Composers Of The Week

1. Two of a Kind

Donald Macleod begins a week-long survey of the music of two figureheads from the 15th century, Guillaume Dufay and Gilles Binchois. Today, a look at Dufay's early career, including his musical responses to the various political upheavals through which he lived.

Binchois: Adieu mon amoreuse joye

Gothic Voices

Christopher Page (director)

Dufay: Flos Florum; Vergene bella

Hilliard Ensemble

Dufay: Vasilissa ergo gaude

Huelgas-Ensemble

Paul van Nevel (director)

Dufay: Resvelli退s vous et faites chiere lye

Ensemble Unicorn

Michael Posch (director)

Dufay: Apostolo glorioso

The Binchois Consort

Andrew Kirkman (director)

Dufay: Mass for St James the Greater: Alleluia; Rite Majorem/Arcibus summis; Mass for St James the Greater: Offertory

Dufay: Quel fronte signorille; La dolce vista

1. Two of a Kind

Donald Macleod begins a week-long survey of the music of two figureheads from the 15th century, Guillaume Dufay and Gilles Binchois. Today, a look at Dufay's early career, including his musical responses to the various political upheavals through which he lived.

Binchois: Adieu mon amoreuse joye

Gothic Voices

Christopher Page (director)

Dufay: Flos Florum; Vergene bella

Hilliard Ensemble

Dufay: Vasilissa ergo gaude

Huelgas-Ensemble

Paul van Nevel (director)

Dufay: Resvelli退s vous et faites chiere lye

Ensemble Unicorn

Michael Posch (director)

Dufay: Apostolo glorioso

The Binchois Consort

Andrew Kirkman (director)

Dufay: Mass for St James the Greater: Alleluia; Rite Majorem/Arcibus summis; Mass for St James the Greater: Offertory

Dufay: Quel fronte signorille; La dolce vista

2. Passing Shadows

Donald Macleod explores some of the many intersections in the lives of Guillaume Dufay and Gilles Binchois, including the hugely anticipated and lavish wedding of the Duke of Savoy in 1434.

Binchois: De plus en plus

The Tallis Scholars

Peter Phillips (director)

Binchois: Jamais tant

Ensemble Gilles Binchois

Binchois: Deuil angoisseux

Gothic Voices

Christopher Page (director)

Binchois: Qui veut mesdire; Amoureux suy

Binchois: Nove Cantum melodie

Binchois Consort

Andrew Kirkman (director)

Binchois: Je Loe Amours

Citharedi of Schola Cantorum Basiliensis

Binchois: Ay! Douloureux

Dufay: Nuper rosarum

Huelgas-Ensemble

Paul van Nevel (director)

1/5. Donald MacLeod examines the music and lives of two Russian composers, both of whom fell foul of Stalin's regime, Nikolai Myaskovsky and Nikolai Roslavets.

Roslavets: Chamber Symphony (1st mvt)

BBC Scottish Symphony Orchestra

Ilan Volkov (conductor)

Roslavets: Sonata for Viola and Piano No 1

Yuri Bashmet (viola)

Muntian Mikhail (piano)

Myaskovsky: 13th String Quartet in A minor, Op 86

The Leningrad Taneiev Quartet

2/5. Neither Myaskovsky nor Roslavets started out as musicians. Donald Macleod finds out what they were doing in their early careers and how they managed to move into the world of music.

Roslavets: First Violin Sonata

Mark Lubotsky (violin)

Julia Bochkovskaya (piano)

Myaskovsky: Cello Sonata No 1

Truls Mork (cello)

Jean Yves Thibaudet (piano)

Myaskovsky: Symphony No 21

New Philharmonia Orchestra

David Measham (conductor)

Myaskovsky: Symphony No 21 (Op 51)

The New Philharmonia Orchestra

3/5. Myaskovsky and Roslavets were progressive composers, they both helped set up an Association of Contemporary Music in Moscow, while Roslavets devised a completely new system of tonality. Join Donald MacLeod as he attempts to get to grips with 'the synthetic chord'.

Roslavets: Three Compositions Allegretto Grazio

Marc Andre Hamelin (piano)

Roslavets: Third Piano Trio

Trio Fontenay

Myaskovsky: Violin Concerto in D minor, Op 44

Vadim Repin (violin)

Kirov Orchestra, Mariinsky Theatre

Valery Gergiev (conductor)

Myaskovsky: Violin Concerto in D minor (Op 44)

4/5. The years of civil war in Russia from 1917 to 1920 were appalling, many composers including Prokofiev left while they could. However, Myaskovsky and Roslavets stayed.

