1antimuzak
Monday 25th March 2019 (starting in 5 hours and 11 minutes)
Time: 12:00 to 13:00 (1 hour long)
Biber. Episode 2.
Donald Macleod explores the music and life of Baroque master Heinrich Ignaz Franz von Biber, beginning by looking at the events that led him to becoming a composer.
Time: 12:00 to 13:00 (1 hour long)
Biber. Episode 2.
Donald Macleod explores the music and life of Baroque master Heinrich Ignaz Franz von Biber, beginning by looking at the events that led him to becoming a composer.
2antimuzak
Monday 1st July 2019
Time: 12:00 to 13:00 (1 hour long)
CPE Bach and the Nazi Hoard. Episode 1.
Donald Macleod explores the composer's music and reputation in the light of the rediscovery of much of his archive in 1999 after it was taken by the Red Army at the end of the war. From 1750, for the next 60 years the name "Bach" was almost exclusively associated with the initials "CPE". Born in 1714, Carl Philipp Emanuel's influence resonates to this day: his book on keyboard playing permanently changed the practice; his music changed the direction of travel. Bach left his life's work tidy and well organised on his death in 1788, with most works still in print. His estate was largely sold to Felix Mendelssohn's father Abraham, but by the 1800s CPE Bach's music had all but disappeared. The collection of CPE Bach manuscripts found its way into the library of the Sing-Akademie in Berlin, one of the most prestigious performing institutions in the Prussian capital, closely associated with the royal court. This was the finest collection of Bach family manuscripts in the world. In the face of Allied bombing in 1943, the Sing-Akademie was one of over 500 mostly private collections from the Berlin area to be evacuated. It was carefully packaged up into 14 crates and sent to a remote castle in Silesia, in present-day Poland. As the war ended, the collection was found by the Red Army and disappeared from public view for the next 50 years. CPE Bach: L'Aly Rupalich, Wq 117, No 27. Ana-Marija Markovina (piano); Keyboard Concerto in D minor, Wq 23. Michael Rische (piano), Leipzig Kammerorchester, Morten Schuldt-Jensen (conductor); Heilig, Wq 217. Hilke Helling (contralto), Rheinische Kantorei, Das Kleine Konzert, Hermann Max (conductor); Flute concerto in D, Wq 13. Il Gardellino.
Time: 12:00 to 13:00 (1 hour long)
CPE Bach and the Nazi Hoard. Episode 1.
Donald Macleod explores the composer's music and reputation in the light of the rediscovery of much of his archive in 1999 after it was taken by the Red Army at the end of the war. From 1750, for the next 60 years the name "Bach" was almost exclusively associated with the initials "CPE". Born in 1714, Carl Philipp Emanuel's influence resonates to this day: his book on keyboard playing permanently changed the practice; his music changed the direction of travel. Bach left his life's work tidy and well organised on his death in 1788, with most works still in print. His estate was largely sold to Felix Mendelssohn's father Abraham, but by the 1800s CPE Bach's music had all but disappeared. The collection of CPE Bach manuscripts found its way into the library of the Sing-Akademie in Berlin, one of the most prestigious performing institutions in the Prussian capital, closely associated with the royal court. This was the finest collection of Bach family manuscripts in the world. In the face of Allied bombing in 1943, the Sing-Akademie was one of over 500 mostly private collections from the Berlin area to be evacuated. It was carefully packaged up into 14 crates and sent to a remote castle in Silesia, in present-day Poland. As the war ended, the collection was found by the Red Army and disappeared from public view for the next 50 years. CPE Bach: L'Aly Rupalich, Wq 117, No 27. Ana-Marija Markovina (piano); Keyboard Concerto in D minor, Wq 23. Michael Rische (piano), Leipzig Kammerorchester, Morten Schuldt-Jensen (conductor); Heilig, Wq 217. Hilke Helling (contralto), Rheinische Kantorei, Das Kleine Konzert, Hermann Max (conductor); Flute concerto in D, Wq 13. Il Gardellino.
3antimuzak
Monday 8th July 2019
Time: 12:00 to 13:00 (1 hour long)
Lessons in Life. Episode 1.
Donald Macleod explores Carl Nielsen's worldview through his music, beginning with the Helios Overture and part of the composer's second symphony. Life and motion stimulated Nielsen's musical imagination in a variety of contrasting ways and Donald explores some of those avenues and the music these experiences stimulated. Nielsen: Maskarade - Overture. Danish National Symphony Orchestra, Thomas Dausgaard (conductor); Violin concerto, Op 33 (Rondo: Allegretto scherzando). Dong-Suk Kang (violin), Gothenburg Symphony Orchestra, Myung-Whun Chung (conductor); Frihed er det bedste guld. Ars Nova Copenhagen, Michael Bojesen (conductor); Helios Overture, Gothenburg Symphony Orchestra, Neeme Jarvi (conductor); Afflictus Sum (3 Motets). Canzone Choir, Frans Rasmussen (director).
Time: 12:00 to 13:00 (1 hour long)
Lessons in Life. Episode 1.
Donald Macleod explores Carl Nielsen's worldview through his music, beginning with the Helios Overture and part of the composer's second symphony. Life and motion stimulated Nielsen's musical imagination in a variety of contrasting ways and Donald explores some of those avenues and the music these experiences stimulated. Nielsen: Maskarade - Overture. Danish National Symphony Orchestra, Thomas Dausgaard (conductor); Violin concerto, Op 33 (Rondo: Allegretto scherzando). Dong-Suk Kang (violin), Gothenburg Symphony Orchestra, Myung-Whun Chung (conductor); Frihed er det bedste guld. Ars Nova Copenhagen, Michael Bojesen (conductor); Helios Overture, Gothenburg Symphony Orchestra, Neeme Jarvi (conductor); Afflictus Sum (3 Motets). Canzone Choir, Frans Rasmussen (director).
4antimuzak
Monday 15th July 2019
Time: 12:00 to 13:00 (1 hour long)
James MacMillan: A Grandfather, a Recorder and a Confession. Episode 1.
Donald Macleod is joined by the composer, who reflects on his prolific life in music in the week of his 60th birthday. He was born July 16, 1959, in Kilwinning, North Ayrshire, but grew up in the East Ayrshire town of Cumnock. His grandfather introduced him to brass band music and his primary teacher taught him the recorder. The combination of these musical experiences sparked a lifelong passion to make and create music of his own. He studied composition at the University of Edinburgh with Kenneth Leighton and at Durham University with John Casken. A trip to Darmstadt International Summer Course confirmed in him a longing to build on musical traditions of the past rather than abandoning all that has gone before. He caught the attention of the classical establishment with the BBC Scottish Symphony Orchestra's premiere of The Confession of Isobel Gowdie at the BBC Proms in 1990. MacMillian: The Storm from Into the Ferment; Berserking (1st movement). BBC Philharmonic Orchestra, James MacMillan (conductor). It is Finished, from Seven Last Words from the Cross. Polyphony, Britten Sinfonia Stephen Layton (conductor). The Confession of Isobel Gowdie. BBC Philharmonic Orchestra, James MacMillan (conductor).
