 2 Benjamin Grosvenor, piano Royal Liverpool Philharmonic Orchestra James Judd, conductor Danse Macabre Orchestre de Paris Daniel Barenboim, conductor
15antimuzak
Monday 10th December 2018
Time: 12:00 to 13:00 (1 hour long)
This week of programmes about Franz Schubert focuses on five years through his short life, and features one of his string quartets every day. At the age of only 16 the shy, bespectacled Schubert was at school. Yet he was not concentrating on his main studies, being far too distracted by music, much to the disappointment of his father. Today's programme focuses on the year 1813 in Schubert's life, and we hear his String Quartet No.10, D87. Other music includes settings of songs by Schiller and Körner, an opera aria, and movements from his first symphony. Plus we learn about Schubert's sudden rage over his singing rather loudly in a tavern. Presented by Donald Macleod. Des Teufels Lustschloss, D 84 (Act 1 No. 2 Was kümmert mich ein sumpfig Land) Oliver Widmer, baritone (Robert) Hungarian National Philharmonic Orchestra Jan Schultsz, conductor String Quartet No. 10 in E-flat major, D 87 Cuarteto Casals Zur Namensfeier meines Vaters, D 80 Leonardo de Lisi, tenor Alberto Mazzocco, tenor Marco Perrella, bass Adriano Sebastiani, guitar Symphony No 1 (mvt 3 Menuetto, Allegretto and mvt 4 Allegro vivace) Berliner Philharmoniker Karl Bohm, conductor Gebet während der Schlacht, D 171 Florian Boesch, baritone, Burkhard Kehring, piano Sehnsucht, D 52 Dietrich Fischer-Dieskau, baritone Gerald Moore, piano
Time: 12:00 to 13:00 (1 hour long)
This week of programmes about Franz Schubert focuses on five years through his short life, and features one of his string quartets every day. At the age of only 16 the shy, bespectacled Schubert was at school. Yet he was not concentrating on his main studies, being far too distracted by music, much to the disappointment of his father. Today's programme focuses on the year 1813 in Schubert's life, and we hear his String Quartet No.10, D87. Other music includes settings of songs by Schiller and Körner, an opera aria, and movements from his first symphony. Plus we learn about Schubert's sudden rage over his singing rather loudly in a tavern. Presented by Donald Macleod. Des Teufels Lustschloss, D 84 (Act 1 No. 2 Was kümmert mich ein sumpfig Land) Oliver Widmer, baritone (Robert) Hungarian National Philharmonic Orchestra Jan Schultsz, conductor String Quartet No. 10 in E-flat major, D 87 Cuarteto Casals Zur Namensfeier meines Vaters, D 80 Leonardo de Lisi, tenor Alberto Mazzocco, tenor Marco Perrella, bass Adriano Sebastiani, guitar Symphony No 1 (mvt 3 Menuetto, Allegretto and mvt 4 Allegro vivace) Berliner Philharmoniker Karl Bohm, conductor Gebet während der Schlacht, D 171 Florian Boesch, baritone, Burkhard Kehring, piano Sehnsucht, D 52 Dietrich Fischer-Dieskau, baritone Gerald Moore, piano
16antimuzak
Monday 17th December 2018
Time: 12:00 to 13:00 (1 hour long)
Donald Macleod delves into the life and work of one of the most important Russian composers of his age - Nikolai Rimsky-Korsakov. Rimsky-Korsakov's music is filled with lush orchestration and hints of orientalism and folk music. These elements and his role as a leading member of "The Mighty Handful" of composers who sought to forge a truly nationalistic music has led him to be regarded as the main architect of the Russian style of composition we know today. In Monday's episode, Donald explores Rimsky-Korsakov's relationship with the sea, which began as a childhood obsession, before an early naval career, and a civilian job as Inspector of Russia's Naval Bands brought him into closer proximity to the ocean. Donald also ponders what the ocean represented for Rimsky and for his largely landlocked Russian audience, alongside the various evocations of the sea in his music. By the Sea, Op 46: The Wave Breaks into a Spray Dmitri Hvorostovsky, baritone Mikhail Arkadiev, piano Scheherazade (I. The Sea and Sinbad's Ship) Oslo Philharmonic Orchestra Mariss Jansons, conductor From Homer Op.60 Svetlana Sizova, mezzo-soprano Tatiana Fedotova, soprano Chorus of the Moscow Academy of Choral Art and Moscow Symphony Orchestra Vladimir Ziva, conductor Symphony No 1 (II. Andante tranquillo) Gothenburg Symphony Orchestra Neeme Järvi, conductor Sadko, Op. 6 L'Orchestre de la Suisse Romande Ernest Ansermet, conductor Trombone Concerto (I. Allegro Vivace) Christian Lindberg, trombone Kosei Wind Orchestra Chikara Imamura, conductor
