ウィークエンドサンシャイン
ブロードキャスター、ピーター・バラカンのナビゲートで送るウィークエンド・ミュージックマガジン。独特の嗅覚とこだわりの哲学でセレクトしたグッド・サウンドと、ワールドワイドな音楽情報を伝える。
http://www4.nhk.or.jp/sunshine/
放送日： 2014年 5月24日（土）
放送時間： 午前7:20〜午前9:00（100分）
ピーター・バラカン
THIS WEEK'S PLAYLIST
http://www4.nhk.or.jp/sunshine/66/
（曲名 / アーティスト名 // アルバム名）
01. Starfish And Coffee / Prince // Sign O' The Times
02. Kalfou Danjere / Boukman Eksperyans // Kalfou Danjere/Mango
03. Crisis / Jaco Pastorius // Word Of Mouth
04. Come On, Come Over / Jaco Pastorius w Sam & Dave // Jaco Pastorius
05. Stay / Bruce Springsteen,Jackson Browne & The E Street Band // No Nukes
06. Too Many Angels / Marc Cohn // Looking into You: A Tribute to Jackson Browne
07. A Change Is Gonna Come / Aaron Neville // Bring It On Home...The Soul Classics
08. Clandestino / Manu Chao // Clandestino
09. Money / The Rolling Stones // More Hot Rocks (Big Hits & Fazed Cookies)
10. Tears, Tears And More Tears / Lee Dorsey // Great Googa Mooga
11. Lay Your Money Down / Solas feat Rhiannon Giddens // Shamrock City
12. Nil La La / Solas // Solas
13. A House Is A Home / Ben & Ellen Harper // Childhood Home
14. Farmer's Daughter / Ben & Ellen Harper // Childhood Home
15. Hamadoun Toure / Toumani Diabate & Sidiki Diabate // Toumani & Sidiki
16. Descarga Cuantica / Quantic feat. Fruko & Michi Sarmiento // Magnetica
17. Aguas De Sorongo / Quantic feat. Thalma de Freitas // Magnetica
世界の快適音楽セレクション
"快適音楽"を求めるギターデュオのゴンチチによる、ノンジャンル・ミュージック番組。
http://www4.nhk.or.jp/kaiteki/
放送日： 2014年 5月24日（土）
放送時間： 午前9:00〜午前11:00（120分）
ゴンチチ
藤川パパQ
− 人と機械の音楽 −
「ファイヤー・アンド・トラップ」 （ゴンチチ）
（5分05秒）
＜SO WHAT？ ESCB2004＞
「マシーン・コンスピラシー」 （コンフォース）
（4分44秒）
＜MEANWHILE MEAN020CD＞
「ラ・メカニック」 （エレノーレ）
（3分27秒）
＜WEA MUSIC 4509-92505-2＞
「ロンリー・ダブ」 （コフィ＆マッド・プロフェッサー）
（4分08秒）
＜ジムコジャパン JICM-89470＞
「ライオット」
（フィル・ウッズ＆ヒズ・ヨーロピアン・リズム・マシーン）
（6分02秒）
＜THE VERVE MUSIC SE4695＞
「ピース・アンド・ハピネス」 （ベニー・シングス）
（3分10秒）
＜VICTOR VICP64080＞
「ザ・モデル」 （クラフトワーク）
（3分40秒）
＜CAPITOR REC. 724358168624＞
「僕は特急の機関士で〜北海道巡りの巻〜」
（三木鶏郎、丹下キヨ子、安藤まり子）
（3分09秒）
＜コロムビア COCP-33435＞
「ハングリー・ゴースト」
（ブラッド・メルドー＆マーク・ジュリアナ）
（5分01秒）
＜NONESUCH 755979579-5＞
「チルドレンズ・ワルツ」 （ジョージ・シアリング）
（2分33秒）
＜KOCH REC. KOC-CD-9963＞
「エド・ウッド組曲から 1」 （リディア・カヴィナ）
（5分01秒）
＜MODE REC. MODE199＞
「紡ぎ歌」 エルメンライヒ作曲
（ピアノ）ラルス・ルース
（1分33秒）
＜日本フォノグラム PHCP-3036＞
「コンピューターおばあちゃん」 （ハックルベリーフィン）
（2分57秒）
＜BAD NEWS MUSIC BNCL-33＞