Time: 12:00 to 13:00 (1 hour long)
James MacMillan: A Grandfather, a Recorder and a Confession. Episode 1.
Donald Macleod is joined by the composer, who reflects on his prolific life in music in the week of his 60th birthday. He was born July 16, 1959, in Kilwinning, North Ayrshire, but grew up in the East Ayrshire town of Cumnock. His grandfather introduced him to brass band music and his primary teacher taught him the recorder. The combination of these musical experiences sparked a lifelong passion to make and create music of his own. He studied composition at the University of Edinburgh with Kenneth Leighton and at Durham University with John Casken. A trip to Darmstadt International Summer Course confirmed in him a longing to build on musical traditions of the past rather than abandoning all that has gone before. He caught the attention of the classical establishment with the BBC Scottish Symphony Orchestra's premiere of The Confession of Isobel Gowdie at the BBC Proms in 1990. MacMillian: The Storm from Into the Ferment; Berserking (1st movement). BBC Philharmonic Orchestra, James MacMillan (conductor). It is Finished, from Seven Last Words from the Cross. Polyphony, Britten Sinfonia Stephen Layton (conductor). The Confession of Isobel Gowdie. BBC Philharmonic Orchestra, James MacMillan (conductor).
5antimuzak
Monday 29th July 2019
Time: 12:00 to 13:00 (1 hour long)
Elgar. London. Episode 1.
Donald Macleod explores the locations that were important to Elgar and the places that inspired his music. He begins with the composer's connection with London, to which he travelled to in his twenties for the occasional violin lesson, where he married his wife Alice and where his only child Carice was born. It was also the city the Elgars returned to many years later to live in Severn House, the first residence they actually owned and the home where Alice later died. Elgar: Pomp and Circumstance March in D, Op 39 No 1. Hallé Orchestra, Mark Elder (conductor); Cockaigne (In London Town). London Philharmonic Orchestra, Leonard Slatkin (conductor); Salut d'amour, Op 12. Sarah Chang (violin), Sandra Rivers (piano). O Happy Eyes, Op 18 No 1. Quink Vocal Ensemble; The Dream of Gerontius, Op 38. (Part two - from The Angel and the Soul to the end). Arthur Davies (tenor: Gerontius), Gwynne Howell (bass: The Priest/The Angel of the Agony), Felicity Palmer (mezzo soprano: The Angel), London Symphony Orchestra & Chorus, Richard Hickox (conductor), Roderick Elms (organ).
Time: 12:00 to 13:00 (1 hour long)
Elgar. London. Episode 1.
Donald Macleod explores the locations that were important to Elgar and the places that inspired his music. He begins with the composer's connection with London, to which he travelled to in his twenties for the occasional violin lesson, where he married his wife Alice and where his only child Carice was born. It was also the city the Elgars returned to many years later to live in Severn House, the first residence they actually owned and the home where Alice later died. Elgar: Pomp and Circumstance March in D, Op 39 No 1. Hallé Orchestra, Mark Elder (conductor); Cockaigne (In London Town). London Philharmonic Orchestra, Leonard Slatkin (conductor); Salut d'amour, Op 12. Sarah Chang (violin), Sandra Rivers (piano). O Happy Eyes, Op 18 No 1. Quink Vocal Ensemble; The Dream of Gerontius, Op 38. (Part two - from The Angel and the Soul to the end). Arthur Davies (tenor: Gerontius), Gwynne Howell (bass: The Priest/The Angel of the Agony), Felicity Palmer (mezzo soprano: The Angel), London Symphony Orchestra & Chorus, Richard Hickox (conductor), Roderick Elms (organ).
6antimuzak
Monday 21st October 2019
Time: 12:00 to 13:00 (1 hour long)
A Step Forward. Episode 1.
Donald Macleod is joined by Antonio Pappano to trace the developmental line of Puccini's meticulously crafted dramatic heroines, beginning with Manon Lescaut - a woman whose love of pleasure and the good life ultimately lead to her destruction. Puccini: In quelle trine morbide (Manon Lescaut, Act 2). Anna Netrebko (soprano: Manon), Orchestra dell'Accademia Nazionale di Santa Cecilia, Antonio Pappano. Minuet (Manon Lescaut, Act 2). John Fryatt (Dancing Master), Kurt Rydl (bass:Geronte), Mirella Freni (soprano: Manon), Chorus of Royal Opera House Philharmonia Orchestra, conductor Giuseppe Sinopoli. Act 4 (Manon Lescaut) Anna Netrebko (soprano: Manon), Yusif Eyvazov (tenor: Des Grieux), Orchestra dell'Accademia Nazionale di Santa Cecilia, conductor Antonio Pappano.
Time: 12:00 to 13:00 (1 hour long)
A Step Forward. Episode 1.
Donald Macleod is joined by Antonio Pappano to trace the developmental line of Puccini's meticulously crafted dramatic heroines, beginning with Manon Lescaut - a woman whose love of pleasure and the good life ultimately lead to her destruction. Puccini: In quelle trine morbide (Manon Lescaut, Act 2). Anna Netrebko (soprano: Manon), Orchestra dell'Accademia Nazionale di Santa Cecilia, Antonio Pappano. Minuet (Manon Lescaut, Act 2). John Fryatt (Dancing Master), Kurt Rydl (bass:Geronte), Mirella Freni (soprano: Manon), Chorus of Royal Opera House Philharmonia Orchestra, conductor Giuseppe Sinopoli. Act 4 (Manon Lescaut) Anna Netrebko (soprano: Manon), Yusif Eyvazov (tenor: Des Grieux), Orchestra dell'Accademia Nazionale di Santa Cecilia, conductor Antonio Pappano.
7antimuzak
Tuesday 5th November 2019
Time: 12:00 to 13:00 (1 hour long)
Influential Friends. Episode 2.
