Time: Big Ben 8.0 am

Biber Battalia: VIENNA
CONCENTUS MUSICUS. conducted by NIKOLAUS HARNONCOURT
8.13* Beethoven Symphony Nof VIENNA PHILHARMONIC ORCHESTRA conducted by KARL BÖHM

Bach Cantata No 23
URSULA BUCKEL (soprano)
EVA BORNEMANN (contralto) JOHANNES HOEFFLIN (tenor) FRANKFURT CHOIR
GERMAN BACH SOLOISTS conducted by KUHT THOMAS
Vivaldi Concerto in G major, for two violins and string orchestra (R Op 21 No 1) EDMONDO MALANOTTE
FRANCO GULL1, VIRTUOSI DI ROMA conducted by RENATO FASANO Bach Cantata No 127
HEHRAD WEHRUNG (SOpranO) GEORG JELDEN (tenor) JAKOB STAMPFLI (bass)
SOUTH GERMAN MADRIGAL CHOIR. STUTTGART, SOUTH-WEST GERMAN CHAMBER ORCHESTRA, PFORZHEIM conducted by WOLFGANG GONNENWEIN gramophone records

A record request programme Strauss Burleske in d minor RUDOLF SERKIN (piano) PHILADELPHIA ORCHESTRA conducted by EUGENE ORMANDY
Schubert, orch Weingartner Symphony No 7, in E
VIENNA STATE OPERA ORCHESTRA conducted by FRANZ LITSCHAUER

Bruno Walter (1876-1962): by JULIAN HERBAGE
Gerontius, an Act of Faith: by PERCY YOUNG
Musical Profile: Sir Geraint Evans. by EDWARD GREENFIELD
Newman on Berlioz: book review by DAVID CAIRNS

GYÖRGY PAUK (violin)
BBC SCOTTISH SYMPHONY ORCHESTRA conductor CHRISTOPHER SEAMAN Recorded in the Usher Hall Part
Kodaly Variations on a Hungarian folk song: The peacock
12.28* Berg Violin Concerto

ANTONY DEAN talks about a music-lover's life without the possibility of live music.

Part 2 Beethoven
Symphony No 5, in c minor
(In association with the Corporation of the City of Edinburgh)

Fourth of 17 piano recitals by VLADO PERLEMUTER ‡ Ballade in A flat
Mazurkas: A flat, Op 24 No 3: b flat minor. Op 24 No 4: B minor. Op 30 No 2; c sharp minor. Op 30 No 4: B minor, Op 33 No 4: c sharp minor, Op 41 No 1: E minor, Op 41 No 2; G, Op 50 No 1; c sharp minor, Op 50 No 3

Opera in four acts and an epilogue. Music by Glinka Libretto by BARON ROSEN (sung in Russian)
(gramophone records)
CHORUS OF THE BELGRADE OPERA LAMOUREUX ORCHESTRA conducted by IGOR MARKEVITCH Acts 1 and 2 3.50* During the Interval
Glinka and the Russian Tradition: talk by KONSTANTIN BAZAROV
4.5* A Life for the Tsar Acts 3 and 4: Epilogue

ANTONY HOPKINS
(Rptd: Monday, 9.45 am)

Debussy Sonata in D minor, for cello and piano
Webern Three little pieces for cello and piano, Op 11
Berg Four pieces for clarinet and piano. Op 5
Brahms Trio in A minor, Op 114 ALAN HACKER (clarinet) SIEGFRIED PALM (cello)
MARGARET KITCHIN (piano)

A tragicomedy by FRANK WEDEKIND translated from the German by ANTHONY VIVIS with Alan Howard and Robert Eddison
Frank Wedekind (1864-1918) is being increasingly recognised as one of the creators of modern drama and a powerful influence on playwrights like Brecht. Frisch and Durrenmatt. The Marquis of Keith, which dates from 1899, is one of his most important plays in which Wedekind confronts two basic character types: a Don Quixote of immorality and a Don Quixote of decency.
Other parts: KATHERINE PARR and STEPHANIE TURNER
Producer MARTIN ESSLIN
(Alan Howard is a member of the Royal Shakespeare Co)

Symphony No 2 (first broadcast in this country)
AMSTERDAM CONCERTGEBOUW ORCHESTRA conducted by BERNARD HAITINK (Recording made available by courtesy of Netherlands Radio) (Postponed from 26 January)

by Griffith Edwards of the Addiction Research Unit at the Institute of Psychiatry
Two lectures to be followed by a discussion
1: Which Drug for Which Society!
From coffee to cannabis there are few mind-acting substances which have not been accepted by some societies, proscribed by others. If the history of societies' attitudes to drug use shows neither consistency nor reason, Dr Edwards asks, is there more sign of either in our own current responses?
'The "drug problem" is not just about drugs, or about individuals who take drugs, but about societies.'
(A radio version of the Edwin Stevens Lecture for the Laity given at the Royal Society of Medicine in May 1971)
(Wednesday. 9.45 pm: The Social Package)

A Haydn work of the ' Sturm und Drang ' period, and at
10.9* Philip Cannon's prize-winning String Quartet 1964, which the composer describes as ' a personal exorcism of the many devils that beset us today.'

Missa pro defunctis CANTORES IN ECCLESIA conductor MICHAEL HOWARD who also introduces the music