Despite opposition from those who felt that music's goal in the new regime was to be both understood and performed by the masses, the pair enjoyed, for a few years, the freedom to compose as they pleased. With Donald Macleod.

Myaskovsky: Grillen Nos 1 and 6

Sergei Prokofiev (piano)

Myaskovsky: Symphony 6 in E flat minor (4th mvt)

Slovak National Opera Choir

Czech Slovak Symphony Orchestra

Robert Stankovsky (conductor)

Roslavets: Piano Sonata No 5

Marc Andre Hamelin (piano)

Myaskovsky: Symphony No 13 in Bb minor, Op 36

Russian Federation Academic Symphony Orchestra

Evgeny Svetlanov (conductor)

5/5. As Stalin took over the reins of power in the Soviet Union, arguments between musicians as to what post-revolutionary music should be were over, as refusal to go by State-dictated guidelines for composition could be fatal.

As Donald Macleod discovers, this spelled the end of Roslavets' career and even the more compliant Myaskovsky was unable to avoid censure.

Roslavets: String Quartet No 3

Leipzig Quartet

Roslavets: 24 Preludes, Nos 21 to 24

Mark Lubotsky (violin)

Julia Bochkovskaya (piano)

Myaskovsky: Cello Concerto, Op 66

Mstislav Rostropovich Philharmonia Orchestra

Malcolm Sargent (conductor)

To commemorate the centenary of Imogen Holst's birth, Donald Macleod introduces a celebration of the lives and music of Imogen and her father Gustav.

1/5. Imogen was highly regarded as a choral conductor and made many recordings of her father's works, some of which can be heard during this series. Plus two works by Gustav which involved the challenging task of translating texts from Sanskrit and Greek.

Sorrow and Joy

Purcell Singers

Imogen Holst (conductor)

Ave Maria

3rd group of Choral Hymns (Rig Veda, 3rd movement)

Holst Singers

Hilary Davan Wetton (conductor)

St Paul's Suite

City of London Sinfonia

Richard Hickox (conductor)

Hymn of Jesus

St Paul's Cathedral Choir

London Symphony Chorus

London Philharmonic Orchestra

Charles Groves (conductor)

1/5. Imogen was highly regarded as a choral conductor and made many recordings of her father's works, some of which can be heard during this series. Plus two works by Gustav Holst which involved the challenging task of translating texts from Sanskrit and Greek.

2/5. Donald Macleod introduces the work which turned Holst into a household name, The Planets.

Bring Us In Good Ale

Holst Singers

Stephen Layton (conductor)

My Leman Is So True (Four Songs for Voice and Violin)

Susan Gritton (soprano)

Louisa Fuller (violin)

London Philharmonic Orchestra

Adrian Boult (conductor)

3/5. Today Donald Macleod introduces music from two of Holst's little known operas: a Shakespeare-inspired romp about Falstaff and the ballet music from a comic opera which took on a life of its own and went on to become one of his best known works. Plus a concerto influenced by Stravinsky and the piece which summons up the atmosphere of Thomas Hardy's beloved Dorset landscape.

Ballet Music from The Perfect Fool

London Symphony Orchestra

Andre Previn (conductor)

Fugal Concerto

Richard Adeney (flute)

Peter Graeme (oboe)

English Chamber Orchestra

Imogen Holst (conductor)

At the Boar's Head (exc)

Pistol....David Wilson-Johnson (baritone)

Falstaff....John Tomlinson (bass)

Hostess....Elise Ross (soprano)

Doll Tearsheet....Felicity Palmer (soprano)

Bardolph....Richard Stuart (baritone)

Royal Liverpool Philharmonic Orchestra

David Atherton (conductor)

Egdon Heath

London Philharmonic Orchestra

Adrian Boult (conductor)

March (Moorside Suite)

BMC Band, Oxford

3/5. Donald Macleod introduces music from two of Holst's little known operas: a Shakespeare-inspired romp about Falstaff and the ballet music from a comic opera which took on a life of its own and went on to become one of his best known works. Plus a concerto influenced by Stravinsky and the piece which summons up the atmosphere of Thomas Hardy's beloved Dorset landscape.

At the Boar's Head (extract)

4/5. On the centenary of Imogen Holst's birthday, Donald Macleod devotes the programme to her life and music.

Variations on an Elizabeth Theme

BBC Symphony Orchestra

Jac van Steen (conductor)

String Quartet No 1

Brindisi String Quartet

Five Songs for a capella female choir

BBC Symphony Chorus

Stephen Jackson (conductor)

Fall of the Leaf

Steven Isserlis (cello)

String Quintet

Endellion String Quartet

5/5. Donald Macleod introduces works from the final years of Gustav Holst's life: the choral piece which, for his daughter Imogen, was one of the best things he wrote, a nocturnal movement for viola and orchestra, and an evocation of a corner of West London which was home to Holst for many years.