Time: 12:00 to 13:00 (1 hour long)
Donald Macleod delves into the life and work of one of the most important Russian composers of his age - Nikolai Rimsky-Korsakov. Rimsky-Korsakov's music is filled with lush orchestration and hints of orientalism and folk music. These elements and his role as a leading member of "The Mighty Handful" of composers who sought to forge a truly nationalistic music has led him to be regarded as the main architect of the Russian style of composition we know today. In Monday's episode, Donald explores Rimsky-Korsakov's relationship with the sea, which began as a childhood obsession, before an early naval career, and a civilian job as Inspector of Russia's Naval Bands brought him into closer proximity to the ocean. Donald also ponders what the ocean represented for Rimsky and for his largely landlocked Russian audience, alongside the various evocations of the sea in his music. By the Sea, Op 46: The Wave Breaks into a Spray Dmitri Hvorostovsky, baritone Mikhail Arkadiev, piano Scheherazade (I. The Sea and Sinbad's Ship) Oslo Philharmonic Orchestra Mariss Jansons, conductor From Homer Op.60 Svetlana Sizova, mezzo-soprano Tatiana Fedotova, soprano Chorus of the Moscow Academy of Choral Art and Moscow Symphony Orchestra Vladimir Ziva, conductor Symphony No 1 (II. Andante tranquillo) Gothenburg Symphony Orchestra Neeme Järvi, conductor Sadko, Op. 6 L'Orchestre de la Suisse Romande Ernest Ansermet, conductor Trombone Concerto (I. Allegro Vivace) Christian Lindberg, trombone Kosei Wind Orchestra Chikara Imamura, conductor
17yolana
Thanks for the heads-up. I’ve played Scherazade and Cappricio Italien as wel, as a string quartet ages ago but that’s all I know about him.
18antimuzak
Monday 7th January 2019
Time: 12:00 to 13:00 (1 hour long)
Donald Macleod delves into the impact of Mozart upon Mendelssohn's life and music In Composer of the Week, Donald Macleod journeys through the life of Felix Mendelssohn, exploring in particular a number of influences upon the composer's works. Mendelssohn was a leading figure of German music in his day, and became something of an international celebrity. He was at the very forefront of music making during the 1830s and 1840s, as a composer, conductor, pianist and organist. He began as a highly gifted and versatile prodigy, and rose to become one of Germany's first rank composers of the early romantic period. He composed music in many genres including concertos, oratorios, symphonies, songs and chamber music. Amongst some of his most famous works are the highly evocative and dramatic overture to A Midsummer Night's Dream, and his mature and richly romantic Violin Concerto. Felix Mendelssohn's early life has many similarities with the early life of Mozart. Both were brilliant performers on the piano and the violin. They both started writing music at a very young age. Mozart and Mendelssohn both had hugely talented sisters, but their fathers played very different roles. Whereas Mozart's father was very much the driving force in his son's life and career, for Mendelssohn this authority largely came from his teacher Carl Friedrich Zelter. Zelter encouraged his pupil to learn from the music of Mozart, and so many of Mendelssohn's early compositions have a distinct trace of Mozart. The famous writer Goethe had met Mozart, seeing him perform a number of exercises as a young boy. When he met Mendelssohn some years later, he put the lad through many similar tests to compare the two. This comparison with Mozart would continue throughout Mendelssohn's life and beyond. Many years after his death, the conductor Hans von Bulow said that if you want to perform Mendelssohn correctly, you must first play Mozart. Die beiden Padagogen (Overture) Munchner Radio Orchestra Heinz Wallberg, conductor Die beiden Padagogen (Probatum est, dies ruf ich mir) Dietrich Fischer-Dieskau, baritone (Bogy) Munchner Radio Orchestra Heinz Wallberg, conductor Duo Sonata in G minor Duo Lontano Babette Hierholzer, piano Jurgen Appell, piano Piano Quartet No 2 in F minor, Op 2 (Allegro molto vivace) Domus Krysia Osotowicz, violin Timothy Boulton, viola Richard Lester, cello Susan Tomes, piano Concerto in A minor for piano and string orchestra Ronald Brautigam, piano Amsterdam Sinfonietta Lev Markiz, conductor
Time: 12:00 to 13:00 (1 hour long)