Antonín Dvorak was no spring chicken when he found success as a composer. He was in his early thirties before he made his mark in his native Czech Republic, despite composing from a young age. Donald Macleod follows Dvorak as he attempts to win over successive audiences: from Prague to Vienna, England to America, before eventually returning to Prague and to the opera stage. Who did he need to impress in order to achieve the success he craved? By 1873, Dvorak was making a name for himself in Prague, but the musical snobbery of the day meant that to be thought truly successful a composer had first to make an impression in Vienna and the Germanic heartlands of classical music. Acclaim from Dvorak's `narrow Czech fatherland" was not enough. A state grant for struggling composers brought him into contact with many influential individuals, including Johannes Brahms who became an important friend. An introduction to Brahms' publisher, Fritz Simrock led to `Dvorakmania", but the Czech composer's success came against a background of personal tragedy. Today, Donald Macleod examines Dvorak's relationships with some of the influential individuals who championed his work, including Brahms, the conductor Hans Richter and the virtuoso violinist Joseph Joachim. Piano Trio in F minor, Op 65 (Allegro grazioso: meno mosso) - The Florestan Trio. Moravian Duets, Op 32 (How small the field of Slavíkov is & Water and Tears) - Genia Kühmeier (soprano), Bernarda Fink (mezzo-soprano), Christoph Berner (piano). Symphonic Variations, Op 78 - Prague Philharmonia, Jakub Hrusa (conductor). String Quartet No 10 in E flat major, Op 51 (Romanza) - The Emerson String Quartet. Violin Concerto in A minor, Op 53 (2nd movt - Adagio ma non troppo) - Rundfunk-Sinfonieorchester Berlin, Marek Janowski (conductor), Arabella Steinbacher (violin).
Time: 12:00 to 13:00 (1 hour long)
Influential Friends. Episode 2.
Antonín Dvorak was no spring chicken when he found success as a composer. He was in his early thirties before he made his mark in his native Czech Republic, despite composing from a young age. Donald Macleod follows Dvorak as he attempts to win over successive audiences: from Prague to Vienna, England to America, before eventually returning to Prague and to the opera stage. Who did he need to impress in order to achieve the success he craved? By 1873, Dvorak was making a name for himself in Prague, but the musical snobbery of the day meant that to be thought truly successful a composer had first to make an impression in Vienna and the Germanic heartlands of classical music. Acclaim from Dvorak's `narrow Czech fatherland" was not enough. A state grant for struggling composers brought him into contact with many influential individuals, including Johannes Brahms who became an important friend. An introduction to Brahms' publisher, Fritz Simrock led to `Dvorakmania", but the Czech composer's success came against a background of personal tragedy. Today, Donald Macleod examines Dvorak's relationships with some of the influential individuals who championed his work, including Brahms, the conductor Hans Richter and the virtuoso violinist Joseph Joachim. Piano Trio in F minor, Op 65 (Allegro grazioso: meno mosso) - The Florestan Trio. Moravian Duets, Op 32 (How small the field of Slavíkov is & Water and Tears) - Genia Kühmeier (soprano), Bernarda Fink (mezzo-soprano), Christoph Berner (piano). Symphonic Variations, Op 78 - Prague Philharmonia, Jakub Hrusa (conductor). String Quartet No 10 in E flat major, Op 51 (Romanza) - The Emerson String Quartet. Violin Concerto in A minor, Op 53 (2nd movt - Adagio ma non troppo) - Rundfunk-Sinfonieorchester Berlin, Marek Janowski (conductor), Arabella Steinbacher (violin).
8antimuzak
Monday 11th November 2019 (starting in 5 hours and 16 minutes)
Time: 12:00 to 13:00 (1 hour long)
Arnold's Many Personalities. Episode 1.
Donald Macleod traces Sir Malcolm Arnold's life through exploring five different influences upon the composer's music, from his love of Cornwall and Ireland, to his own mental and emotional wellbeing. In the first programme the focus is upon the many different and contrasting sides of Arnold's character and its impact upon his music. Some of Arnold's best loved scores may be full of fun, such as his music for the Hoffnung festivals, but his works could also have a much darker character as well. The slow movement in his second symphony depicts lamenting shades of Mahler, and his first string quartet has influences of Bartok. In his early career Arnold also led a double life between trumpeter, and composer. The composer won the day, and yet despite his often highly turbulent personal life, Arnold could compose music which has stood the test of time. His ever popular first set of English Dances for example, was composed not long after he'd been released from an asylum. Arnold: The Belles of St Trinian's (Prelude). Paul Janes (piano), BBC Philharmonic Orchestra, Rumon Gamba (conductor); Symphony No 2, Op 40 (Lento). London Symphony Orchestra, Richard Hickox (conductor); String Quartet No 1, Op 23. Maggini Quartet; Clarinet Sonatina, Op 29. Michael Collins (clarinet), Michael McHale (piano); English Dances Set 1, Op 27. The Philharmonia, Bryden Thomson (conductor).
Time: 12:00 to 13:00 (1 hour long)
Arnold's Many Personalities. Episode 1.
Donald Macleod traces Sir Malcolm Arnold's life through exploring five different influences upon the composer's music, from his love of Cornwall and Ireland, to his own mental and emotional wellbeing. In the first programme the focus is upon the many different and contrasting sides of Arnold's character and its impact upon his music. Some of Arnold's best loved scores may be full of fun, such as his music for the Hoffnung festivals, but his works could also have a much darker character as well. The slow movement in his second symphony depicts lamenting shades of Mahler, and his first string quartet has influences of Bartok. In his early career Arnold also led a double life between trumpeter, and composer. The composer won the day, and yet despite his often highly turbulent personal life, Arnold could compose music which has stood the test of time. His ever popular first set of English Dances for example, was composed not long after he'd been released from an asylum. Arnold: The Belles of St Trinian's (Prelude). Paul Janes (piano), BBC Philharmonic Orchestra, Rumon Gamba (conductor); Symphony No 2, Op 40 (Lento). London Symphony Orchestra, Richard Hickox (conductor); String Quartet No 1, Op 23. Maggini Quartet; Clarinet Sonatina, Op 29. Michael Collins (clarinet), Michael McHale (piano); English Dances Set 1, Op 27. The Philharmonia, Bryden Thomson (conductor).
9antimuzak
Monday 25th November 2019
Time: 12:00 to 13:00 (1 hour long)
Mendelssohn in Mozart's Shadow. Episode 1.
Donald Macleod explores the life and work of German composer Felix Mendelssohn, focusing in particular on a number of influences upon his music - beginning with Mozart. Mendelssohn's early life has many similarities with that of Mozart. Both were brilliant performers on the piano and the violin, and both started writing music at a very young age. Mozart and Mendelssohn also 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. Mendelssohn: Die beiden Padagogen (Overture); 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)
Mendelssohn in Mozart's Shadow. Episode 1.
Donald Macleod explores the life and work of German composer Felix Mendelssohn, focusing in particular on a number of influences upon his music - beginning with Mozart. Mendelssohn's early life has many similarities with that of Mozart. Both were brilliant performers on the piano and the violin, and both started writing music at a very young age. Mozart and Mendelssohn also 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. Mendelssohn: Die beiden Padagogen (Overture); 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).
10antimuzak
Monday 2nd December 2019
Time: 12:00 to 13:00 (1 hour long)
Dvorak, a Mentor and a Friend. Episode 1.