The Wandering Scholar (excerpt)

Pierre....Robert Tear (tenor)

Louis....Thomas Hemsley (baritone)

Alison....Patricia Clark (soprano)

English Chamber Orchestra

Imogen Holst (conductor)

Choral Fantasia

Janet Baker (mezzo-soprano)

Ralph Downes (organ)

Purcell Singers

Lyric Movement

Cecil Aronowitz (viola)

Hammersmith

London Symphony Orchestra

Richard Hickox (conductor)

1/5. Donald Macleod examines the very different musical worlds of the Scarlattis, father Alessandro and son Domenico.

D Scarlatti: Sonatas: in A, Kk39; in A minor, Kk54

Vladimir Horowitz (piano)

A Scarlatti: Sinfonia (Il primo omicidio)

Concerto Italiano

Rinaldo Alessandrini (director)

Songs and arias by A Scarlatti

Cecilia Bartoli (mezzo-soprano)

Gyorgy Fischer (piano)

A Scarlatti: Cantata (Per la notte di natale)

Susan Gritton (soprano)

Simon Standage (violin)

Collegium Musicum 90

D Scarlatti: Salve regina in A minor for soprano, alto and organ continuo

Charles Harris (treble)

Nicholas Clapton (countertenor)

Timothy Byram-Wigfield (organ)

Choir of Christ Church Cathedral, Oxford

Francis Grier (director)

2/5. Donald Macleod explores Alessandro's contribution to the birth of opera in Rome and his son's reaction to his father's growing reputation.

D Scarlatti: Sonata, Kk141

Scott Ross (harpsichord)

A Scarlatti: Cantata (Su le sponde del Tebro)

Deborah York (soprano)

Crispian Steele-Perkins (trumpet)

A Scarlatti: Gli equivoci nel sembiante (exc)

Sally Bradshaw, Lorna Anderson (soprano)

John Mark Ainsley, Angus Smith (tenor)

London Baroque

Charles Medlam (director)

A Scarlatti: Stabat mater

English Baroque Soloists

John Eliot Gardiner (conductor)

3/5. Donald Macleod introduces two of Alessandro's cantatas and sonatas by Domenico.

D Scarlatti: Sonata in D, Kk535

Ralph Kirkpatrick (harpsichord)

A Scarlatti: Cantata (Hor che de Febo)

Nancy Argenta (soprano)

Chandos Baroque Players

D Scarlatti: Sonatas: in A minor, Kk175; in C, Kk159

John Williams (guitar)

A Scarlatti: Cantata (Ombre tacite e sole)

David Daniels (countertenor)

Arcadian Academy

Nicholas McGegan (conductor/harpsichord)

4/5. Donald Macleod traces the origins and performance history of Domenico Scarlatti's extraordinary keyboard sonatas.

D Scarlatti: Sonata, Kk9

Arturo Benedetti Michelangeli (piano)

D Scarlatti, arr Avison: Concerto No 2 in G

Brandenburg Consort

Roy Goodman (conductor/Violin)

A Scarlatti: Cantata (Gia lusingato appieno)

Lynne Dawson (soprano)

Purcell Quartet

D Scarlatti: Sonatas: in A, Kk113; in F minor, Kk386; in F minor, Kk387; in B minor, Kk27

Mikhail Pletnev (piano)

D Scarlatti: Sonata in D, Kk490

Wanda Landowska (harpsichord)

5/5. Donald Macleod considers the Scarlattis' enormous influence on European musical life.

D Scarlatti: Sonatas: in D, Kk492; in F minor, Kk239

Scott Ross (harpsichord)

Cantata (Pur nel sonno almen tal'ora)

Cyrille Gertshenhaber (soprano)

Musique des Lumieres

Jean-Christophe Frisch (director)

A Scarlatti: Sonata No 7 in D

Judith Linsenburg (recorder)

Musica Pacifica

D Scarlatti: Sonatas: in D, Kk430; in G, Kk13

Glenn Gould (piano)

1/5. Donald Macleod introduces the composers of Restoration England who, from today's perspective, stand in the shadow of the greatest composer of the era, Henry Purcell.