「ブラック・サテン」 （マイルス・デイヴィス）
（5分15秒）
＜SONY REC. SRCS9125＞
「歌え、私のホムスよ」 （スピリドン・シシーギン）
（6分15秒）
＜日本口琴協会 NKK001＞
「ブルー・オン・ザ・ホール」 （ゴンチチ）
（4分27秒）
＜SO WHAT？ ESCB2004＞
「グアンタナメーラ」 （フィル・マンザネラ）
（2分00秒）
＜VICTOR VICP-52＞
「グアンタナメーラ」 （アルフレッド・ロドリゲス）
（4分43秒）
＜MACK AVENUE MAC1079＞
「アトス山」 （ステファン・ツァピス）
（5分00秒）
＜CLOUD DDCJ-4012＞
Jazz Record Requests
Make a request...
http://www.bbc.co.uk/programmes/b006tnn9
Sat 24 May 2014
17:00
BBC Radio 3
http://www.bbc.co.uk/programmes/b043wj9t
Alyn Shipton celebrates Miles Davis's birthday, marks the Shakespeare 450th anniversary with Cleo Laine and plays music by Lionel Hampton. This week's listeners' requests also include trio jazz from the young French bassist David Eskenazy, and a track by British trumpeter Guy Barker.
Music Played
01. Izzatso!
Guy Barker
Performer: Jim Watson. Performer: Rosario Giuliani. Performer: Denys Baptiste. Performer: Barnaby Dickenson. Performer: Orlando LeFleming. Performer: Sebastiaan de Krom.
Soundtrack, Provocateur, 6
02. Lucius Lu
Chet Baker
Performer: Phil Urso. Performer: Bobby Timmons. Performer: James Bond. Performer: Peter Littman.
Chet Baker & Crew, Phoenix, 6
03. Moonglow
Lionel Hampton
Performer: Wes Montgomery. Performer: Roy T Johnson. Performer: Earl Walker.
The Lionel Hampton Story, Proper, 18
04. Dunsinane blues
Cleo Laine
Performer: John Dankworth. Performer: Alan Branscombe. Performer: Ray Dempsey. Performer: Kenny Napper. Performer: Allan Ganley.
SHAKESPEARE AND ALL THAT JAZZ, FONTANA, 7
05. So What
Miles Davis
Performer: Hank Mobley. Performer: Wynton Kelly. Performer: Paul Chambers. Performer: Jimmy Cobb. Performer: The Gil Evans Orchestra.
At Carnegie Hall, CBS, 1
06. Tipitina
Glen David Andrews
Performer: Kyle Roussel. Performer: Jamal Watson.
Live at Three Muses, Gda Music Group LLC, 8
07. Joyful Monkey
David Eskenazy
Performer: Remi Ploton. Performer: Quentin Boursy.
From The Ancient World, Ophelia, 6
08. The Courtship
Benny Carter & Dizzy Gillespie
Performer: Tommy Flanagan. Performer: Joe Pass. Performer: Al McKibbon. Performer: Mickey Roker.
Carter, Gillespie, Inc, Pablo, 3
09. Wanderlust
Duke Ellington
Performer: Coleman Hawkins. Performer: Ray Nance. Performer: Johnny Hodges. Performer: Harry Carney. Performer: Lawrence Brown. Performer: Aaron Bell. Performer: Sam Woodyard.
