Ten characteristic keys; eight great composers. Last in a series of four programmes.
Haydn in B flat major; Beethoven in A major ITALIAN QUARTET
Paolo Borciani (violin) Elisa Pegreffi (violin) Piero Farulli (viola) Franco Rossi (cello) MSTISLAV ROSTROPOVICH (cello)
SVIATOSLAV RICHTER (piano)
ALFRED BRENDEL (piano) gramophone records

gramophone record JANOS SOLYOM (piano) Broadcast on June 28 gramophone record
COLUMBIA Symphony Orchestra Conducted by BRUNO WALTER gramophone record

Introduced by Steve Race

including TEST MATCH SPECIAL

Le sacre du printemps
CHICAGO SYMPHONY ORCHESTRA Conducted by SEIJI OZAWA gramophone record

An account of spiritualistic proceedings in the household of Victor Hugo in Jersey, from September 1853 to July 1855. The material in this programme has been translated for the first time by RAYNER HEPPENSTALL , who introduces it with Jack MacGowran and Felix Felton
Spirits in order of speaking:
Produced by DAVID THOMSOM

Early Music Consort: James Bowman (counter-tenor); Michael Laird (cornett); Alan Lumsden (sackbut); Tony Moore (sackbut); Mary Remnant (portative organ, medieval fiddle); Oliver Brookes (viola da gamba, violone); Christopher Hogwood (harpsichord, organ, regal)
Director, David Munrow (recorder, shawm, crumhorn, dulcian)
Monteverdi Choir
Conductor, John Eliot Gardiner

Part 1: Three choral pieces by Dufay: French chansons and instrumental music; German lieder

Dorothy Pickles , lecturer, broadcaster, and author of The Fifth French Republic, gives the first of three fortnightly talks
Next Saturday: Anthony Barker , lecturer in Government, University of Essex

Purt 2: Three choral pieces by Morley; Italian frottole and dances; music for voices and instruments by Gesualdo. Gabrieli , and Hassler
Recorded at a public concert given In the Queen Elizabeth Hall. London. on March 30

Although Haydn's Seven Last Words, commissioned for Cadiz Cathedral, was originally composed for orchestra, it exists both in a choral version and a version for string quartet.
ROGER FISKE discusses these and examines some of the problems of interpretation the various versions pose. followed by an interlude at 10.55