Purcell, arr. CH Trevor: Trumpet Tune

Simon Preston (organ)

John Blow: Salvator Mundi

Alastair Ross (organ)

Monteverdi Choir

John Eliot Gardiner (conductor)

John Blow: An ode on the death of Mr Henry Purcell

Gerard Lesne, Steve Dugardin (countertenor)

La canzona

Henry Lawes, arr. Gant: Zadok, the Priest

The Choir of the Chapel Royal

The Musicians Extra-Ordinary

Andrew Gant (director)

Albertus Bryne: Suite in A minor

Terence Charlston (harpsichord)

William Child: O Lord, grant the King a long life

Jeremy Bines (organ)

Choir of Gonville and Caius College, Cambridge

Geoffrey Webber (director)

William Child: The earth is the Lord's

Andrew Arthur (organ)

William Child: Holy, holy, holy

2/5. Donald Macleod surveys the brilliant generation of composers that first emerged as choristers at the Chapel Royal after the Restoration, including a musical spy and a heartbroken composer who shot himself on the toss of a coin.

Purcell: Hear my prayer

Alastair Ross (organ)

Monteverdi Choir

John Eliot Gardiner (conductor)

John Blow: No, Lesbia, you ask in vain (Elegy on the death of Queen Mary)

John Mark Ainsley (tenor)

Paula Chateauneuf (theorbo)

Timothy Roberts (chamber organ)

Matthew Locke: Be thou exalted, Lord

Choir of New College, Oxford

The Parley of Instruments

Edward Higginbottom (conductor)

Pelham Humfrey: O Lord my God

Charles Brett (countertenor)

Martyn Hill (tenor)

David Thomas (bass)

Michael Lewin (lute)

Marilyn Samson (cello)

English Baroque Soloists

John Blow: I was glad when they said unto me

Robin Blaze, Ashley Stafford (countertenor)

Mark Le Brocq (tenor)

Andrew Dale Forbes (bass)

Rogers Covey-Crump (high tenor)

The Choir of St Paul's Cathedral

John Scott (conductor)

Jeremiah Clarke, arr. Simon Preston: Prince of Denmark's March

Simon Preston (organ)

3/5. Secular music also flourished in the English Restoration court as music was placed increasingly high up the list of royal entertainment. Donald Macleod surveys the requirements placed on the composers to the royal family, including a talented Catalan violinist who enraged his contemporaries for his poor use of English.

Purcell: When I am laid in earth (Dido and Aeneas)

Veronique Gens (soprano)

Les Arts Florissants

William Christie (director)

John Blow: Venus and Adonis (Act 3)

Rosemary Joshua (soprano)

Gerald Finley (baritone)

Clare College Chapel Choir

Orchestra of the Age of Enlightenment

Rene Jacobs (director)

Poems set by Henry Lawes, William Lawes, Francesco Corbetta and John Wilson from Henry Lawes' Select Ayres and Dialogues

Paul Hillier (singer)

Nigel North (lute/theorbo/guitar)

Louis Grabu: Suite in G (Incidental Music from Act 3 of Rochester's play Valentinian)

The Parley of Instruments Renaissance Violin Band

Peter Holman (conductor)

4/5. Donald Macleod investigates the increasing importance of music away from the English Restoration court, including a booming publishing industry and the growth of public concerts.

Purcell: Sonata XX in D

London Baroque

Matthew Locke: Suite No 5 (Consort of Four Parts)

Fretwork

John Blow: What is't to Us?

Philip Langridge (tenor)

David Owen Norris (harpsichord)

Jennifer Langridge (cello)

William Croft: How Severe is my Fate

Daniel Purcell: Cupid, Make your Virgins Tender

John Eccles: Belinda

John Jenkins: Fantasia a 3

Pelham Humfrey: A Hymn to God the Father

Mark Chambers (countertenor)

John Blow: Quam diligo legem tuam

Ryland Angel, Mark Chambers (countertenor)

Christopher Simpson: Suite in D

5/5. Concluding his survey of the music of Purcell's day, Donald Macleod looks at the composers who contributed to London's theatre scene in what was a short career for English opera in the second half of the 17th century.