Donald Macleod examines the life and career of Czech composer, musical theorist, folklorist and teacher Leos Janacek through five of his closest relationships, beginning by looking at his friendship with Antonin Dvorak. It was when Janacek was in his twenties, studying in Prague around 1874, that he is thought to have first met Dvorak and their association was to last until the older composer's death in 1904. Janacek: Suite for Strings, Andante con moto (3rd mvt). Janacek Chamber Orchestra. Four male-voice choruses; ? lásko (O, Love) JW IV/17; Ach, vojna! (Oh to Be a Soldier) JWIV/17; Moravian Teachers' Choir, Lubomir Mati (director). Lachian Dances - No 1: Starodavny (Old-Time Dance). Slovak Radio Symphony Orchestra, Ondrej Lenard (conductor). Sarka (excerpt from Act 1). Peter Straka (tenor: Ctirad), Eva Urbanova (soprano: Sarka), Prague Philharmonic Chorus, Czech Philharmonic Orchestra, Charles Mackerras (conductor). Sinfonietta. Czech Philharmonic Orchestra Karel Ancerl (conductor).
Time: 12:00 to 13:00 (1 hour long)
Dvorak, a Mentor and a Friend. Episode 1.
Donald Macleod examines the life and career of Czech composer, musical theorist, folklorist and teacher Leos Janacek through five of his closest relationships, beginning by looking at his friendship with Antonin Dvorak. It was when Janacek was in his twenties, studying in Prague around 1874, that he is thought to have first met Dvorak and their association was to last until the older composer's death in 1904. Janacek: Suite for Strings, Andante con moto (3rd mvt). Janacek Chamber Orchestra. Four male-voice choruses; ? lásko (O, Love) JW IV/17; Ach, vojna! (Oh to Be a Soldier) JWIV/17; Moravian Teachers' Choir, Lubomir Mati (director). Lachian Dances - No 1: Starodavny (Old-Time Dance). Slovak Radio Symphony Orchestra, Ondrej Lenard (conductor). Sarka (excerpt from Act 1). Peter Straka (tenor: Ctirad), Eva Urbanova (soprano: Sarka), Prague Philharmonic Chorus, Czech Philharmonic Orchestra, Charles Mackerras (conductor). Sinfonietta. Czech Philharmonic Orchestra Karel Ancerl (conductor).
11antimuzak
Monday 16th December 2019
Time: 12:00 to 13:00 (1 hour long)
Free But Alone. Episode 1.
Donald Macleod explores the life and music of Johannes Brahms to find out what made him tick, beginning by looking at his early romance with singer Agathe von Siebold, a relationship doomed to failure. Brahms: Sonata No 3 in F minor, Op 5, 4th movement. Stephen Hough (piano); Lieder & Romanzen, Op 14 (No 4, Ein Sonett & No 7, Ständchen). Simon Bode (tenor), Graham Johnson (piano); Piano Concerto No 1 in D minor, Op 15 (1st movement). Nelson Friere (piano). Gewandhausorchester, Riccardo Chailly (conductor); Ave Maria, Op 12. Tenebrae, Nigel Short (conductor); String Sextet No 2 in G, Op 36 (1 Allegro non troppo). Amadeus Quartet.
Time: 12:00 to 13:00 (1 hour long)
Free But Alone. Episode 1.
Donald Macleod explores the life and music of Johannes Brahms to find out what made him tick, beginning by looking at his early romance with singer Agathe von Siebold, a relationship doomed to failure. Brahms: Sonata No 3 in F minor, Op 5, 4th movement. Stephen Hough (piano); Lieder & Romanzen, Op 14 (No 4, Ein Sonett & No 7, Ständchen). Simon Bode (tenor), Graham Johnson (piano); Piano Concerto No 1 in D minor, Op 15 (1st movement). Nelson Friere (piano). Gewandhausorchester, Riccardo Chailly (conductor); Ave Maria, Op 12. Tenebrae, Nigel Short (conductor); String Sextet No 2 in G, Op 36 (1 Allegro non troppo). Amadeus Quartet.
12antimuzak
Arcangelo Corelli
Monday 23rd December 2019
Time: 12:00 to 13:00 (1 hour long)
Corelli the European Phenomenon. Episode 1.
Donald Macleod delves into the life and career of the Italian violinist and composer, who bridged the gap between the Baroque and the Classical periods, and is seen as pivotal in the development of the sonata and the concerto. He begins by explores the relationships that propelled him to becoming a European phenomenon. Charles Burney thought that Corelli's fame came from his music being so pure, rich and graceful, and that it withstood the test of time. Corelli's fame initially originated with his ability as a violinist, and this attracted over time a stream of international students. With the evolution of the printing press, Corelli's music would also bolster his reputation, with not only copies being produced in Italy, but also Amsterdam, Antwerp and London. Publishers fought over printing music by Corelli, disagreeing over whose publication was more authentic. Myths would grow and surround Corelli, all adding to his celebrity status. Corelli: Sonata in G minor, Op 4 No 2 (Corrente). London Baroque; Concerto Grossi, Op 6 No 3. The Tafelmusik Baroque Orchestra, Jean Lamon (director); Sonata in G, Op 1 No 9. Monica Huggett (violin), Alison Bury (violin), Jaap Ter Linden (cello), Hopkinson Smith (theorbo), Ton Koopman (harpsichord). Handel: La Resurrezione (Ho un non so che nel cor). Nancy Argenta (Maddalena: soprano), The Amsterdam Baroque Orchestra, Ton Koopman (director). Corelli: Sonata in F, Op 5 No 10. The Avison Ensemble; Concerto Grosso in D, Op 6 No 1. The English Concert, Trevor Pinnock (director).
Monday 23rd December 2019
Time: 12:00 to 13:00 (1 hour long)
Corelli the European Phenomenon. Episode 1.
Donald Macleod delves into the life and career of the Italian violinist and composer, who bridged the gap between the Baroque and the Classical periods, and is seen as pivotal in the development of the sonata and the concerto. He begins by explores the relationships that propelled him to becoming a European phenomenon. Charles Burney thought that Corelli's fame came from his music being so pure, rich and graceful, and that it withstood the test of time. Corelli's fame initially originated with his ability as a violinist, and this attracted over time a stream of international students. With the evolution of the printing press, Corelli's music would also bolster his reputation, with not only copies being produced in Italy, but also Amsterdam, Antwerp and London. Publishers fought over printing music by Corelli, disagreeing over whose publication was more authentic. Myths would grow and surround Corelli, all adding to his celebrity status. Corelli: Sonata in G minor, Op 4 No 2 (Corrente). London Baroque; Concerto Grossi, Op 6 No 3. The Tafelmusik Baroque Orchestra, Jean Lamon (director); Sonata in G, Op 1 No 9. Monica Huggett (violin), Alison Bury (violin), Jaap Ter Linden (cello), Hopkinson Smith (theorbo), Ton Koopman (harpsichord). Handel: La Resurrezione (Ho un non so che nel cor). Nancy Argenta (Maddalena: soprano), The Amsterdam Baroque Orchestra, Ton Koopman (director). Corelli: Sonata in F, Op 5 No 10. The Avison Ensemble; Concerto Grosso in D, Op 6 No 1. The English Concert, Trevor Pinnock (director).