Donald Macleod delves into the impact of Mozart upon Mendelssohn's life and music In Composer of the Week, Donald Macleod journeys through the life of Felix Mendelssohn, exploring in particular a number of influences upon the composer's works. Mendelssohn was a leading figure of German music in his day, and became something of an international celebrity. He was at the very forefront of music making during the 1830s and 1840s, as a composer, conductor, pianist and organist. He began as a highly gifted and versatile prodigy, and rose to become one of Germany's first rank composers of the early romantic period. He composed music in many genres including concertos, oratorios, symphonies, songs and chamber music. Amongst some of his most famous works are the highly evocative and dramatic overture to A Midsummer Night's Dream, and his mature and richly romantic Violin Concerto. Felix Mendelssohn's early life has many similarities with the early life of Mozart. Both were brilliant performers on the piano and the violin. They both started writing music at a very young age. Mozart and Mendelssohn both had hugely talented sisters, but their fathers played very different roles. Whereas Mozart's father was very much the driving force in his son's life and career, for Mendelssohn this authority largely came from his teacher Carl Friedrich Zelter. Zelter encouraged his pupil to learn from the music of Mozart, and so many of Mendelssohn's early compositions have a distinct trace of Mozart. The famous writer Goethe had met Mozart, seeing him perform a number of exercises as a young boy. When he met Mendelssohn some years later, he put the lad through many similar tests to compare the two. This comparison with Mozart would continue throughout Mendelssohn's life and beyond. Many years after his death, the conductor Hans von Bulow said that if you want to perform Mendelssohn correctly, you must first play Mozart. Die beiden Padagogen (Overture) Munchner Radio Orchestra Heinz Wallberg, conductor Die beiden Padagogen (Probatum est, dies ruf ich mir) Dietrich Fischer-Dieskau, baritone (Bogy) Munchner Radio Orchestra Heinz Wallberg, conductor Duo Sonata in G minor Duo Lontano Babette Hierholzer, piano Jurgen Appell, piano Piano Quartet No 2 in F minor, Op 2 (Allegro molto vivace) Domus Krysia Osotowicz, violin Timothy Boulton, viola Richard Lester, cello Susan Tomes, piano Concerto in A minor for piano and string orchestra Ronald Brautigam, piano Amsterdam Sinfonietta Lev Markiz, conductor
19antimuzak
Monday 14th January 2019
Time: 12:00 to 13:00 (1 hour long)
Donald Macleod explores Jean-Philippe Rameau's operas beginning with Hippolyte et Aricie, the work which put him on the operatic map. By the time of his death in 1764, Rameau, then an octogenarian, had more than 30 stage works to his credit. It's a remarkable achievement when you consider he produced his first opera at the age of 50. Up to that point, although details about his life are surprisingly patchy, he appears to have held a succession of posts in the provinces, as an organist, teacher and theoretician, seemingly without even a whiff of greasepaint. Then, at an age when one might assume his chosen path was settled, Rameau upped sticks, came back to Paris and conquered the stage with breathtaking speed. Across the week Donald Macleod focusses on those heady, initial years in the French capital, building a picture of what made Rameau into a highly successful, if controversial, theatrical composer. The transformation begins in 1733. What Rameau served up in Hippolyte et Aricie was daring, original rhythms and harmonies. The astonished spectators were both outraged and delighted. Dividing into two camps, a cultural war ensued that raged for over 20 years! Hippolyte et Aricie (Prologue) Entrée des habitants de la forêts Les Arts Florissants William Christie, director Hippolyte et Aricie (Act 2, Sc 5) Trio des Parques Nathan Berg, bass Pluton Christopher Josey, tenor, First Fate Matthieu Lécroart, baritone, Second Fate Bertrand Bontoux, bass, Third Fate Les Arts Florissants William Christie, director Thétis Peter Harvey, baritone London Baroque Ingrid Seifert, violin Charles Medlam, bass violin Terence Charlston, harpsichord Concert No. 1 in C minor Ensemble Masques Olivier Fortin, director Hippolyte et Aricie, (Act 3, Sc 1 to 5) Lorraine Hunt, mezzo soprano Phèdre Katalin Károlyi, mezzo soprano Oenone Mark Padmore, tenor Hippolyte Laurent Naouri, bass Thésée Les Arts Florissants William Christie, director Hippolyte et Aricie (Act 5, Sc 3) Où suis-je Anna-Maria Panarella, soprano, Aricie Les Arts Florissants William Christie, director.