Purcell: Fairest Isle (King Arthur)

The Parley of Instruments Baroque Orchestra

Roy Goodman (director)

Daniel Purcell: O ravishing delight (The Judgement of Paris)

Ryland Angel (countertenor)

Laurence Cummings (harpsichord)

John Eccles: Can life be a blessing? (Troilus and Cressida)

Catherine Bott (soprano)

Peter Holman (conductor)

John Blow: Lovely Selina, innocent and free (The Princess of Cleve)

John Mark Ainsley (tenor)

Timothy Roberts (spinet)

Paula Chateauneuf (baroque guitar)

John Weldon: Dry those eyes which are o'erflowing (The Tempest)

Matthew Locke: Psyche (Act 3)

Vulcan and Mars....Paul Agnew (tenor)

Pyracmon, first cyclops....Christopher Robson (countertenor)

Brontes, second cyclops....Michael George (bass)

Steropes, third cyclops....Simon Grant (bass)

Harpes, fourth cyclops....Julian Podger (tenor)

Praesul....Andrew King (tenor)

Venus....Catherine Bott (soprano)

New London Consort

Philip Pickett (conductor)

William Croft: Ayres in the comedy of Courtship A La Mode

'Films are fantasy', said Hollywood mogul Jack Warner, 'and fantasy needs music'. We follow two European emigres, born 10 years and 200 miles apart, on the epic journey to provide the soundtrack to Hollywood's Golden Age.

Donald Macleod hears from Hollywood film music historian Jon Burlingame and conductor John Mauceri, who share some first hand reminiscences of both composers.

1/5. The Talent

Both young composers enjoyed considerable acclaim in their own countries and across Europe. Korngold was a respected opera composer, while Rozsa was championed by conductors Karl Bohm and Charles Munch. However, between Schoenberg and Stravinsky, there wasn't much call (and certainly no money) for the lush scores of late Romanticism.

Korngold: Overture (Der Schauspiel)

BBC Philharmonic

Matthias Bamert (conductor)

Rozsa: Variations on a Hungarian Peasant Song, Op 4

Isabella Lipp (violin)

John Novacek (piano)

Korngold: Marietta's Lute Song (Die Tote Stadt)

Barbara Hendricks (soprano)

Philadelphia Orchestra

Franz Welser-Most (conductor)

Rozsa: Theme, Variations and Finale, Op 13a

New Zealand Symphony Orchestra

James Sedares (conductor)

Donald Macleod explores the music of two composers who provided the soundtrack to Hollywood's Golden Age.

2/5. Hooray for Hollywoodland

The financial desolation of the late 1920s and 30s forced Rozsa to keep the wolf from the door by writing fanfares for Pathe newsreels, while Korngold turned to arrangements of Viennese operetta. Fateful diversions both, as they marked the beginning of an unlikely but rewarding journey to the bright lights of Beverly Hills.

Nic Tomay (aka Miklos Rozsa): Bobbi Cherie; Tous la Haut la Haut; Two for Me

Daniel Robbins (piano)

Korngold: Tales from Strauss

Linz Bruckner Orchestra

Caspar Richter (conductor)

Korngold: Captain Blood Soundtrack (excerpts)

Brandenburg Philharmonic

Richard Kaufman (conductor)

Rozsa: Four Feathers Soundtrack (excerpts)

National Philharmonic Orchestra

Charles Gerhardt (conductor)

Rozsa: King's Fanfare; The Harbor (The Thief of Baghdad)

Nuremberg Symphony Orchestra

Miklos Rozsa (conductor)

Donald Macleod explores the music of two composers who provided the soundtrack to Hollywood's Golden Age.

3/5. The Blockbusters and the Bombs

Two Hollywood careers were born. A half-finished film sent Rozsa from London to Los Angeles, while Korngold saved his family from the gas chamber with the help of Robin Hood. Alfred Hitchcock, Errol Flynn and the theremin pop up along the way.

Korngold: No Father, No Mother, No Name; In the Forest (Anthony Adverse)

National Philharmonic

Charles Gerhardt (conductor)

Korngold: Soundtrack to Robin Hood (excerpts)

Hollywood Bowl Orchestra

John Mauceri (conductor)

Korngold: Sursum Corda (excerpt)

BBC Philharmonic

Matthias Bamert (conductor)

Korngold: Robin's Escape from Nottingham Castle (Robin Hood)

Moscow Symphony Orchestra

William Stromberg (conductor)

Korngold: Soundtrack to The Sea Hawk (excerpts)

Utah Symphony Orchestra

Varujan Kojian (conductor)

Rozsa: Soundtrack to Spellbound (excerpts)

Slovak Radio Symphony Orchestra

Allan Wilson (conductor)

Donald Macleod explores the music of two composers who provided the soundtrack to Hollywood's Golden Age.

4/5. High Definition

Korngold's Hollywood resume took a downward turn while Rozsa entered the most productive years of his Hollywood career, leading to the era of the epics Quo Vadis and Ben-Hur. And another emigre musician caught the eyes, and ears, of both composers: violinist Jascha Heifetz.