13antimuzak
Monday 30th December 2019
Time: 12:00 to 13:00 (1 hour long)
The Simmering Civil Servant. Episode 1.
Donald Macleod explores Tchaikovsky's life and music, beginning with the composer's early years and the tension between his desire to write music and his responsibilities as a clerk in the Ministry of Justice in St Petersburg. Tchaikovsky: Swan Lake (Act 2). Wiener Philharmoniker, Herbert von Karajan (conductor). Eugene Onegin (Act 3, Scene 1). Orchestre de Paris Semyon, Bychkov (conductor). Song for the Golden Jubilee of the Imperial School of Jurisprudence. Leningrad Glinka Choir, USSR State Academic Russian Choir, Alexander Sveshnikov (conductor), Vladislav Chernushenko (conductor). Piano Concerto No 1 (1st movement). Stephen Hough (piano) Minnesota Orchestra. Osmo Vanska (conductor). Romeo and Juliet. Royal Philharmonic Orchestra, Vladimir Ashkenazy (conductor).
Time: 12:00 to 13:00 (1 hour long)
The Simmering Civil Servant. Episode 1.
Donald Macleod explores Tchaikovsky's life and music, beginning with the composer's early years and the tension between his desire to write music and his responsibilities as a clerk in the Ministry of Justice in St Petersburg. Tchaikovsky: Swan Lake (Act 2). Wiener Philharmoniker, Herbert von Karajan (conductor). Eugene Onegin (Act 3, Scene 1). Orchestre de Paris Semyon, Bychkov (conductor). Song for the Golden Jubilee of the Imperial School of Jurisprudence. Leningrad Glinka Choir, USSR State Academic Russian Choir, Alexander Sveshnikov (conductor), Vladislav Chernushenko (conductor). Piano Concerto No 1 (1st movement). Stephen Hough (piano) Minnesota Orchestra. Osmo Vanska (conductor). Romeo and Juliet. Royal Philharmonic Orchestra, Vladimir Ashkenazy (conductor).
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Monday 13th January 2020
Time: 12:00 to 13:00 (1 hour long)
Beethoven Today. Episode 1.
Donald Macleod launches a year-long focus on Beethoven by asking conductor Marin Alsop and historian Simon Schama why the composer still matters today. All through 2020, Donald will be taking an in-depth look into the compelling life story and extraordinary music of Ludwig van Beethoven. In this ambitious series told across 125 episodes, Donald takes listeners inside Beethoven's world and explores his hopes, struggles and perseverance in all the colourful detail this narrative deserves. Alongside this in-depth biography, Donald also meets and talks to Beethoven enthusiasts and experts from around the world to discover how the composer's music continues to speak to people in the 21st century. Through story and sound, the series builds into a vivid new portrait of this composer, born 250 years ago this year, who made art that changed how people saw themselves and understood the world. He begins by asking conductor Marin Alsop and historian Simon Schama why Beethoven still matters today.
Time: 12:00 to 13:00 (1 hour long)
Beethoven Today. Episode 1.
Donald Macleod launches a year-long focus on Beethoven by asking conductor Marin Alsop and historian Simon Schama why the composer still matters today. All through 2020, Donald will be taking an in-depth look into the compelling life story and extraordinary music of Ludwig van Beethoven. In this ambitious series told across 125 episodes, Donald takes listeners inside Beethoven's world and explores his hopes, struggles and perseverance in all the colourful detail this narrative deserves. Alongside this in-depth biography, Donald also meets and talks to Beethoven enthusiasts and experts from around the world to discover how the composer's music continues to speak to people in the 21st century. Through story and sound, the series builds into a vivid new portrait of this composer, born 250 years ago this year, who made art that changed how people saw themselves and understood the world. He begins by asking conductor Marin Alsop and historian Simon Schama why Beethoven still matters today.
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Szymanowski
Monday 20th January 2020
Time: 12:00 to 13:00 (1 hour long)
Tymoszowka. Episode 1.
Donald Macleod explores five distinct influences on Karol Szymanowski's music, beginning by explores the richly stimulating artistic environment in which he grew up and thrived on his family estate. As a young student, Szymanowski's studies in Warsaw led him towards the language of Richard Strauss and Max Reger, while his love of travel directed him towards impressionism, the ancient world and the Orient. Meeting Stravinsky in Paris and hearing the Ballets Russe was another turning point, as was in his later years in particular, his commitment to establishing a national musical voice for the newly formed country of Poland. Szymanowski's interest in the arts was encouraged by his father. Described by those who knew him as something of a Renaissance man, by the time he was in his teens, Karol was already a skilled linguist, fluent in French, Russian and German. He was a voracious reader, and interested in philosophy, all of which found its way into his vocal and instrumental music. Szymanowski: Four Studies, Op 4 No 2. Martin Roscoe (piano). The Swan, Op 7. Piotr Beczala (tenor), Reinild Mees (piano). Métopes: l'Île des sirènes. Piotr Anderszewski (piano). Violin Concerto No 1. Nicola Benedetti (violin), London Symphony Orchestra, Daniel Harding (conductor). Songs of a Fairy Princess for coloratura soprano and piano. Izabella Klosinska (soprano), Orchestra of the Polish National Opera, Robert Satanowski (conductor).
Monday 20th January 2020
Time: 12:00 to 13:00 (1 hour long)
Tymoszowka. Episode 1.
Donald Macleod explores five distinct influences on Karol Szymanowski's music, beginning by explores the richly stimulating artistic environment in which he grew up and thrived on his family estate. As a young student, Szymanowski's studies in Warsaw led him towards the language of Richard Strauss and Max Reger, while his love of travel directed him towards impressionism, the ancient world and the Orient. Meeting Stravinsky in Paris and hearing the Ballets Russe was another turning point, as was in his later years in particular, his commitment to establishing a national musical voice for the newly formed country of Poland. Szymanowski's interest in the arts was encouraged by his father. Described by those who knew him as something of a Renaissance man, by the time he was in his teens, Karol was already a skilled linguist, fluent in French, Russian and German. He was a voracious reader, and interested in philosophy, all of which found its way into his vocal and instrumental music. Szymanowski: Four Studies, Op 4 No 2. Martin Roscoe (piano). The Swan, Op 7. Piotr Beczala (tenor), Reinild Mees (piano). Métopes: l'Île des sirènes. Piotr Anderszewski (piano). Violin Concerto No 1. Nicola Benedetti (violin), London Symphony Orchestra, Daniel Harding (conductor). Songs of a Fairy Princess for coloratura soprano and piano. Izabella Klosinska (soprano), Orchestra of the Polish National Opera, Robert Satanowski (conductor).