Time: 12:00 to 13:00 (1 hour long)
Donald Macleod explores Jean-Philippe Rameau's operas beginning with Hippolyte et Aricie, the work which put him on the operatic map. By the time of his death in 1764, Rameau, then an octogenarian, had more than 30 stage works to his credit. It's a remarkable achievement when you consider he produced his first opera at the age of 50. Up to that point, although details about his life are surprisingly patchy, he appears to have held a succession of posts in the provinces, as an organist, teacher and theoretician, seemingly without even a whiff of greasepaint. Then, at an age when one might assume his chosen path was settled, Rameau upped sticks, came back to Paris and conquered the stage with breathtaking speed. Across the week Donald Macleod focusses on those heady, initial years in the French capital, building a picture of what made Rameau into a highly successful, if controversial, theatrical composer. The transformation begins in 1733. What Rameau served up in Hippolyte et Aricie was daring, original rhythms and harmonies. The astonished spectators were both outraged and delighted. Dividing into two camps, a cultural war ensued that raged for over 20 years! Hippolyte et Aricie (Prologue) Entrée des habitants de la forêts Les Arts Florissants William Christie, director Hippolyte et Aricie (Act 2, Sc 5) Trio des Parques Nathan Berg, bass Pluton Christopher Josey, tenor, First Fate Matthieu Lécroart, baritone, Second Fate Bertrand Bontoux, bass, Third Fate Les Arts Florissants William Christie, director Thétis Peter Harvey, baritone London Baroque Ingrid Seifert, violin Charles Medlam, bass violin Terence Charlston, harpsichord Concert No. 1 in C minor Ensemble Masques Olivier Fortin, director Hippolyte et Aricie, (Act 3, Sc 1 to 5) Lorraine Hunt, mezzo soprano Phèdre Katalin Károlyi, mezzo soprano Oenone Mark Padmore, tenor Hippolyte Laurent Naouri, bass Thésée Les Arts Florissants William Christie, director Hippolyte et Aricie (Act 5, Sc 3) Où suis-je Anna-Maria Panarella, soprano, Aricie Les Arts Florissants William Christie, director.
20antimuzak
Monday 21st January 2019
Time: 12:00 to 13:00 (1 hour long)
Franz Liszt was the most photographed man of the 19th century and the most sculpted man aside from Napoleon - one of the most recognisable figures of his age. Donald Macleod delves into the life and work of the prolific composer and virtuoso pianist through five images of the composer. Liszt's acclaim as a child was such that he was even claimed to be a reincarnation of Mozart. In Monday's episode, Donald examines an engraving of the 9 year-old Liszt after a portrait by Ferdinand de Luttgendorf-Leinburg, using it to trace the influence of Liszt's father Adam in the promotion of his son as this child prodigy extraordinaire. 50 Variations on a Waltz by Diabelli - Variation 24 Evelyne Dubourg, piano Hungarian Rhapsody No 2 Budapest Festival Orchestra Ivan Fischer, conductor Transcendental Etude No 4 'Mazeppa' Lise de la Salle, piano Don Sanche (The Castle of Love): Overture Hungarian State Opera Orchestra Tamás Pál, conductor Malédiction Jorge Bolet, piano London Symphony Orchestra Ivan Fischer, conductor Christus - Ressurexit Henriette Bonde-Hansen, soprano Michael Schade, tenor Andreas Schmidt, bass Iris Vermillion, alto Gächinger Kantorei Cracow Chamber Choir Radio-Sinfonieorchester Stuttgart des SWR Helmut Rilling, conductor
Time: 12:00 to 13:00 (1 hour long)
Franz Liszt was the most photographed man of the 19th century and the most sculpted man aside from Napoleon - one of the most recognisable figures of his age. Donald Macleod delves into the life and work of the prolific composer and virtuoso pianist through five images of the composer. Liszt's acclaim as a child was such that he was even claimed to be a reincarnation of Mozart. In Monday's episode, Donald examines an engraving of the 9 year-old Liszt after a portrait by Ferdinand de Luttgendorf-Leinburg, using it to trace the influence of Liszt's father Adam in the promotion of his son as this child prodigy extraordinaire. 50 Variations on a Waltz by Diabelli - Variation 24 Evelyne Dubourg, piano Hungarian Rhapsody No 2 Budapest Festival Orchestra Ivan Fischer, conductor Transcendental Etude No 4 'Mazeppa' Lise de la Salle, piano Don Sanche (The Castle of Love): Overture Hungarian State Opera Orchestra Tamás Pál, conductor Malédiction Jorge Bolet, piano London Symphony Orchestra Ivan Fischer, conductor Christus - Ressurexit Henriette Bonde-Hansen, soprano Michael Schade, tenor Andreas Schmidt, bass Iris Vermillion, alto Gächinger Kantorei Cracow Chamber Choir Radio-Sinfonieorchester Stuttgart des SWR Helmut Rilling, conductor
21antimuzak
Monday 28th January 2019
Time: 12:00 to 13:00 (1 hour long)