Korngold: King's Row (main title)

National Philharmonic

Charles Gerhardt (conductor)

Rozsa: Madame Bovary (Waltz)

City of Prague Philharmonic

Kenneth Alwyn (conductor)

Rozsa: Ave Caesar (Quo Vadis)

Rozsa: Violin Concerto, Op 24 (3rd mvt)

Anastasia Khitruk (violin)

Russian Philharmonic

Dmitry Yablonsky (conductor)

Korngold: Violin Concerto (1st mvt)

Gil Shaham (violin)

London Symphony Orchestra

Andre Previn (conductor)

Rozsa: Ben-Hur Suite

North Hungarian Symphony Orchestra

Laszlo Kovacs (conductor)

Donald Macleod explores the music of two composers who provided the soundtrack to Hollywood's Golden Age.

5/5. Cameos and Cutaways

On a visit to their homelands, Korngold and Rozsa questioned whether they had betrayed their heritage. This led both men to take stock of their careers and turn to a familiar musical idiom, the symphony.

Korngold: Prelude to Violanta

Austrian Radio Orchestra, Vienna

Max Schonherr (conductor)

Korngold: Theme and Variations

Rozsa: Hungarian Nocturne, Op 28

Philharmonia Hungarica

Werner Andreas Albert (conductor)

Korngold: Symphony in F sharp, Op 40 (2nd mvt)

BBC Philharmonic

Edward Downes (conductor)

Rozsa: Symphony in Three Movements (3rd mvt)

New Zealand Symphony Orchestra

James Sedares (conductor)

Rozsa: Dead Men Don't Wear Plaid (Finale)

Nuremberg Symphony Orchestra

Elmer Bernstein (conductor)

LAYTON

Next in series: 19 April 1991

Previous in series: 30 January 1990

Broadcast history

03 Apr 1990 08:35-09:35 (RADIO 3)

10 Apr 1990 23:00-00:00 (RADIO 3)

Recorded on 1990-04-02.

Producer: R. LAYTON

Producer: R.

LAYTON

Next in series: 19 April 1991

Previous in series: 30 January 1990

Broadcast history

03 Apr 1990 08:35-09:35 (RADIO 3)

10 Apr 1990 23:00-00:00 (RADIO 3)

Recorded on 1990-04-02.

Producer: R. LAYTON

EMERY

Next in series: GUESALDO and VICTORIA

Previous in series: 03 April 1990

Broadcast history

19 Apr 1991 08:35-09:35 (RADIO 3)

26 Apr 1991 23:35-00:35 (RADIO 3)

Recorded on 1991-04-17.

Producer: M. EMERY

Next in series: GUESALDO & VICTORIA

Producer: M.

EMERY

Next in series: GUESALDO and VICTORIA

Previous in series: 03 April 1990

Broadcast history

19 Apr 1991 08:35-09:35 (RADIO 3)

26 Apr 1991 23:35-00:35 (RADIO 3)

Recorded on 1991-04-17.

Producer: M. EMERY

Next in series: GUESALDO & VICTORIA

HARDWICK

Next in series: 03 April 1990

Previous in series: 19 December 1989

Broadcast history

30 Jan 1990 08:35-09:35 (RADIO 3)

06 Feb 1990 23:00-00:00 (RADIO 3)

Recorded on 1990-01-24.

Producer: C. HARDWICK

Producer: C.

HARDWICK

Next in series: 03 April 1990

Previous in series: 19 December 1989

Broadcast history

30 Jan 1990 08:35-09:35 (RADIO 3)

06 Feb 1990 23:00-00:00 (RADIO 3)

Recorded on 1990-01-24.

Producer: C. HARDWICK

Producer: A.

MUSSETT

Next in series: THE COURT OF CATHERINE THE GREAT

Previous in series: GUESALDO and VICTORIA

Broadcast history

09 Sep 1991 08:35-09:35 (RADIO 3)

16 Sep 1991 23:35-00:35 (RADIO 3)

Recorded on 1991-09-02.

Producer: A. MUSSETT

CHAVEZ & REVUELTAS

Previous in series: GUESALDO & VICTORIA

First broadcast on 1991-09-09

Producer: A.

MUSSETT

Next in series: THE COURT OF CATHERINE THE GREAT

Previous in series: GUESALDO and VICTORIA

Broadcast history

09 Sep 1991 08:35-09:35 (RADIO 3)

16 Sep 1991 23:35-00:35 (RADIO 3)

Recorded on 1991-09-02.

Producer: A. MUSSETT

CHAVEZ & REVUELTAS

Previous in series: GUESALDO & VICTORIA

Producer: G.