Duke Ellington Meets Coleman Hawkins, Impulse, 4
Words and Music
A sequence of music interspersed with well-loved and less familiar poems and prose read by leading actors
http://www.bbc.co.uk/programmes/b006x35f
Good Intentions
Sun 25 May 2014
17:30
BBC Radio 3
http://www.bbc.co.uk/programmes/b043wpvb
Intent is a great driver for drama. The better the intent the more agonising the tragedy when it all goes wrong and, in equal part, the more hilarious the comedy as chaos unfolds in front of a knowing audience. And there are several different varieties of good intention; the ambitious, the optimistic, the clear sighted, the nervous and the horribly mistaken.
Today's Words and Music seeks, with the best of intentions, to illustrate just a few of them and to discover where they might lead, beginning with a well-intentioned trip to the underworld where Orpheus attempts to win back his wife.
Eve's intentions appear laudable enough as Milton has her contemplate sampling 'the fruit of that forbidden tree', and its hard to blame Shakespeare's Juliet and Friar Lawrence for hatching a plot that they believe will ensure a happy ending all round.
In the 100th anniversary year of the Great War there's a look back to the now agonising intentions of the Music Hall Recruitment songs with the results reflected with understated eloquence by Sarojini Naidu's 'Gift of India.'
And there are less direct approaches. Was Midas a greedy tyrant or just another, very modern, figure to fall under the sway of the apparent virtue of economic need? Carol Ann Duffy has Mrs Midas watch and judge the results. And Robert Burns, doing what any farmer should be doing at harvest time, finds his innocent intentions are pretty grim news for the mouse whose home he unwittingly exposes.
And then there's the sheer joy resulting from the operatic activities of a cleaning lady in Wexford, shared by the late Bernard Levin, and the Flanders and Swann hymn to eternal self-generating good works in 'The Gasman Cometh'.
The readers are John Sessions and Indira Varma.
Producer: Tom Alban
Producer's Note
Good Intentions
The use of the phrase ‘Good Intentions’ is almost invariably accompanied by news of ‘bad results’. Those results may be comically or tragically bad but in a way that’s not the point. The important thing is that it wasn’t the motivation that was at fault.
In drama good intentions are everywhere. Only the truly Machiavellian is free of them. The better the intentions the more agonising the tragedy when it all goes wrong and, in equal part, the more hilarious the comedy as chaos unfolds in front of a knowing audience. There are several different varieties of good intention; the ambitious, the optimistic, the clear sighted, the narrow and the horribly mistaken.
This edition of ‘Words and Music’ seeks, with the best of intentions, to explore just a few of them.
We begin with Orpheus. Nobody could fault his ambition as he steps out into the Elysian district of Hades. His desire to rescue his late wife Eurydice through the sheer beauty of his music making is virtuous indeed. Unfortunately he didn’t pay full attention to the small print in his deal with the Gods. The stipulation that he remain silent and not look back at his wife seemed fine without the flow of questions, doubts and fears on Eurydice’s part.
Would he have approached things differently if he’d heard James Boswell’s report of Dr Johnson’s admonition about the road to hell being paved with Good Intentions? Probably not. It sounds, on the face of it, a shade defeatist, implying that there is some better, more honest form of intent that should be adopted. As it is his reported words survive as a gentle, if not genteel, warning.
The next two characters, undone in spite of their noblest efforts, are the very English Emma Wodehouse and the very Russian Tatiana Larina. Jane Austen thought nobody would much like Emma. How wrong can you be? We love her all the more because her foibles are almost invariably good hearted, if deluded. Such is the case with her attempts to hitch up Harriet Smith with the dreadful Mr Elton. When her intent veers towards the vindictive later in the novel, she is severely checked but never broken.
Tatiana inhabits an Operatic world where the stakes are higher, the risks far greater. Here she is wrestling with the wisdom of a clear and unequivocal statement of her love in the famous ‘Letter Scene’. Is it wise? With her aria ringing in our ears of course we could have wished she tread more carefully but there’s no disputing the genuine nature of her motives. Indeed for the audience they accuse Onegin from the moment they’re committed to paper until the Opera’s end.