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Monday 27th January 2020
Time: 12:00 to 13:00 (1 hour long)
Born Into Service. Episode 1.
Donald Macleod looks at Beethoven's humble beginnings as a child born into a family of court musicians, working for the Archbishop-Elector's retinue in Bonn, Germany, looking for clues in the childhood and teenage years that point towards the great man he would become. He showed musical talent early and followed his father and grandfather into the elector's employ as soon as he reached his teens. Would he continue to follow the family pattern and retire there too? Beethoven: Piano Sonata No 24 in F sharp, Op 78 (2nd movement). Zhang Zuo (piano); Fugue in D for organ, WoO 31. David Briggs (organ); Symphony No 6 (movts. IV & V). BBC Philharmonic, Gianandrea Noseda (conductor); Violin Sonata, Op 30, No 2 (2nd movement). Jenifer Pike (violin), Daniel Tong (piano); String Quartet, Op 18 No 4 (1st and 3rd movements). Elias Quartet.
Time: 12:00 to 13:00 (1 hour long)
Born Into Service. Episode 1.
Donald Macleod looks at Beethoven's humble beginnings as a child born into a family of court musicians, working for the Archbishop-Elector's retinue in Bonn, Germany, looking for clues in the childhood and teenage years that point towards the great man he would become. He showed musical talent early and followed his father and grandfather into the elector's employ as soon as he reached his teens. Would he continue to follow the family pattern and retire there too? Beethoven: Piano Sonata No 24 in F sharp, Op 78 (2nd movement). Zhang Zuo (piano); Fugue in D for organ, WoO 31. David Briggs (organ); Symphony No 6 (movts. IV & V). BBC Philharmonic, Gianandrea Noseda (conductor); Violin Sonata, Op 30, No 2 (2nd movement). Jenifer Pike (violin), Daniel Tong (piano); String Quartet, Op 18 No 4 (1st and 3rd movements). Elias Quartet.
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Monday 10th February 2020
Time: 12:00 to 13:00 (1 hour long)
From Haydn's Shadow. Episode 1.
Cellist Raphael Wallfisch and violinist Sara Bitlloch join Donald Macleod to talk about Beethoven's early chamber music, looking at the pieces he produced from 1795 to 1811. They begin by looking at Beethoven's emergence from the shadow of both Haydn and Mozart, and how the composer forged a distinctive new style of chamber music. At the age of 16, Beethoven travelled from his native city of Bonn to Vienna to have lessons with Mozart. It didn't happen because Beethoven's mother became ill and he had to return home. He later did have lessons with Haydn, but subsequently said that he'd never learned anything from him. Beethoven was a virtuoso pianist and, though he loathed performing in public, in the early years of his career in Vienna he relied on his instrumental skill to establish himself as a composer. His early compositions are dominated by piano music; his first big orchestral works are piano concertos not symphonies; and nearly all his early chamber music involves the piano. Beethoven: String Trio No 3 in G, Op 9, No 1 (3rd movement - excerpt; 4th movement). Itzhak Perlman (violin), Pinchas Zukerman (viola), Lynn Harrell (cello); Cello Sonata in F, Op 5 No 1 (Allegro). Gregor Piatigorsky (cello), Solomon (piano); Piano Trio in C minor, Op 1 No 3 (4th movement). Beaux Arts Trio; String quartet in F, Op 18 No 1 (2nd movement). Takacs Quartet; Violin Sonata in D, Op 12 No 1 (1st movement). Alina Ibragimova (violin), Cédric Tiberghien (piano).
Time: 12:00 to 13:00 (1 hour long)
From Haydn's Shadow. Episode 1.
Cellist Raphael Wallfisch and violinist Sara Bitlloch join Donald Macleod to talk about Beethoven's early chamber music, looking at the pieces he produced from 1795 to 1811. They begin by looking at Beethoven's emergence from the shadow of both Haydn and Mozart, and how the composer forged a distinctive new style of chamber music. At the age of 16, Beethoven travelled from his native city of Bonn to Vienna to have lessons with Mozart. It didn't happen because Beethoven's mother became ill and he had to return home. He later did have lessons with Haydn, but subsequently said that he'd never learned anything from him. Beethoven was a virtuoso pianist and, though he loathed performing in public, in the early years of his career in Vienna he relied on his instrumental skill to establish himself as a composer. His early compositions are dominated by piano music; his first big orchestral works are piano concertos not symphonies; and nearly all his early chamber music involves the piano. Beethoven: String Trio No 3 in G, Op 9, No 1 (3rd movement - excerpt; 4th movement). Itzhak Perlman (violin), Pinchas Zukerman (viola), Lynn Harrell (cello); Cello Sonata in F, Op 5 No 1 (Allegro). Gregor Piatigorsky (cello), Solomon (piano); Piano Trio in C minor, Op 1 No 3 (4th movement). Beaux Arts Trio; String quartet in F, Op 18 No 1 (2nd movement). Takacs Quartet; Violin Sonata in D, Op 12 No 1 (1st movement). Alina Ibragimova (violin), Cédric Tiberghien (piano).
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Monday 17th February 2020
Time: 12:00 to 13:00 (1 hour long)
Procrastinator Extraordinaire. Episode 1.
Donald Macleod looks at five themes in Monteverdi's life through the letters he wrote, beginning by looking at the excuses he gave for not finishing compositions on time. A man devoted to making music for his patrons, Monteverdi perhaps took on more work than he could manage. Despite his best efforts, he often penned a letter offering yet another reason why he was unable to complete a composition on time. Donald tells the stories that surround these letters, from an overabundance of commissions around the Christmas period to personal matters that took his mind off the task of composing for long periods of time. He also touches upon the way in which letters were sent and received in 17th-century Italy, and Monteverdi's deftness in manipulating various patrons to wait, patiently, for his compositions to arrive. Monteverdi: Chiome d'oro; L'Arpeggiata. Nuria Rial (soprano), Christina Pluhar (director). Cantai un tempo, & se fu dolc'il canto. Les Arts Florissants, Paul Agnew (director). L'Orfeo: Prologue and Act I: Lynne Dawson (soprano: La Musica), Nancy Argenta (soprano: Ninfa), Anthony Rolfe Johnson (tenor: Orfeo), Julianne Baird (soprano: Euridice), Mark Tucker (tenor: Pastori), Nigel Robson (tenor: Pastori), Michael Chance (countertenor: Pastori), Simon Birchall (bass baritone: Pastori), the Monteverdi Choir, the English Baroque Soloists, His Majesties Sagbutts & Cornetts, John Eliot Gardiner (conductor). Dixit Dominus. I Fagiolini, Robert Hollingworth (conductor), the English Cornett & Sackbut Ensemble, the 24. Lamento d'Arianna a voce sola. The Consort of Musicke, Anthony Rooley (leader), Emma Kirkby (soprano).