DIXON

Next in series: GUESALDO and VICTORIA

Previous in series: 19 April 1991

Broadcast history

30 Apr 1991 08:35-09:35 (RADIO 3)

07 May 1991 23:35-00:35 (RADIO 3)

Recorded on 1991-04-10.

Producer: G. DIXON

GUESALDO & VICTORIA

Next in series: GUESALDO & VICTORIA

Producer: G.

DIXON

Next in series: CHAVEZ and REVUELTAS

Previous in series: GUESALDO and VICTORIA

Broadcast history

02 May 1991 08:35-09:35 (RADIO 3)

09 May 1991 23:35-00:35 (RADIO 3)

Recorded on 1991-04-10.

Producer: G. DIXON

GUESALDO & VICTORIA

Next in series: CHAVEZ & REVUELTAS

Previous in series: GUESALDO & VICTORIA

First broadcast on 1991-04-30

Producer: G.

DIXON

Next in series: GUESALDO and VICTORIA

Previous in series: 19 April 1991

Broadcast history

30 Apr 1991 08:35-09:35 (RADIO 3)

07 May 1991 23:35-00:35 (RADIO 3)

Recorded on 1991-04-10.

Producer: G. DIXON

GUESALDO & VICTORIA

Next in series: GUESALDO & VICTORIA

First broadcast on 1991-05-02

Producer: G.

DIXON

Next in series: CHAVEZ and REVUELTAS

Previous in series: GUESALDO and VICTORIA

Broadcast history

02 May 1991 08:35-09:35 (RADIO 3)

09 May 1991 23:35-00:35 (RADIO 3)

Recorded on 1991-04-10.

Producer: G. DIXON

GUESALDO & VICTORIA

Next in series: CHAVEZ & REVUELTAS

Previous in series: GUESALDO & VICTORIA

OWEN

Next in series: LES SIX

Previous in series: VILLA-LOBOS and GINASTERA

Broadcast history

05 Feb 1996 12:00-13:00 (RADIO 3)

Recorded on 1996-01-29.

Previous in series: VILLA-LOBOS & GINASTERA

OWEN

Next in series: LES SIX

Previous in series: LES SIX

Broadcast history

06 Feb 1996 12:00-13:00 (RADIO 3)

Recorded on 1996-01-29.

OWEN

Next in series: LES SIX

Previous in series: LES SIX

Broadcast history

07 Feb 1996 12:00-13:00 (RADIO 3)

Recorded on 1996-01-29.

OWEN

Next in series: LES SIX

Previous in series: LES SIX

Broadcast history

08 Feb 1996 12:00-13:00 (RADIO 3)

Recorded on 1996-01-29.

OWEN

Next in series: SCOTTISH ROMANTICS

Previous in series: LES SIX

Broadcast history

09 Feb 1996 12:00-13:00 (RADIO 3)

Recorded on 1996-01-29.

Producer: MARSHALL, C

Next in series: ELLINGTON, EVANS AND WHEELER

Previous in series: LUTYENS & MACONCHY 4/5

Broadcast history

15 Sep 1995 09:00-10:00 (RADIO 3)

Recorded on 1995-09-10.

LUTYENS and MACHONCHY 5/5

Previous in series: LUTYENS and MACONCHY 4/5

Producer: MARSHALL, C

Next in series: LUTYENS & MACONCHY 4/5

Previous in series: THE COURT OF CATHERINE THE GREAT

Broadcast history

13 Sep 1995 09:00-10:00 (RADIO 3)

Recorded on 1995-09-10.

LUTYENS and MACONCHY 3/5

Next in series: LUTYENS and MACONCHY 4/5

Producer: MARSHALL, C

Next in series: LUTYENS & MACHONCHY 5/5

Previous in series: LUTYENS & MACONCHY 3/5

Broadcast history

14 Sep 1995 09:00-10:00 (RADIO 3)

Recorded on 1995-09-10.

LUTYENS and MACONCHY 4/5

Next in series: LUTYENS and MACHONCHY 5/5

Previous in series: LUTYENS and MACONCHY 3/5

Next in series: SCOTTISH ROMANTICS

Previous in series: LES SIX

Broadcast history

19 Feb 1996 12:00-13:00 (RADIO 3)

Recorded on 1996-01-30.

Next in series: SCOTTISH ROMANTICS

Previous in series: SCOTTISH ROMANTICS

Broadcast history

20 Feb 1996 12:00-13:00 (RADIO 3)

Recorded on 1996-01-30.

Next in series: SCOTTISH ROMANTICS

Previous in series: SCOTTISH ROMANTICS

Broadcast history

21 Feb 1996 12:00-13:00 (RADIO 3)

Recorded on 1996-02-05.

