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gramophone records

and Weather forecast

gramophone records

and Weather forecast

Bach
Fantasie in G major (S.572)
HELMUT WALCHA (organ)
9.13* Magnificat
MARIA STADER (soprano)
HERTHA TÖPPER (contralto) ERNST HAEFLIGER (tenor) DIETRICH FISCHER-DIESKAU (baritone)
MUNICH BACH CHOIR AND ORCHESTRA
Conducted by KARL RICHTER gramophone records

Ma vlast (My country)
Cycle of symphonic poems
Vysehrad; Vltava; Sarka; From Bohemia's woods and fields; Tabor; Blanik played by the VIENNA PHILHARMONIC ORCHESTRA Conducted by RAFAEL KUBELIK
Recording of a performance at the Vienna Festival 1967: made available by courtesy of Austrian Radio

Ma vlast in The Music Programme at 9.45 a.m.
Smetana was the first Czech composer of real stature to create consciously as a nationalist, thereby linking himself with his people's long struggle for independence. He decided to follow this course early in his _—.,who>.u«ioccautillIMS career and remained true to his resolve to the end All his operas are based on Czech subjects, and he called his greatest orchestral work Ma vlast ('My Country').
This, a cycle of six symphonic poems, was begun in 1874 a terrible year for the composer. During the summer he suffered from disordered hearing, being unable to distinguish pitch. In October he recovered briefly, but then, on the twentieth of the same month, he became permanently stone deaf This appalling affliction did not even interrupt Smetana's work. Within a month the first symphonic poem was finished, and two days later he began the second, which took only nineteen days; but, largely because other projects intervened, it was not until 1879 that the cycle was completed
The second and fourth poems - 'Vltava' and From Bohemia's Woods and 'Fields' - are often given separately, but they lose much by being taken out of their context. Only 'Sarka' (No. 3) and 'From Bohemia's Woods and Fields' are entirely independent musically. 'Blanik' (No. 6) is a continuation of 'Tabor' (No. 5), while the main theme of 'Vysehrad' (No. 1) reappears in 'Vltava' and again near the end of 'Blanik,' thereby justifying the description of Ma vlast as a cycle, as opposed to a series, of symphonic poems.
MALCOLM RAYMENT

Ma vlast IN THE MUSIC PROGRAMME AT 9.45 a.m.
SMETANA was the first Czech composer of real stature to create consciously as a nationalist, thereby linking himself with his people's long struggle for independence. He decided to follow this course early in his _—.,who>.u«ioccautillIMS career and remained true to his resolve to the end All his operas are based on Czech subjects, and he called his greatest orchestral work Ma vlast (' My Country ').
This, a cycle of six symphonic poems, was begun in 1874 a terrible year for the composer. During the summer he suffered from disordered hearing, being unable to distinguish pitch. In October he recovered briefly, but then, on the twentieth of the same month, he became permanently stone deaf This appalling affliction did not even interrupt Smetana's work. Within a month the first symphonic poem was finished, and two days later he began the second, which took only nineteen days; but, largely because other projects intervened, it was not until 1879 that the cycle was completed
The second and fourth poems-' Vltava ' and From Bohemia's Woods and Fields '-are often given separately, but they lose much by being taken out of their context. Only ' Sarka ' (No. 3) and ' From Bohemia's Woods and Fields ' are entirely independent musically. ' Blanik ' (No. 6) is a continuation of 'Tábor' (No. 5), while the main theme of 'Vysehrad' (No. 1) reappears in ' Vltava ' and again near the end of ' Blanik,' therebv iustifvine the description of Md vlast as a cycle, as opposed to a series, of symphonic poems.
MALCOLM RAYMENT

Bach and Handel
Bach
English Suite No. 5. in E minor
Prelude; Allemande; Courante; Sarabande; Passepieds; Gigue
Handel
11.21* Cantata: Dite, mie plante, for soprano and continuo
11.32* Sonata in B minor. Op. 1
No. 9, for flute and continuo
11.46' Cantata: E partirai, mia vita?, for tenor and continuo (first setting)
Continued in next column
Bach
11.59* Toccata and Fugue in D minor (Dorian)
COLIN TILNEY (harpsichord)
PATRICIA CLARK (soprano) IAN PARTRIDGE (tenor)
CHRISTOPHER HYDE-SMtTH (flute) TERENCE WElL (cello continuo) CHARLES SPINKS
(harpsichord continuo)
GERAINT JONES (organ)
The Bach Toccata and Fugue recorded in the Johanneskirche. Luneburg, in collaboration with North German Radio; the Handel items were broadcast on Sept. 26: the English Suite on Sept. 25. and the Toccata and Fugue on Oct. n More Bach played by Geraint Jones ; 7.30 p.m. (Third)