Time: 12:00 to 13:00 (1 hour long)
Procrastinator Extraordinaire. Episode 1.
Donald Macleod looks at five themes in Monteverdi's life through the letters he wrote, beginning by looking at the excuses he gave for not finishing compositions on time. A man devoted to making music for his patrons, Monteverdi perhaps took on more work than he could manage. Despite his best efforts, he often penned a letter offering yet another reason why he was unable to complete a composition on time. Donald tells the stories that surround these letters, from an overabundance of commissions around the Christmas period to personal matters that took his mind off the task of composing for long periods of time. He also touches upon the way in which letters were sent and received in 17th-century Italy, and Monteverdi's deftness in manipulating various patrons to wait, patiently, for his compositions to arrive. Monteverdi: Chiome d'oro; L'Arpeggiata. Nuria Rial (soprano), Christina Pluhar (director). Cantai un tempo, & se fu dolc'il canto. Les Arts Florissants, Paul Agnew (director). L'Orfeo: Prologue and Act I: Lynne Dawson (soprano: La Musica), Nancy Argenta (soprano: Ninfa), Anthony Rolfe Johnson (tenor: Orfeo), Julianne Baird (soprano: Euridice), Mark Tucker (tenor: Pastori), Nigel Robson (tenor: Pastori), Michael Chance (countertenor: Pastori), Simon Birchall (bass baritone: Pastori), the Monteverdi Choir, the English Baroque Soloists, His Majesties Sagbutts & Cornetts, John Eliot Gardiner (conductor). Dixit Dominus. I Fagiolini, Robert Hollingworth (conductor), the English Cornett & Sackbut Ensemble, the 24. Lamento d'Arianna a voce sola. The Consort of Musicke, Anthony Rooley (leader), Emma Kirkby (soprano).
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Monday 24th February 2020
Time: 12:00 to 13:00 (1 hour long)
Exploring Vienna. Episode 1.
Donald Macleod examines Beethoven's first years in Vienna following his move there from his home town of Bonn when he was in his early twenties and had only a handful of works to his name. He would have to work hard to find success in the imperial capital, where audiences had grown up on the music of Mozart and Haydn, and the palaces that lined the streets were in stark contrast to the cramped and stuffy attic room where he found lodgings. Beethoven: La Partenza, WoO 124. Ilker Arcayürek (tenor), Simon Lepper (piano); String Quartet in A minor, Op 132. (II. Allegro ma non tanto). Elias Quartet; Piano Concerto No 2 (III. Rondo). Academy of St Martin in the Fields, Jan Lisiecki (piano/director); Trio in G, Op 1 No 2. Atos Trio.
Time: 12:00 to 13:00 (1 hour long)
Exploring Vienna. Episode 1.
Donald Macleod examines Beethoven's first years in Vienna following his move there from his home town of Bonn when he was in his early twenties and had only a handful of works to his name. He would have to work hard to find success in the imperial capital, where audiences had grown up on the music of Mozart and Haydn, and the palaces that lined the streets were in stark contrast to the cramped and stuffy attic room where he found lodgings. Beethoven: La Partenza, WoO 124. Ilker Arcayürek (tenor), Simon Lepper (piano); String Quartet in A minor, Op 132. (II. Allegro ma non tanto). Elias Quartet; Piano Concerto No 2 (III. Rondo). Academy of St Martin in the Fields, Jan Lisiecki (piano/director); Trio in G, Op 1 No 2. Atos Trio.
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Monday 9th March 2020
Time: 12:00 to 13:00 (1 hour long)
Hearing Aids. Episode 1.
Donald Macleod takes listeners to Beethoven's home town of Bonn and the Beethoven-Haus Museum, which now occupies the building where he was born. Donald is joined by Erica Buurman, director of the Ira F Brilliant Center for Beethoven Studies, and they explore some of the everyday objects and household artefacts owned by the composer to see what they can tell us about how he lived. Bagatelles Op 126, Nos 1 & 6 Alfred Brendel (piano). Trio for Clarinet, Cello & Piano Op 38 (mvt 1). Ib Hausmann (clarinet), Maria Kiegel (cello), Nina Tichman (piano). Overture, The Consecration of the House, Op 124 Academy of St Martin in the Fields, conductor Neville Marriner. Wellington's Victory (Part II). Orchestra of the Vienna Academy, conductor Martin Haselbock.
Time: 12:00 to 13:00 (1 hour long)
Hearing Aids. Episode 1.
Donald Macleod takes listeners to Beethoven's home town of Bonn and the Beethoven-Haus Museum, which now occupies the building where he was born. Donald is joined by Erica Buurman, director of the Ira F Brilliant Center for Beethoven Studies, and they explore some of the everyday objects and household artefacts owned by the composer to see what they can tell us about how he lived. Bagatelles Op 126, Nos 1 & 6 Alfred Brendel (piano). Trio for Clarinet, Cello & Piano Op 38 (mvt 1). Ib Hausmann (clarinet), Maria Kiegel (cello), Nina Tichman (piano). Overture, The Consecration of the House, Op 124 Academy of St Martin in the Fields, conductor Neville Marriner. Wellington's Victory (Part II). Orchestra of the Vienna Academy, conductor Martin Haselbock.
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Composer of the Week: Sibelius
Date: Monday 16th March 2020
Time: 12:00 to 13:00 (1 hour long)
Janne. Episode 1.
Donald Macleod delves into the life and work of a man who is almost universally recognised as Finland's greatest ever composer - Jean Sibelius. In the first episode, Donald explores Sibelius's formative years as a promising violinist, the early impressions that the Finnish natural world had on the budding musician, and his time studying in both Helsinki and Berlin. Vattendroppar, JS 216. Yoshiko Arai (violin), Seppo Kimanen (cello). Violin Concerto in D minor, Op 47. Lisa Batiashvili (violin), Staatskapelle Berlin, conductor Daniel Barenboim. Serenad. Anne Sofie von Otter (mezzo-soprano), Bengt Forsberg (piano). Piano Quintet in G minor, JS159 - 1st movement. Folke Gräsbeck (piano), Laura Vikman (violin), Jaakko Kuusisto (violin), Anna Kreetta Gribajcevic (viola), Joel Laakso (cello).
Date: Monday 16th March 2020
Time: 12:00 to 13:00 (1 hour long)
Janne. Episode 1.
Donald Macleod delves into the life and work of a man who is almost universally recognised as Finland's greatest ever composer - Jean Sibelius. In the first episode, Donald explores Sibelius's formative years as a promising violinist, the early impressions that the Finnish natural world had on the budding musician, and his time studying in both Helsinki and Berlin. Vattendroppar, JS 216. Yoshiko Arai (violin), Seppo Kimanen (cello). Violin Concerto in D minor, Op 47. Lisa Batiashvili (violin), Staatskapelle Berlin, conductor Daniel Barenboim. Serenad. Anne Sofie von Otter (mezzo-soprano), Bengt Forsberg (piano). Piano Quintet in G minor, JS159 - 1st movement. Folke Gräsbeck (piano), Laura Vikman (violin), Jaakko Kuusisto (violin), Anna Kreetta Gribajcevic (viola), Joel Laakso (cello).