Michael Tippett was a particularly absorbent composer, soaking up an incredibly wide range of inspirations and influences from the world around him, and perhaps most often from outside the field of music. His huge intellectual capacity and endless interest in other people combined with immense charisma to make him a personality to which everyone who met him seemed irresistibly drawn. His - often complex - relationships were particularly intense ones, and frequently blurred the lines between professional and personal, artistic and sexual. This week Composer of the week looks at some of the people closest to Tippett and asks what influence they had on the life and music of a man whose story has still never been fully told. Joining Donald Macleod to explore sometimes uncharted territory is Oliver Soden, the author of a new - and the first complete - biography of the composer. Today, the week begins by examining the very significant influence on Tippet's life and work of the literary figure TS Eliot; heard in two of Tippett's largest compositions. In the 1930s Tippett would produce the major work for which he's still best known, A Child of Our Time - a musical landmark which also established the way Tippett would approach composition throughout his life. Towards the other end of his life, he produced an astonishing, deconstructed setting of WB Yeats' metaphorical poem, Byzantium. Tippett: Where The Bee Sucks from Songs for Ariel Martyn Hill, tenor Andrew Ball, piano Tippett: A Child of Our Time Cynthia Haymon, soprano Cynthia Clarey, alto Damon Evans, tenor Willard White, bass London Symphony Orchestra and Chorus Richard Hickox, conductor Tippett: Byzantium? Faye Robinson, soprano Chicago Symphony Orchestra Sir Georg Solti, conductor.
Time: 12:00 to 13:00 (1 hour long)
Michael Tippett was a particularly absorbent composer, soaking up an incredibly wide range of inspirations and influences from the world around him, and perhaps most often from outside the field of music. His huge intellectual capacity and endless interest in other people combined with immense charisma to make him a personality to which everyone who met him seemed irresistibly drawn. His - often complex - relationships were particularly intense ones, and frequently blurred the lines between professional and personal, artistic and sexual. This week Composer of the week looks at some of the people closest to Tippett and asks what influence they had on the life and music of a man whose story has still never been fully told. Joining Donald Macleod to explore sometimes uncharted territory is Oliver Soden, the author of a new - and the first complete - biography of the composer. Today, the week begins by examining the very significant influence on Tippet's life and work of the literary figure TS Eliot; heard in two of Tippett's largest compositions. In the 1930s Tippett would produce the major work for which he's still best known, A Child of Our Time - a musical landmark which also established the way Tippett would approach composition throughout his life. Towards the other end of his life, he produced an astonishing, deconstructed setting of WB Yeats' metaphorical poem, Byzantium. Tippett: Where The Bee Sucks from Songs for Ariel Martyn Hill, tenor Andrew Ball, piano Tippett: A Child of Our Time Cynthia Haymon, soprano Cynthia Clarey, alto Damon Evans, tenor Willard White, bass London Symphony Orchestra and Chorus Richard Hickox, conductor Tippett: Byzantium? Faye Robinson, soprano Chicago Symphony Orchestra Sir Georg Solti, conductor.
22antimuzak
Monday 11th February 2019 (starting in 5 hours and 9 minutes)
Time: 12:00 to 13:00 (1 hour long)
Bruch.
Donald Macleod explores Max Bruch's violin works, beginning with his the first violin concerto in G minor - the composer's best-known work.
Time: 12:00 to 13:00 (1 hour long)
Bruch.
Donald Macleod explores Max Bruch's violin works, beginning with his the first violin concerto in G minor - the composer's best-known work.
23antimuzak
Monday 18th February 2019
Time: 12:00 to 13:00 (1 hour long)
Bach.
Donald Macleod examines the life and career of the German composer through the places he lived, beginning with the period up to the age of 15.
Time: 12:00 to 13:00 (1 hour long)
Bach.
Donald Macleod examines the life and career of the German composer through the places he lived, beginning with the period up to the age of 15.
24antimuzak
Monday 25th February 2019
Time: 12:00 to 13:00 (1 hour long)
Lutoslawski.
Donald Macleod and Nicholas Reyland explore the life and music of the Polish composer, beginning with his traumatic youth in Warsaw and his experiences during the Second World War.
Time: 12:00 to 13:00 (1 hour long)
Lutoslawski.
Donald Macleod and Nicholas Reyland explore the life and music of the Polish composer, beginning with his traumatic youth in Warsaw and his experiences during the Second World War.
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