MAURICE MURPHY (trumpet)
BBC NORTHERN SYMPHONY ORCHESTRA
Leader, Reginald Stead
Conducted by GARY BERTINI
Part 1

and Weather forecast

NEVILLE GARDEN looks at some non-broadcast musical events taking place in London and the South-East during the coming midweek

Part 2
Given before an invited audience in the Town Hall. Manchester, by courtesy of Manchester Corporation

Conducted by GILBERT NIEUWLAND
Recordings made available by courtesy of Netherlands Radio Union

Leader, Maurice Brett
Conductor, TERENCE LOVETT

Gervase de Peyer (clarinet) who also directs the ENGLISH CHAMBER ORCHESTRA Leader, Emanuel Hurwitz
Part I

GERVASE DE PEYER talks about his choice

Part 2
The Concertos and the talk broadcast on February 27. 1966
Charles Rosen (piano) plays Chopin and Liszt

BBC WEST OF ENGLAND CHORUS
Conductor, PHILIP MOORE

STRASBOURG PERCUSSION ENSEMBLE Yuji TAKAHASHI (piano)
Part of a concert given in The
Playhouse. Oxford, on June 28 as part of the English Bach Festival All the works except the Messiaen were first performances in this country

Records chosen by the under-twenties
Introduced by DEREK PARKER
This week: Variations on America by Ives; Kurt Weill 's ballet, The Seven Deadly Sins; and the Symphonic Dances from Bernstein's West Side Story

A beginners' course planned jointly by the BBC and the University of Essex primarily for use in evening classes throughout the country. Lesson Eight
Written by L. M. O'Toole
P. T. Culhane and P. S. Mirsky of the University of Essex
Given by L. M. O'Toole Victor Gregoriy
Lyubov Volossevich and Victor Nossoff
Produced by Dennis Simmons
Last Monday's broadcast
A booklet is available

The last of a series of programmes
6: What Lies Ahead!
Marriage in the 1960s Is changing fast. The old pattern of a large family with strong paternal authority has gone for good and today's marriages are more of a partnership. Some have said that marriage is on the decline, but perhaps it is really evolving to a new pattern. If so. what will the marriage of the future be like? THE CONSULTING PSYCHIATRIST with GRISELDA CARR RONALD FLETCHER
Professor of Sociology University of York
DR. JAMES HEMMING and CANON GORDON DUNSTON
Professor of Moral and Social
Philosophy, King's College, London
Produced by Ron Bloomfield
For a reading list send a stamped addressed envelope to 'Young Marriage' [address removed]

Seventh of eleven recitals on organs in Germany, Switzerland, France, and Italy
by Geraint Jones who introduces the music and the instruments
Abbey Church, Amorbach, Germany
Fantasia in G minor. Pachelbel
Recorded in collaboration with Radio Frankfurt
November 29:
San Giuseppe, Brescia, Italy

Seven talks on the political history of the period from the Russian revolution to Locarno
1: The German Republic by ANTHONY NICHOLLS
Senior Research Fellow of St. Antony's College, Oxford
These talks, under the general editorship of Elizabeth Wiskemann, follow two earlier series which dealt with the background to war in 1914, and with the various attempts to reach a compromise peace.
Italy and the Successor States by Elizabeth Wiskemann : November 29
See page 68

A back-window on Belfast, opened after forty years by W. R. Rodgers
This world's eye-view of Belfast is partly autobiographical, is largely imaginary, and wholly true
Produced by Sam Hanna Bell
A new production of a programme first broadcast in 1965 Third broadcast

A discussion of the problems of interpretation arising in songs by Poulenc, Ravel, and Debussy
Poulenc: Reine des mouettes sung by MARGARET HUMPHREY CLARK
Poulenc: - C ' rung by PENELOPE McKAY
Ravel: Chanson romanesque
(Don Quichotte a Duleinee) sung by JULIAN MOYLE
Debussy: La flûte de Pan
(Chansons de Bilitis) sung by PATRICIA WELCH
Accompanist, JOAN HUGHES
The second of three programmes recorded at the Library, Institute of Mathematics, Imperial College of Science and Technology, London
Julian Moyle broadcasts by permission of Sadler's Wells Opera Company songs by Debussy and Duparc: Dec. 13

PIERRE BERNAC (baritone)
FRANCIS POULENC (piano) gramophone records