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Monday 23rd March 2020
Time: 12:00 to 13:00 (1 hour long)
High Society. Episode 1.
Donald Macleod examines Beethoven's life and career from 1796 to 1799, when the young composer leart to negotiate the privileged and moneyed circles of Vienna's culture-loving aristocracy. Few could resist his extraordinary charisma as a virtuoso pianist, but he also had to be able to persuade them of his talents as a composer. Beethoven: Piano Sonata No 5 in C minor, Op 10 No 1, I. Allegro molto e con brio. Cedric Tiberghien (piano). Piano Trio Op 1 No 1, I. Allegro. Amatis Piano Trio. March for Four Hands, Op 45 No 2. Isabel Beyer and Harvey Dagul (pianos). 12 Variations on a Russian dance by Wranitzky, WoO 71. Emil Gilels (piano). String Quartet, Op 18 No 6, mvts. III & IV Elias Quartet.
Time: 12:00 to 13:00 (1 hour long)
High Society. Episode 1.
Donald Macleod examines Beethoven's life and career from 1796 to 1799, when the young composer leart to negotiate the privileged and moneyed circles of Vienna's culture-loving aristocracy. Few could resist his extraordinary charisma as a virtuoso pianist, but he also had to be able to persuade them of his talents as a composer. Beethoven: Piano Sonata No 5 in C minor, Op 10 No 1, I. Allegro molto e con brio. Cedric Tiberghien (piano). Piano Trio Op 1 No 1, I. Allegro. Amatis Piano Trio. March for Four Hands, Op 45 No 2. Isabel Beyer and Harvey Dagul (pianos). 12 Variations on a Russian dance by Wranitzky, WoO 71. Emil Gilels (piano). String Quartet, Op 18 No 6, mvts. III & IV Elias Quartet.
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Monday 30th March 2020
Time: 12:00 to 13:00 (1 hour long)
Schooldays. Episode 1.
Donald Macleod presents a week of programmes about Franz Schubert focusing on five key years during his life, and features one of the composer's string quartets every day. He begins in 1813 when Schubert was a shy, bespectacled 16-year-old schoolboy who was not concentrating on his main studies, being far too distracted by music, much to the disappointment of his father. Schubert: 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, 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 & 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)
Schooldays. Episode 1.
Donald Macleod presents a week of programmes about Franz Schubert focusing on five key years during his life, and features one of the composer's string quartets every day. He begins in 1813 when Schubert was a shy, bespectacled 16-year-old schoolboy who was not concentrating on his main studies, being far too distracted by music, much to the disappointment of his father. Schubert: 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, 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 & 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).
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Monday 6th April 2020
Time: 12:00 to 13:00 (1 hour long)
A Musical Calling Card. Episode 1.
Pianist Jonathan Biss discusss Beethoven's piano sonatas with Donald Macleod, beginning with the innovations of No 4 in E flat, the Grand Sonata. Biss has just completed a nine year odyssey to record all 32 of Beethoven's piano sonatas. It's been a revelatory experience, and his relationship with Beethoven remains far from over. These works are so remarkable, he says, they changed the course of musical history, and beyond that as a performer, they demand that he continues to play them for the rest of his life. Recorded at the piano, in the Angela Burgess Recital Hall at the Royal Academy of Music in London, Jonathan shares his life-long passion for Beethoven with Donald. As they talk, he demonstrates how and why Beethoven's piano sonatas advanced the genre far beyond anything that anyone had ever achieved previously. As they talk each day we will gain a performer's perspective of Beethoven's developmental trajectory. Together they'll unpack some of Jonathan's personal favourites. Beethoven was a young man in his twenties when he arrived in Vienna in 1792. The piano was his instrument, andhe was an accomplished performer himself. As a newcomer, he needed to make his mark, and what better way to do that than through a medium which he knew would allow him to dazzle and shine. Beethoven: Piano Sonata No 2 in A, Op 2, No 2; Third movement: Scherzo: Allegretto. Jonathan Biss (piano).
Time: 12:00 to 13:00 (1 hour long)
A Musical Calling Card. Episode 1.
Pianist Jonathan Biss discusss Beethoven's piano sonatas with Donald Macleod, beginning with the innovations of No 4 in E flat, the Grand Sonata. Biss has just completed a nine year odyssey to record all 32 of Beethoven's piano sonatas. It's been a revelatory experience, and his relationship with Beethoven remains far from over. These works are so remarkable, he says, they changed the course of musical history, and beyond that as a performer, they demand that he continues to play them for the rest of his life. Recorded at the piano, in the Angela Burgess Recital Hall at the Royal Academy of Music in London, Jonathan shares his life-long passion for Beethoven with Donald. As they talk, he demonstrates how and why Beethoven's piano sonatas advanced the genre far beyond anything that anyone had ever achieved previously. As they talk each day we will gain a performer's perspective of Beethoven's developmental trajectory. Together they'll unpack some of Jonathan's personal favourites. Beethoven was a young man in his twenties when he arrived in Vienna in 1792. The piano was his instrument, andhe was an accomplished performer himself. As a newcomer, he needed to make his mark, and what better way to do that than through a medium which he knew would allow him to dazzle and shine. Beethoven: Piano Sonata No 2 in A, Op 2, No 2; Third movement: Scherzo: Allegretto. Jonathan Biss (piano).
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Monday 13th April 2020
Time: 12:00 to 13:00 (1 hour long)
The Rossini Code. Episode 1.
Donald Macleod presents the first of five takes on the life and music of Gioachino Rossini, looking at the winning formula he hit on right at the start of his operatic career. Rossini learnt his craft by toiling in the operatic trenches of Venice's Teatro San Moisè, for which he produced a youthful string of one-act farces.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. 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: 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: Cenerentola), Paolo Montarsolo (bass: Don Magnifico), Scottish Opera Chorus, London Symphony Orchestra, Claudio Abbado (conductor).
Time: 12:00 to 13:00 (1 hour long)
The Rossini Code. Episode 1.
Donald Macleod presents the first of five takes on the life and music of Gioachino Rossini, looking at the winning formula he hit on right at the start of his operatic career. Rossini learnt his craft by toiling in the operatic trenches of Venice's Teatro San Moisè, for which he produced a youthful string of one-act farces.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. 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: 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: Cenerentola), Paolo Montarsolo (bass: Don Magnifico), Scottish Opera Chorus, London Symphony Orchestra, Claudio Abbado (conductor).
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