Humperdinck Overture: Hansel and Gretel
Berlin PO/Karajan
7.10 Chabrier Suite
Pastorale
Toulouse Capitole Orchestra/Plasson

7.35 Horowitz Variations on a Theme from Bizet's
Carmen Vladimir Horowitz
(piano)
7.40 Brahms Serenade
No 1 in D: Berlin
PO/Abbado. Records

Glinka and Field
Field Nocturnes: No 15 in C; No 16 in F
Miceal O'Rourke (piano) Glinka Ruslan and Ludmilla: Act I
(excerpt) and Act V
Bolshoi Theatre
Chorus and Orchestra/
Yuri Simonov. Records

Music based on J S Bach, including Busoni's Fantasia Contrappuntistica, Stravinsky's Dumbarton Oaks and Villa-Lobos's Bachiana Brasileira No 5, as well as arrangements, orchestrations and transcriptions of Bach by Elgar, Grainger, Steven Isserlis , Schoenberg, Walton and Webern. Producer Jeremy Hayes

Second Cornhill Test from Lord's. Second day.
1.05 pm News
1.10 Call the Commentators on: [number removed](lines open at 11.00am)
1.30 County Scores
1.40 6.30 Commentary including at 3.45
Minor County Review

conductor Vilem Tausky Gluck Sinfonia in G (Overture to Ipermestra) Frantisek Xaver Brixi Symphony in D Saunders Diversions Sibelius Suite: Rakastava Op 14 (R)
1.00 pm FM only

live from Studio 7. Matisse Piano Quartet Bax Piano Quartet Dvorak Piano Quartet No 1 in D

conductor Tadaaki Otaka John Lill (piano) Glinka Overture: Ruslan and Ludmilla Tchaikovsky Piano Concerto No 1, Op 23

The Spanish dominated large areas of Italy during the Renaissanc. This programme reflects the Spanish aspects of musical activity in Italy with vocal and instrumental music from Milan and Naples as well as Spain itself. Music by Cabezon, Ortiz, Nola and Cara. Circa 1500 (R)

Rudolph Kempe conducts the Royal Philharmonic Orchestra in this 1965 concert given at the Odeon, Swiss Cottage. Beethoven Symphony No 1 Kempe is interviewed by Gillian Widdicombe. Bruckner Symphony No 4

The first of three programmes. Sonata in G (BWV 1027) Jaap ter Linden, with Trevor Pinnock (harpsichord) (R)

In this second programme about the early years of jazz, Mel Hill looks at white band leader Paul Whiteman 's work in the 20s and 30s.

American architect Thomas Beeby talks to Joe Mordaunt Crook about his development of the classical tradition in his Chicago buildings and in the redesign of Paternoster Square, London.

by William Shakespeare.
Relocated in an age of technological warfare, King John emerges as a brooding play of schemes where innocence cannot see the light of day.
With Jane Slavin, Christopher Good, Charles Simpson , John Gabriel and James Greene.
Music Eninsturzende Neubauten
Adaptor/Director Clive Brill

Timeless power play
History repeats itself as Shakespeare's 'King John' is translated to a high-tech world
R3 MODERN-DRESS SHAKESPEARE on radio? 'Why not?' asks producer Clive Brill, who tonight conjures a bleak, 20th-century vision of King John, full of the sounds of tanks and guns, phones and faxes. In this time of political opportunism and European upheaval, Brill sees ample modern parallels to justify relocating the play in an age of technological warfare. 'Ah, none but in this iron age would do it!' says the unfortunate Prince Arthur as his captor threatens to put his eyes out with hot irons. The line suggested a quite different 'iron age' to Brill, who has all the messengers reporting back to the king on walkie-talkies.
'The play is a great political thriller,' says Brill. 'On the surface it's about patriotism and internal division, but it's full of Machievellis whose relevance is obvious in these times of acute political back-stabbing. Famous speeches like "This England never did, nor never shall/Lie at the proud foot of a conqueror" have given it a chauvinistic edge but I think the patriotism is rather tacked on.'
Jack Shepherd, who plays the tormented king, believes that the concept works powerfully on radio: 'It blows away the old conventions and sounds very exciting. With all those clattering computers you could be in a science-fiction world, but with the East European dictators falling so recently it's easy to see John caught in the same sort of psychological trap. He becomes more of a megalomaniac as the play progresses and is a neurotic wreck by the end.'
Shepherd, recently in the National Theatre's The Trackers of Oxyrhynchus has enjoyed some major Shakespearean parts along the way (Hamlet, Malvolio, Puck) but says: 'Shakespeare is something I've done when it's turned up, like a sort of luxury. I think King John is very cleverly written - a political play but with no mention of the Magna Carta! But then Shakespeare always was rather cynical of popular
movements.' (David Gillard)
King John, 7.30pm Radio 3

conductor
Richard Buckley
Simon Holt Syrensong Stephen Paulus
Concerto for Orchestra

Couperin Ordre No 12 Kenneth Gilbert (harpsichord).
Record

Benjamin Britten
Canticle IV: Journey of the Magi (1971); Dramatic
Cantata: Phaedra (1975); String Quartet No 3 (1975)