LORD

Next in series: SCOTTISH ROMANTICS

Previous in series: SCOTTISH ROMANTICS

Broadcast history

22 Feb 1996 12:00-13:00 (RADIO 3)

Recorded on 1996-02-05.

LORD

Next in series: THE FRENCH REVOLUTION 1/5

Previous in series: SCOTTISH ROMANTICS

Broadcast history

23 Feb 1996 12:00-13:00 (RADIO 3)

Recorded on 1996-02-05.

BOLTON

Next in series: HONEGGER 2/5

Previous in series: CHAVEZ and REVUELTAS

Broadcast history

16 Dec 1991 08:35-09:35 (RADIO 3)

23 Dec 1991 23:35-00:35 (RADIO 3)

Recorded on 1991-12-13.

Producer: K. BOLTON

Previous in series: CHAVEZ & REVUELTAS

Producer: K.

BOLTON

Next in series: HONEGGER 2/5

Previous in series: CHAVEZ and REVUELTAS

Broadcast history

16 Dec 1991 08:35-09:35 (RADIO 3)

23 Dec 1991 23:35-00:35 (RADIO 3)

Recorded on 1991-12-13.

Producer: K. BOLTON

Previous in series: CHAVEZ & REVUELTAS

KEMP

Next in series: THE FRENCH REVOLUTION 2/5

Previous in series: SCOTTISH ROMANTICS

Broadcast history

26 Feb 1996 12:00-13:00 (RADIO 3)

Recorded on 1996-02-13.

KEMP

Next in series: THE FRENCH REVOLUTION 3/5

Previous in series: THE FRENCH REVOLUTION 1/5

Broadcast history

27 Feb 1996 12:00-13:00 (RADIO 3)

Recorded on 1996-02-13.

KEMP

Next in series: THE FRENCH REVOLUTION 4/5

Previous in series: THE FRENCH REVOLUTION 2/5

Broadcast history

28 Feb 1996 12:00-13:00 (RADIO 3)

Recorded on 1996-02-13.

KEMP

Next in series: THE FRENCH REVOLUTION 5/5

Previous in series: THE FRENCH REVOLUTION 3/5

Broadcast history

29 Feb 1996 12:00-13:00 (RADIO 3)

Recorded on 1996-02-13.

Producer: P.

BURTON-PAGE

Next in series: VILLA-LOBOS & GINASTERA

Previous in series: ELLINGTON, EVANS, WHEELER

Broadcast history

15 Jan 1996 12:00-13:00 (RADIO 3)

Recorded on 1995-07-13.

-LOBOS and GINESTERA

Next in series: VILLA-LOBOS and GINASTERA

Producer: P. BURTON-PAGE

VILLA-LOBOS & GINESTERA

Producer: P.

BURTON-PAGE

Next in series: VILLA-LOBOS and GINESTERA

Previous in series: VILLA-LOBOS and GINESTERA

Broadcast history

16 Jan 1996 12:00-13:00 (RADIO 3)

Recorded on 1995-09-14.

Producer: P. BURTON-PAGE

-LOBOS & GINASTERA

Next in series: VILLA-LOBOS & GINESTERA

Previous in series: VILLA-LOBOS & GINESTERA

Producer: P.

BURTON-PAGE

Next in series: VILLA-LOBOS and GINESTERA

Previous in series: VILLA-LOBOS and GINASTERA

Broadcast history

17 Jan 1996 12:00-13:00 (RADIO 3)

Recorded on 1995-07-13.

Producer: P. BURTON-PAGE

-LOBOS & GINESTERA

Next in series: VILLA-LOBOS & GINESTERA

Previous in series: VILLA-LOBOS & GINASTERA

Producer: P.

BURTON-PAGE

Next in series: VILLA-LOBOS and GINASTERA

Previous in series: VILLA-LOBOS and GINESTERA

Broadcast history

18 Jan 1996 12:00-13:00 (RADIO 3)

Recorded on 1995-07-13.

Producer: P. BURTON-PAGE

-LOBOS & GINESTERA

Next in series: VILLA-LOBOS & GINASTERA

Previous in series: VILLA-LOBOS & GINESTERA

Producer: P.

BURTON-PAGE

Next in series: LES SIX

Previous in series: VILLA-LOBOS and GINESTERA

Broadcast history

19 Jan 1996 12:00-13:00 (RADIO 3)

Recorded on 1995-09-14.

Producer: P. BURTON-PAGE

-LOBOS & GINASTERA

Previous in series: VILLA-LOBOS & GINESTERA