William Wordsworth looks back at a national or even an international example of ‘good intentions’ which went horribly, bloodily bad. The French Revolution was not, he insists, for ‘favoured spots alone, but the whole earth’. ‘Bliss was it’ to experience the upheaval which was to bring about such freedoms for humanity.
The story suggests that Ludwig van Beethoven felt much the same and saw it exemplified in the figure of Napoleon Bonaparte. Did he really tear out the dedicatory page of his third Symphony on discovering his hero had feet of clay? It certainly feels as though something had died in the second movement, the more so because of the hopes aroused in the first.
That sense of loss is at the heart of John Milton’s Epic Poem ‘Paradise Lost’. Here we have Eve, weighing the words of the Satanic Serpent and finding in them intentions that she is certain are good. ‘Here grows the cure of all’ which ‘feeds both bodie and mind’. It was for religious thinkers to find the ultimate good in the Loss, accepting that ‘nay had the apple taken been’ then there would be no glory in the message of the New Testament. Much is made of Eve’s folly but, for me, not enough of her essential goodness.
Albert Camus, stepping out of the action of ‘La Peste’, points out the narrator’s unease at the glorification of good intentions which he believes imply the opposite in the majority. Ignorance, he believes is far worse. Darkest of all is the ignorance, dressed up as righteousness, that claims as a virtue the right to kill.
Dr Johnson’s warning about good intentions is at its most vivid in war. All sides ring to the righteousness of their case. Paul Rubens caught the mood in 1914 with his song ‘Your King and Country Want You’. The next year he penned an equally earnest number about the need for nurses to do their bit for the stricken soldiers.
Sassoon, Owen, Rosenberg, there are so many voices who gave vivid voice to the cost of righteous war. Here Sarojini Naidu tries to measure the price paid by Indian soldiers who fought, not just in Europe, but in Persia, Egypt and East Africa.
‘Johnny I hardly knew ya’ comes from an earlier conflict in Sri Lanka (Ceylon in the lyrics of the time). Here it’s the wife who has to watch the shattered remnant of her husband who set off intent on fame, fortune and glory. Benjamin Luxon’s performance is searing.
But amidst the hand-wringing is the voice of Rudyard Kipling who, by 1934, when he spoke to a dinner in London, knew what it was to lose a son in war and yet he was also aware of the risks his nation was taking in a Europe rearming at furious rate.
We return to drama now and one of the clearest examples of good intentions leading to tragedy. Friar Lawrence knows the risks of her feigning death and Juliet gives us a horrible premonition of what could go wrong. Prokofiev’s ballet score captures the tension, hope, anxiety, foreboding and, in the event, tragedy.
I admit the jury may be split over King Midas. Greedy, selfish and stupid is one reading. However, isn’t there something very modern about his instinct to seek economic stability as a first resort. A steady supply of Gold is all it would take he reasons. ‘Money can’t buy you happiness’ is usually quoted by those who believe it’s nonsense. Here Carol Ann Duffy has Mrs Midas watching with delicious domestic detail, wit and mounting horror.
Nina Simone speaks for herself. If there’s one thing that we all wish of our intentions it’s that they be understood for what we believe them to be - good. That’s certainly the message Robert Burns has for the little mouse whose nest he’s unwittingly destroyed with his harvesting. As the beastie panics Burns sees himself in the trembling creature with its best laid plans’ gang aft agley’.
For Burns and the mouse and many more besides it’s pure accident that sweeps away their good intentions. Paul Dukas describes an accident waiting to happen in the form of that ageless human desire to cut corners. Was the crime of the Sorcerer’s Apprentice so great?
And so, belatedly, to the comic side of the equation and the making of an unusual argument by Bernard Levin, that as well as the road to hell, the road to heaven can also be paved with good intentions, albeit laid the wrong way up and back to front. Here is pure joy in Levin’s recollection of an Operatic production undermined by the simplest act of good will. Opera is always a high wire act. There are so many things that have to go well. When one ingredient fails it can be frustrating, embarrassing, ludicrous or, as here, catastrophically joyous.
And to bring us to a close Michael Flanders and Donald Swann observing with their usual élan that good intentions will always be with us, driving us onwards to distraction or back to where we started. Where there’s a good will there’s not necessarily a way.
Producer: Tom Alban
Music Played
00:00
Christoph Willibald Gluck
Orphee et Euridice, Dances of the Blessed Spirits
Performer: Opera Lafayette Orchestra - Conductor Ryan Brown.
Naxos, Tr1
James Boswell
Extract from Life of Johnson read by John Sessions
Jane Austen
Extract from Emmam Read by Indira Varma
00:02
Pyotr Ilyich Tchaikovsky
Tatiana’s Letter (Puskai pogibnu ya) from Eugene Onegin
Performer: Teresa Kubiak, Orchestra of the Royal Opera House, Sir Georg Solti.
DECCA, Tr14
William Wordsworth
The Prelude – Book 11 read by John Sessions
00:16
Ludwig van Beethoven
Symphony No. 3 in E-flat major, Op.55, 1st movement.
Performer: New York Philharmonic - Leonard Bernstein.
SONY, Tr5
00:17
Ludwig van Beethoven
Symphony No. 3 in E-flat major, Op.55, 2nd movement.
Performer: New York Philharmonic - Leonard Bernstein.
SONY, Tr6
John Milton
Paradise Lost - Book iX read by Indira Varma and John Sessions
Albert Camus
Extract from La Peste (The Plague) read by John Sessions.
00:33
Paul Rubens
Your King and Country Want You - from The Great War
Performer: Edna Thornton.
PEARL, Tr2
Sarojini Naidu
Gift of India read by Indira Varma
00:37
Folk song
Johnny I Hardly Knew You
Performer: Bejamin Luxon & Bill Crofut.
Cousin Jacks CX 546, Tr6
Rudyard Kipling
Extract from a speech in London, 1934 read by John Sessions
00:42
Sergei Sergeyevich Prokofiev
Romeo and Juliet - Ballet Score: No.44
Performer: Boshoi Theatre Orchestra - Conductor Algis Zuraitis.
CLASSICS FOR PLEASURE, Tr17
William Shakespeare
Romeo and Juliet; Act IV, read by John Sessions and Indira Varma.
Image for Sergei Sergeyevich Prokofiev
00:46
Sergei Sergeyevich Prokofiev
Romeo and Juliet - Ballet Score: No. 52 Death of Juliet
Performer: Boshoi Theatre Orchestra - Conductor Algis Zuraitis.
CLASSICS FOR PLEASURE, Tr25
Carol Ann Duffy
Extract from her Poem ‘Mrs Midas’ read by Indira Varma.
00:51
Benjamin/Marcus/Caldwell
Don’t Let Me Be Misunderstood
Performer: Nina Simone.
MERCURY, Tr3
Robert Burns
Poem to a Mouse read by John Sessions.
00:56
Paul Dukas
The Sorcerer's Apprentice
Performer: The Academy of St. Martin-in-the-Fields - Neville Marriner.
Philips, Tr3
Bernard Levin
Description of events at Wexford Opera read by John Sessions and Indira Varma
01:06
Spontini
La Vestale - La Nuit Cheve Sa Carriere (scene one)
Performer: Anthony Michaels Moore.
SONY, Tr2
01:08
Spontini
La Vestale - Pres de ce Temple Auguste
Performer: Anthony Michaels Moore & J.Patrick Raftery.
SONY, Tr3
01:09
Spontini
La Vestale - Ouverture
Performer: Orchestra del Teatro alla Scala.
SONY, Tr5
01:11
Flanders and Swann
The Gas-Man Cometh
Performer: Flanders and Swann.
PARLOPHONE, Tr1
